Archaeologists in Italy have recovered a Roman-era limestone lion that is believed to have once stood as a guardian sculpture at a monumental entrance in L’Aquila, central Italy.
The sculpture was recovered from the archaeological area of Porta Barete, where excavations have revealed evidence relating to different phases in the development of the city.
Made from limestone and dating to the Roman period, the lion is thought to have formed part of the monumental decoration of an ancient entrance that existed in the area before the construction of medieval Porta Barete.
When the sculpture was originally uncovered during excavations in 2014, archaeologists suggested that it had stood close to one side of the entrance and probably formed a pair with a second lion positioned opposite.
In this context, the lions would have served primarily as monumental guardian figures, visually marking and protecting the entrance rather than functioning as part of its defensive architecture.
Although the second lion has not been identified, paired stone lions are known from other archaeological contexts in the surrounding region.
The sculpture is incomplete and is missing parts of its original form, but its workmanship and archaeological context provide evidence for the monumental character of the site during the Roman period.
The lion has now been removed from the excavation area and taken to the Academy of Fine Arts in L’Aquila where experts will assess its condition before conservation and restoration work can begin.
Documentation and analysis will also look at the limestone, manufacturing techniques and surviving surface details which may help date more precisely and provide information about where the sculpture was originally placed.
The Roman sculpture is earlier than the surviving medieval Porta Barete which became one of the main western entrances through the walls of L’Aquila.
Its presence thus indicates an earlier monumental phase in the area and evidence for reuse and transformation of the landscape before and during development of medieval city.
Once the sculpture is restored authorities will decide how and where it can be shown to the public.
Sources : Ministry of Culture - Superintendency of Archaeology, Fine Arts and Landscape for the provinces of L'Aquila and Teramo