Ara Grimaldi
The name “ara” derives from the shape itself of the monument, similar to an altar. Modern studies recognize the Grimaldi’s “ara” as a pedestal for a statue. Some holes on the base upper surface could have been used to fix a statue over it.
The figures depicted on the bass-reliefs recall Dionysiac themes. They are carved on the four surfaces inside rectangular areas defined by richly decorated frames. These figures imitate the style and the iconography of Greek artworks dated from the end of the 4th and 2nd century BC. The surface frames and the architectural elements embellishing the “ara” are typical of the early period of the Roman Empire. For these reasons the “ara” may be dated from Augustus’ time.
Marble roman bass-relief
End 1st Cent. BC.
Legato Giovanni Grimaldi
Venice, National Archaeological Museum
Ara Grimaldi
The name “ara” derives from the shape itself of the monument, similar to an altar. Modern studies recognize the Grimaldi’s “ara” as a pedestal for a statue. Some holes on the base upper surface could have been used to fix a statue over it.
The figures depicted on the bass-reliefs recall Dionysiac themes. They are carved on the four surfaces inside rectangular areas defined by richly decorated frames. These figures imitate the style and the iconography of Greek artworks dated from the end of the 4th and 2nd century BC. The surface frames and the architectural elements embellishing the “ara” are typical of the early period of the Roman Empire. For these reasons the “ara” may be dated from Augustus’ time.
Marble roman bass-relief
End 1st Cent. BC.
Legato Giovanni Grimaldi
Venice, National Archaeological Museum