Marzocco. The Marzocco is the heraldic lion that is a symbol of Florence, and was apparently the first piece of public secular sculpture commissioned by the Republic of Florence, in the late 14th century.
The lion stood at the heart of the city in the Piazza della Signoria at the end of the platform attached to the Palazzo Vecchio called the ringhiera, from which speakers traditionally harangued the crowd. This is now lost, having weathered with time to an unrecognizable mass of stone.
The best known rendition is by Donatello, made in 1418–20. Donatello's Marzocco was placed in the Piazza della Signoria in 1812, but in 1885 it was moved to the Bargello, having been replaced by the copy we see to this day.
The term Marzocco; unfathomable to some scholars, by many accounts denotes from the Latin word Marte or Mars, the Roman god of war. The original that had stood since 1377, and is now lost, appears to have been similar to Donatello's in design, though it was fully gilded and may have crouched over a submissive wolf representing Florence's great rival Siena.
It can be seen in the background of several paintings and prints, though by the time it was replaced it was so worn that it was not considered worth keeping, and disappeared. About 1460 it was given a richly sculptural socle with double baluster-like motifs at the corners. The ringhiera, once a platform from which the Signoria a
The lion stood at the heart of the city in the Piazza della Signoria at the end of the platform attached to the Palazzo Vecchio called the ringhiera, from which speakers traditionally harangued the crowd. This is now lost, having weathered with time to an unrecognizable mass of stone.
The best known rendition is by Donatello, made in 1418–20. Donatello's Marzocco was placed in the Piazza della Signoria in 1812, but in 1885 it was moved to the Bargello, having been replaced by the copy we see to this day.
The term Marzocco; unfathomable to some scholars, by many accounts denotes from the Latin word Marte or Mars, the Roman god of war. The original that had stood since 1377, and is now lost, appears to have been similar to Donatello's in design, though it was fully gilded and may have crouched over a submissive wolf representing Florence's great rival Siena.
It can be seen in the background of several paintings and prints, though by the time it was replaced it was so worn that it was not considered worth keeping, and disappeared. About 1460 it was given a richly sculptural socle with double baluster-like motifs at the corners. The ringhiera, once a platform from which the Signoria a
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