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Samson Slaying a Philistine

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Samson Slaying a Philistine
ArtistGiambologna
Yearc. 1562
MediumMarble
LocationVictoria and Albert Museum, London
AccessionA.7-1954

Samson Slaying a Philistine is a marble sculpture created around 1562 by Giambologna, one of the most significant artists of the late Renaissance. Originally commissioned by Francesco de' Medici for a fountain in Florence, this sculpture was later gifted to Spain's Duke of Lerma and displayed in the gardens of the Palacio de la Ribera, Valladolid. The work marked a significant milestone in Giambologna's career, embodying both artistic mastery and Medici influence, symbolizing their political power through a dramatic biblical scene.[1] This masterpiece was the earliest of his marble groups from the sculptor to the Medici Dukes of Tuscany, and the only substantial work by the artist to have left Italy.[2]

The sculpture later gained fame in England, where it was gifted to the Prince of Wales, later King Charles I in 1623 and Samson Slaying a Philistine soon became the most famous Italian sculpture in England.[1] Its journey included periods of misidentification, at times thought to depict Cain and Abel, and it became one of the most celebrated Italian sculptures in England.[3] On its arrival in England it was given to the king's favourite, the Duke of Buckingham, and subsequently changed hands three times before coming to the Victoria and Albert Museum in 1954. The work is renowned for its dynamic composition and Giambologna’s skill in conveying movement and emotion, capturing a powerful moment from the Old Testament story of Samson.[3]

History

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Creation

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Giambologna's Samson Slaying a Philistine was sculpted around 1562, marking a pivotal moment in the artist's career. It was commissioned by Francesco de' Medici for a fountain in Florence. This was Giambologna's first significant marble group, showcasing his mastery over composition and form at a time when he was establishing himself as a prominent artist in Tuscany.[4]​ Giambologna’s sculpture showcases his remarkable skill in conveying intense physical and emotional drama through marble, suggesting his aim to create works that demonstrated both technical mastery and expressive power​. The original placement of the sculpture in Florence, within a garden fountain, accentuates its role as both a decorative piece and a political statement, emblematic of Medici power and dominance during the Renaissance.[4] The fountain was planned for a Medici garden setting, likely within a private or semi-private Medici-owned space rather than a fully public area. It was intended for the Villa di Castello, a Medici villa outside Florence that featured elaborate gardens similar to those of the Boboli Gardens. This setting emphasized the Medici family’s wealth, taste, and power, making it a symbol of both artistic patronage and political influence.[5] By commissioning the statue for this specific garden, Francesco de' Medici emphasized the Medici family's alignment with themes of divine justice and strength, qualities represented by the figure of Samson. The Villa di Castello was one of several residences where the Medici displayed artworks intended to reinforce

their cultural and political legacy.[6]

Post production

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After its initial creation for Florence, Samson Slaying a Philistine embarked on a remarkable journey across Europe, enhancing its historical significance. In 1601, the Medici Grand Dukes gifted the statue to the Duke of Lerma, a prominent figure in the Spanish court, where it was displayed in the gardens of the Palacio de la Ribera in Valladolid.[7] This transfer of the sculpture highlights its value not just as a work of art, but as a diplomatic gift symbolizing the close ties between the Medici and Spanish royalty.[8] In 1623, it traveled to England as a diplomatic gift to the Prince of Wales, later King Charles I. The sculpture was then entrusted to George Villiers, Duke of Buckingham, cementing its status as a prized collector's item. Buckingham placed the statue in his collection at York House in London, where it quickly became one of the most famous sculptures in England.[8]​ Over the centuries, the sculpture passed through several aristocratic families. In the 18th century, it was misidentified as Cain and Abel, a testament to the sculpture’s dramatic intensity, which led viewers to interpret it as a representation of fratricide. Eventually, the statue found its way to Hovingham Hall in Yorkshire before being acquired by the Victoria and Albert Museum in 1954, where it remains today.[9]

Interpretation

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Subject

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The sculpture depicts a dramatic biblical scene in which Samson, one of the judges of Israel, slays a Philistine soldier using the jawbone of a donkey. This moment captures the peak of Samson’s divine strength and is a powerful representation of triumph through divine favor​. The subject, drawn from the Book of Judges in the Old Testament, exemplifies themes of justice, vengeance, and the sheer physical might imbued in Samson by God.[10] This narrative was particularly resonant during the Renaissance, as it reflected ideals of heroic virtue and the moral struggles between faith and brute force​.[11]

Symbolism

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While the sculpture is rooted in biblical tradition, its symbolism extends beyond the religious. Samson’s act of slaying the Philistine has been interpreted as a metaphor for political dominance, particularly relevant to the Medici and their assertion of power in Florence.[11] The dynamic pose of Samson over his fallen enemy speaks to Giambologna's skill in conveying movement and tension. The sculpture also reflects broader Renaissance themes of justice and heroism. Samson, a judge of Israel, represents the righteous use of power, while the Philistine symbolizes the forces of chaos and barbarism that must be subdued.[11] This theme resonated in the politically charged atmosphere of Florence, where the Medici sought to reinforce their image as protectors of order and civilization.[10]

