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.

[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.

[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.

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] 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).

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] 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.