THE
HUNTING SCENE MURAL
ON THE FACADE OF TOMB II
Conclusions on the hunting scene mural
The scene on the facade corroborates the descriptions of Xenophon, Arrian and
the German historian Th. Birt in relation to details about the hunting area,
the area where animals were gathered, the participants and the type of animals.
Philip was not known as a hunter. On the contrary,
Alexander was nothing but a soldier and a hunter. Alexander loved hunting with
a passion. According to Plutarch, on days when he did not have something
specific to do, he rose from his bed, made sacrifices to the Gods, ate
breakfast and spent the rest of the day hunting.
I firmly believe that the painting on the facade
depicts both Alexander and Ptolemy of Lagos on a hunting expedition for wild
animals in Vaktriani in 327 b.C., and not in Macedonia or any other region of
Greece, at a time when Philip was not alive.
One can find ancient hunting scenes with Alexander the
Great elsewhere. We can see an earlier than this of Vergina on the sarcophagus
of Sidon. Another one is on a mosaic at Palermo, Sicily. That one is posterior
to this of Vergina and has no relation with the theme and the composition of
the hunting scene of Tomb II which is a funeral work relevant to the dead.
It is generally accepted that the painting is the work
of a renowned Greek artist. I, however, do not agree with Professor Andronikos
(117,224) and Professor Karl Schefold that it was executed during the decade
340-330 b.C.. Professor Andronikos (114) believes that "...the artist of
the 2nd century b.C. copied a great painting of the 4th century b.C.." (he
thus refers to the mosaic of Pompei). For all the reasons I have expressed, it
is my opinion that this work was made after the royal tombs had been robbed and
after the reburial of Alexander.
I believe that the painting on the frieze of the
facade bears no relation to the Pompeii mosaic which shows Alexander at the
battle of Issos in 333 b.C.. This is proven by many ancient sources.
Also during Philip's era there were no Persian soldiers wearing the fleece in
Macedonia.
I strongly support that the painting proves the
identity of the dead king in Tomb II to be Alexander the Great.
Note: Wherever inside the above text there is a reference to the name of
Prof.Andronikos, in a parenthesis there is the number of the page from his book
"Vergina - The royal tombs 1984"
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