The smaller hunting scene (23) is divided into five bands (Fig. 13.4). At the top, two eager hounds, one gray, one red, are off in full cry after a fox. Next below, a young hunter identified by Gentili as Constantius Chlorus, Maximian’s adopted son, accompanied by our old friend the squint-eyed Maxentius, sacrifices to Diana, the goddess of the hunt. The third band is devoted to fowling--with birdlime--and falconry, the fourth to the fox, gone to ground and besieged in his den by the dogs. In the fifth, on the left a stag is about to be caught in a net stretched across a forest path in the unsporting Roman way; on the right is a boar-hunt with an unorthodox hunter just about to make the kill by dropping a large rock from above on the boar’s head. In the center is a vivid huntsman’s picnic. The hunters, wearing puttees, are sitting under a red awning. While they are waiting, one of them feeds the dog. A black boy blows on the fire, over which a succulent-looking trussed bird is roasting. Servants fetch bread from a wicker basket; another basket harbors two ample amphorae of wine. This is an intimate _genre_ scene. More impressive is the large hunting scene which crowds the whole 190-foot length of the double-apsed corridor (26). Here the aim portrayed is to catch exotic North African animals alive for the wild beast hunts in amphitheaters like the Coliseum. In the south apse is a female figure symbolizing Africa, flanked by a tiger and an amiable small elephant with a reticulated hide. The figure in the opposite apse who has a bear on one side, a panther on the other may be Rome, the animals symbolizing her dominion over palm and pine. In this case Africa is the point of departure of the captured beasts, Rome their destination. Between the two apses the hunting scenes unfold amid fantastic architecture in a rolling, wooded landscape sloping down to the sea in the center, teeming with fish. On land, animals attack each other (a leopard draws blood from a stag’s belly), and hunters in rich embroidered tunics hurl javelins, in the presence of the Emperor, at snarling lions and tigers at bay, set traps baited with kid for panthers (the kid being spread-eagled in a way that looks curiously like a parody of the Crucifixion). The hunters act as bearers--their heads camouflaged with leafy twigs, like Birnam wood coming to Dunsinane--or drag a lassoed bison toward the red ship that will transport it to Italy. A horseman, having stolen a tiger cub, delays the mother’s advance by dropping another cub in her path. A hippopotamus and a rhinoceros are among the game; smaller animals are hauled to the ships in crates on ox-carts; a live trussed boar is carried slung on a pole; a recalcitrant ostrich and an antelope are being pushed up a gangway (Fig. 13.5), while the gangway of another ship is groaning under the weight of an elephant with a checkerboard hide like the one flanking Africa in the apse. Most curious of all,