Relief portrait of Alexander The Great

Florentine School

RELIEF PORTRAIT OF ALEXANDER THE GREAT

Marble
Florence, second half of the 16th Century

Provenance:
Private Collection (France)
Art Loss Register: S00238004


H 57 x W 42 x D 10 cm
H 22 1/2 x W 16 1/2 x D 4 inch












This finely executed oval relief depicts a striking youth clad in an all’antica cuirass and an ornate helmet. The helmet is adorned with three distinct creatures: a fantastical bird with a sharp beak and leonine eyes on the front, a ram’s head at the centre, and a grotesque mask at the rear. The marble is delicately carved with meticulous attention to detail. The artist's skilful chiselling vividly contrasts the rigidity of the armour with the soft curls cascading over the figure’s shoulders and the refined features of his face.

The subject of this previously unpublished marble relief may be identified, through comparison with ancient coinage, as Alexander the Great (356–323 BC) (figs. 1-2). A paragon of military genius and one of history’s most successful commanders, Alexander was celebrated not only for his conquests but also for his erudition. His image served as a powerful reminder of his extraordinary achievements, inspiring emulation across generations. This tradition of commemorating figures from Antiquity as exemplars was well-established during the Renaissance, with artists playing a crucial role in perpetuating such ideals. A notable parallel can be drawn with the iconography of the twelve Roman Caesars, inspired by Suetonius' De Vita Caesarum (c. 69–after 122 A.D.), frequently depicted in sculpted and painted medallions adorning the palaces of Renaissance Italy.

The iconographic elements and stylistic nuances of the present relief suggest both its period and potential attribution. The ram’s head, prominently featured on the helmet, is emblematic of the Medici Grand Dukes’ court in Florence. This motif directly references Cosimo I, for whom the ram was an astrological symbol, as well as the zodiac sign of Emperor Charles V, Cosimo’s political patron. The motif can be observed in architectural details, such as the capitals of Santa Maria del Fiore, and in sculptural works like the marble bust of Cosimo I by Clemente and Baccio Bandinelli (Private Collection, Florence).

The elaborate design of the helmet, particularly the grotesque masks at the rear, shares notable parallels with drawings of 16th-century armour. A compelling comparison can be made with a drawing for a burgonet helmet, which features similar grotesque motifs at the back (fig. 3). This congruity suggests that the sculptor drew inspiration from contemporary armour designs, blending classical iconography with Renaissance artistic conventions.

Further evidence supporting an attribution to the Bandinelli circle lies in the sculptor’s treatment of the figure’s eyes and hair, as well as the choice of the oval profile format. These characteristics closely align with works produced within the Medici court. A compelling comparison can be drawn with Bandinelli’s self-portraits in profile, housed in the Musée des Beaux-Arts, Strasbourg, and the Victoria and Albert Museum, London (fig. 4). The sculptor responsible for this relief, active in Florence shortly after Bandinelli’s death (1493–1560), would undoubtedly have been familiar with these works and the broader oeuvre of the master.

Baccio Bandinelli, renowned for his virtuosity in both sculpture and drawing, devoted himself to the visual arts from an early age. Under the tutelage of his father, Michelangelo di Viviano, a goldsmith in service to the Medici family, Bandinelli honed his craft. In 1508, he entered the workshop of Gianfrancesco Rustici, remaining there until his early twenties, when he travelled to Rome. Benefitting from the patronage of the Medici Popes Leo X and Clement VII, Bandinelli’s formidable talents flourished. Upon his return to Florence, he embarked on a series of celebrated masterpieces:
Hercules and Cacus, originally commissioned as a counterpart to Michelangelo’s David, ultimately positioned at the entrance of Palazzo Vecchio, Piazza della Signoria, Florence;
Pietà, a deeply personal work reflecting Bandinelli’s grief following the death of his son Clemente in 1555, housed in the family tomb in the Basilica della Santissima Annunziata, Florence;
Orpheus, situated in the Cortile delle Colonne at Palazzo Medici, Florence;
Laocoön, a grand sculptural group now in the Uffizi, Florence.



























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