If we accept this interpretation, we shall be able to explain one at least of the long friezes which adorn the sides of the sarcophagus (Fig. 84)[324]. The subject of it is a lion-hunt. In the midst is a group, about which the whole scene is balanced. The lion has turned to bay, and flung himself upon the horse ridden by an Asiatic cavalier, who is doubtless the Sidonian monarch of previous scenes. He defends himself with energy; and help is approaching from both sides. On one side, galloping to his aid, Alexander himself, notable for his regal fillet or diadema, and the intense expression observable in most of his portraits. On the other side comes a Macedonian noble, perhaps Hephaestion, a beautiful figure, but without the diadema. At the two ends of the relief are other groups--a Persian drawing the bow, a servant running up armed with a pike, a Greek and a Persian striking down a stag. We can easily understand that to accompany Alexander in his hunting, and to be rescued by him from the attack of a lion, was enough to confer great distinction on any Asiatic potentate, and we cannot be surprised that he should think the event worthy of record on his tomb. The remaining frieze is that which has attracted most attention[325]. It is a representation of the conquering charge of Alexander and his companions at one of his battles, perhaps that of Issus. From the left comes the Great King, a lion’s skin on his head, overthrowing, by a furious charge, a Persian noble who tries to stop his way. An elderly man, perhaps Parmenio, charges at the same moment from the right with like success; in the midst is a third Macedonian leader striking down at a Persian, one of the noblest figures ever executed in marble. In the field is a _mêlée_ of Greeks and Persians, the former having by much the better of the fray. In this scene the intention certainly seems to be to glorify Alexander and his generals; and it is not easy to find any allusion to deeds of the Sidonian king. He can scarcely be one of the overthrown Persian horsemen. The whole composition should be compared with the well-known Pompeian mosaic which represents the battle of Issus: the group of Alexander and his immediate foe is composed in the two scenes in almost exactly the same way. We engrave finally (Fig. 85) one of the lions which decorate the upper corners of the coffin. [Illustration: FIG. 85. ALEXANDER SARCOPHAGUS: A LION.]