Composition

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The composition of the sculpture draws from the biblical story of Samson, who, in a moment of divine strength, kills a Philistine soldier with the jawbone of a donkey (Book of Judges 15:15). This moment is depicted at the height of the action, with Samson towering over the Philistine, preparing to strike the fatal blow. The twisting bodies, intricate details, and dramatic pose are emblematic of Giambologna's style, which focused on creating sculptures that could be viewed from multiple angles, a technique known as figura serpentinata.[12] Additionally, the twisting forms of Samson and the contorted body of the Philistine, exemplifies Giambologna’s mastery of contrapposto, a technique used to create the illusion of motion within static forms​. This artistic choice symbolizes the conflict between civilization and barbarism, strength and vulnerability.[13]

The dramatic pose is based on a composition by Michelangelo, who was in his late seventies when Giambologna met him in Rome. The influence of Michelangelo is evident in the muscular forms and the dramatic composition, but Giambologna's work is distinguished by its emphasis on grace and elegance, as opposed to Michelangelo's more monumental and intense style.[12] Giambologna's Samson is not just a brute force; he is a figure of divine justice, wielding his strength with a kind of controlled precision.[14] The sculpture’s ability to convey such a high level of physical and emotional intensity was a remarkable achievement in Renaissance art. This tension is further heightened by the fact that the entire group is carved from a single block of marble, supported by only a few narrow points of contact. Despite the inherent limitations of the material, Giambologna was able to achieve a sense of lightness and fluidity, making the figures appear almost weightless.​ Despite the marble weathering over three centuries of outdoor exposure, Giambologna's sensitive carving techniques remain evident.[12] Subtle details, such as the finely rendered musculature of Samson and the carefully textured surfaces of both figures, still convey a sense of lifelike motion and emotion. These details highlight Giambologna's mastery in working with marble, as he managed to achieve delicate contours and nuanced expressions that withstand the erosion of time, preserving the dramatic intensity and artistry of the original sculpture.[12]

See also

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References

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  1. ^ a b Mott, Tony; Avery, Charles (1988). "Giambologna: The Complete Sculpture". Garden History. 16 (1): 103. doi:10.2307/1586908. ISSN 0307-1243.
  2. ^ Trusted, Marjorie (1998). "Foreword". Sculpture Journal. 2 (1). doi:10.3828/sj.1998.2.1.1. ISSN 1366-2724.
  3. ^ a b Davies, Randall (1929). "Giovanni Bologna's Samson and the Philistine". Burlington Magazine Publications Ltd. 54 (310): 28 – via JSTOR.
  4. ^ a b Davies, Randall (1929). "Giovanni Bologna's Samson and the Philistine". Burlington Magazine Publications Ltd. 54 (310): 28 – via JSTOR.
  5. ^ Avery, Charles; Giambologna (1987). Giambologna: the complete sculpture. Oxford: Phaidon, Christie's. ISBN 978-0-7148-8026-6.
  6. ^ Trusted, Marjorie (1998). "Foreword". Sculpture Journal. 2 (1). doi:10.3828/sj.1998.2.1.1. ISSN 1366-2724.
  7. ^ Dio, Kelley Helmstutler Di; Coppel, Rosario (1 April 2016). Sculpture Collections in Early Modern Spain. Routledge. ISBN 978-1-317-05860-1.
  8. ^ a b Avery, Charles; Giambologna (1987). Giambologna: the complete sculpture. Oxford: Phaidon, Christie's. ISBN 978-0-7148-8026-6.
  9. ^ Davies, Randall (1929). "Giovanni Bologna's Samson and the Philistine". Burlington Magazine Publications Ltd. 54 (310): 28 – via JSTOR.
  10. ^ a b Avery, Charles; Giambologna (1987). Giambologna: the complete sculpture. Oxford: Phaidon, Christie's. ISBN 978-0-7148-8026-6.
  11. ^ a b c Davies, Randall (1929). "Giovanni Bologna's Samson and the Philistine". Burlington Magazine Publications Ltd. 54 (310): 28 – via JSTOR.
  12. ^ a b c d Avery, Charles; Giambologna (1987). Giambologna: the complete sculpture. Oxford: Phaidon, Christie's. ISBN 978-0-7148-8026-6.
  13. ^ Davies, Randall (1929). "Giovanni Bologna's Samson and the Philistine". Burlington Magazine Publications Ltd. 54 (310): 28 – via JSTOR.
  14. ^ Schulz, Anne Markham; Wittkower, Rudolf (1978). "Sculpture: Processes and Principles". The Art Bulletin. 60 (2): 359. doi:10.2307/3049793. ISSN 0004-3079.

Bibliography

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  • Jackson, Anna, ed. (2001). V&A: A Hundred Highlights. V&A Publications.
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