# The symbol of the lion throughout the history of art

From the Greek leo, meaning “king,” the lion has assumed over the centuries a noble and powerful symbolism.

During Antiquity, the lion primarily embodied a protective role and was often associated with royalty, as evidenced by the lionesses guarding the entrance to the city of Agamemnon.

Détail du linteau de la Porte des Lionnes, c. 1250 av. J-C,
pierre granitique taillée, Mycènes

During the Christian era, the lion is associated with several biblical figures such as Saint Jerome and Saint Mark. It represents the strength of the believer combating sin, justice, and also alludes to the Resurrection. It could also embody a negative connotation by symbolizing pride.

Maître de Cabestany, Chapiteau représentant un lion,
XIIe siècle, cathédrale de Prato, Italie

During the modern era, great realism and scientific rigor were applied to the representation of the lion. Its Christian symbolism of strength and courage was then combined with the humanist ideals of the time. An example is Pieter Paul Rubens’ Daniel in the Lions’ Den, in which Daniel’s unwavering faith places him under divine protection against the lions.

Rembrandt, Lion au repos, 1648-50, dessin sur papier,
13,8 x 20,7 cm, Musée du Louvre, Paris
Pieter Paulus Rubens, Daniel dans la fosse aux lions, 1614-16,
huile sur toile, 224,2 x 330,5 cm, National Gallery, Washington DC

In the contemporary era, the lion retains its positive significance. However, Romantic painters preferred to depict a melancholic, sometimes aged lion. It evokes past glory or a waning strength. It is sometimes used to draw a parallel between the animal’s character and human emotions such as passion or struggle.

Rosa Bonheur, Lion ou Le Guetteur, c. 1841-1899, huile sur toile,
45,1 x 61,6 cm, Coll. privée

The Lion of Lucerne may have served as a source of inspiration for the defensive posture of the Lion of Belfort. Indeed, Bertel Thorvaldsen sculpted a lion withdrawn into a cave, its flank pierced by a lance fragment. It is dying in a curled position while keeping its paw ready to defend itself one last time. Its expression conveys the moral pain of defeat and evokes a melancholic feeling. Although it cannot be known with certainty whether Bartholdi visited the Lion of Lucerne, it is certain that Charlotte Bartholdi, the artist’s mother, owned a marble reduction of this work in her room.

Bertel Thorvaldsen, Lukas Ahorn, Lion de Lucerne, 1820-1821, grès, Suisse, Lucerne