Pair of reliefs of Alexander the Great & Olympias

18th Century, Italian School

PAIR OF RELIEFS OF ALEXANDER THE GREAT & OLYMPIAS

Marble
Italy-Rome, 18th Century

H 50 x W 35 x D 5 cm
(19 3/4 x 13 7/8 x 2 in.)
H 62 x W 47 x D 6,5 cm (with frame)
(24 2/5 x 18 1/2 x 2 2/3 in.) (with frame)







This pair of marble reliefs portrays Alexander the Great and his mother, Olympias, rendered in finely carved oval medallions. The male figure, identified by the inscription “MAGNALEX,” is depicted in profile wearing an ornate helmet adorned with a laurel wreath and a high-relief scene of a mounted warrior. His armour features intricate patterns and lion-head motifs, while his flowing curls cascade over his shoulders, adding vitality to his martial bearing.

The female figure, inscribed “OLIMPIA,” gazes serenely to the left, her head crowned with a laurel wreath tied with ribbons, suggesting nobility and divine favour. Her softly modelled features and delicately rendered drapery exude grace and dignity.

Both portraits exhibit idealised features, drawing inspiration from Greco-Roman heroic and divine iconography. The carving is crisp, with fine attention to hair, textiles, and facial anatomy, demonstrating academic neoclassical execution. The profiles are set in low to medium relief within smooth oval fields, directing full attention to the physiognomy and symbolism.
These companion pieces represent historical figures - Alexander the Great and Olympias. Their composition evokes Renaissance medallions or coins in large scale, suggesting commemorative or decorative intent. The marble surfaces show minor wear and restoration, consistent with its age. (see for example the relief of Olimpia by Desiderio da Settignano (1430-1464) Prado-Madrid, Inv. 10040081).

The stylistic elements suggest that these reliefs were sculpted in Italy during the 18th century, a period marked by a resurgence of interest in classical antiquity. This era saw artists and patrons drawing inspiration from ancient Roman and Greek art, aligning with the broader Renaissance and Baroque movements. The choice of subjects - Alexander the Great and Olympias - reflects the period's fascination with heroic and noble figures from antiquity.

Alexander III of Macedon (356–323 BCE), known as Alexander the Great, maintained a uniquely intense and complex relationship with his mother, Olympias, the Molossian princess of Epirus and fourth wife of Philip II of Macedon. Their bond was marked by deep personal affection, political alliance, and shared ambition.

Olympias was not only fiercely devoted to her son but also played a decisive role in shaping his early identity. Ancient sources, particularly Plutarch (Alexander, 2 and 9), emphasise her influence in fostering Alexander’s belief in his divine ancestry - claiming descent from Achilles and even Zeus himself. This mythic lineage, likely encouraged by Olympias, helped construct the ideological framework that would support Alexander's later conquests and the god-like status he sought in life and death.

Their connection was also political. After the assassination of Philip II, Olympias ensured Alexander’s succession, eliminating rivals to secure his throne. Though their relationship later faced tension - especially as Alexander distanced himself during his campaigns - Olympias remained a powerful figure in Macedonia and a key political actor after his death in 323 BCE.

In art, the depiction of Alexander and Olympias together - particularly in Renaissance and later neoclassical sculpture - serves not only to honour their familial bond but also to reflect broader ideals of dynastic legitimacy, divine right, and heroic lineage. The pairing evokes the dual principles of virtus (excellence, valour, typically embodied by Alexander) and pietas (devotion, especially maternal, embodied by Olympias). These themes were particularly resonant during the Baroque and Enlightenment periods, when rulers and intellectuals alike looked to antiquity for models of power, virtue, and moral instruction.

Representing Alexander and Olympias in sculpted medallions or reliefs also mirrors ancient Roman practices of portraiture and numismatics, where familial lineage and divine association were critical for legitimising imperial authority.