Late Renaissance/Early Baroque Florentine ‘Palio Race’ Marble Statue of John the Baptist (Dated 1612)

This finely sculpted Carrara marble statue of John the Baptist, dated 1612 -  from the early 17th century -  is a remarkable example of late Renaissance to early Baroque Florentine sculpture. It is a rare example of a work of art created to honour the ‘Palio Race’ of Florence, Italy.

The work demonstrates wonderful craftsmanship, with a refined balance between naturalistic detail and classical idealisation. The choice of Carrara marble, renowned for its purity and luminous quality, enhances the statue’s sculptural depth and expressive power.

John the Baptist is depicted in his traditional iconography, his ascetic figure draped in an animal skin, recalling his time in the wilderness, while the lamb at his feet symbolises Christ as the Agnus Dei. The rendering of the anatomy, drapery, and facial expression reflects the influence of Florentine masters, combining the harmony of the Renaissance with the emotive intensity of the Baroque.

The inscription, "Nostro Protettore alla Compagnia del Carro del Vento 1612” with the initials S.G.B. carved above (translated: "Our Protector of the Company of the Wind Chariot"), suggests that this statue was commissioned by a Florentine confraternity or guild associated with the Palio di San Giovanni Battista. The Palio, one of Florence’s most prestigious public festivals, was held annually in honour of the city’s patron saint. Dating back to the 13th century, it combined sacred processions with a grand horse race, reflecting both religious devotion and civic pride.

It is worth noting that one of the most important races in Florence, established in 1563 by Cosimo I Medici was the “Palio dei Cocchi”, a race with coaches like the Roman chariot. The event was widely followed until the middle of the 19th Century .

Statues related to the Palio tradition are exceptionally rare, as the race was typically commemorated with ephemeral banners rather than permanent sculpture. This makes the present work a highly significant piece, offering a rare material connection to Florence’s rich artistic and cultural heritage. A superb example of religious and civic patronage, it stands as a testament to the enduring artistic excellence and traditions of the Medici-era city.