Roman sculpture from Augustus to Constantine . of their occur-rence—, the betrayal of the treasure after the deathof Decebalus. The artist, while faithful to the generalmovement and spirit of events, orders and selectsthem to suit his own pictorial purpose. His objectevidently is to concentrate attention gradually uponthe tragic fate of Decebalus to the exclusion, as weshall presently see, even of Trajan. With this end inview, episodes are distributed or massed so as to secureall the spectators interest and sympathy for the person ? Cassius Dio, 68, ch. 14. Ed. Boissevain, iii. p. 200 f. t
Roman sculpture from Augustus to Constantine . of their occur-rence—, the betrayal of the treasure after the deathof Decebalus. The artist, while faithful to the generalmovement and spirit of events, orders and selectsthem to suit his own pictorial purpose. His objectevidently is to concentrate attention gradually uponthe tragic fate of Decebalus to the exclusion, as weshall presently see, even of Trajan. With this end inview, episodes are distributed or massed so as to secureall the spectators interest and sympathy for the person ? Cassius Dio, 68, ch. 14. Ed. Boissevain, iii. p. 200 f. t M. Tillemont { Hist, des Empereurs, vol. ii., p. 85)remarks with humorous scepticism : Ceux qui Tout vue (, the Trajan column) croient trouver dans les has reliefsdout elle est enrichie, divers eveneinens considerables des deuxguerres de Trajan contra Dcc6bale . . (^our nous, tious avonscru nous devoir contcnter de ce quon trouve dans les aiiteurs. Thewise archaeologist, on the other hand, will keep to the evidenceof the o I HI t THE TRAJAN COLUMN 203 of the Dacian chief. His betrayal, his loneliness andconsequent spiritual anguish are intensified by makingthe capture of his worldly treasure—the secret of whichhas been betrayed by a trusted friend—precede hisdeath. Bereft of all material and moral support hewill presently choose a self-inflicted death rather thanfall a prey to his conqueror. The artist here is pro-ceeding as would a poet or tragedian, who seeks bytransposition of events to enhance dramatic effect. The locality of the events last represented is un-certain, though the capture of the treasure shows thatit cannot be very far distant from Sarmizegetusa. We next see Decebalus, standing once more in an atti- cxxxitude of command, between two trees (369). He is address-ing a last faithful remnant of followers, the same, doubtless,who had tried in vain to storm the Roman fort in scene134. But the great chieftains words no longer avail todispel the
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