DAVIDMichelangelo returned to Florence in 1501, seven years af-
ter the exile of the Medici (see Chapter 21). In 1495 the Florentine
Republic had ordered the transfer of Donatello’s David(FIG. 21-12)
from the Medici palace to the Palazzo della Signoria to join Verroc-
chio’s David (FIG. 21-13) there. The importance of David as a civic
symbol led the Florence Cathedral building committee to invite
Michelangelo to work a great block of marble left over from an earlier
aborted commission into still another statue ofDavid (FIG. 22-13).
The colossal statue—Florentines referred to it as “the Giant”—
Michelangelo created from that block assured his reputation then
and now as an extraordinary talent. Only 40 years after David’s com-
pletion, Vasari extolled the work, which had been set up near thewest door of the Palazzo della Signoria, and claimed that “without
any doubt the figure has put in the shade every other statue, ancient
or modern, Greek or Roman—this was intended as a symbol of lib-
erty for the Palace, signifying that just as David had protected his
people and governed them justly, so whoever ruled Florence should
vigorously defend the city and govern it with justice.”^6
Despite the traditional association of David with heroism,
Michelangelo chose to represent the young biblical warrior not after
his victory, with Goliath’s head at his feet, but turning his head (FIG.
22-14) to his left, sternly watchful of the approaching foe.David
exhibits the characteristic representation of energy in reserve that
imbues Michelangelo’s later figures with the tension of a coiled
spring. The anatomy of David’s body plays an important part in this
prelude to action. His rugged torso, sturdy limbs, and large hands
and feet alert viewers to the strength to come. The swelling veins and
tightening sinews amplify the psychological energy of David’s pose.
Michelangelo doubtless had the classical nude in mind when he
conceived his David.Like many of his colleagues, he greatly admired
Greco-Roman statues, in particular the skillful and precise rendering
of heroic physique. Without strictly imitating the antique style, the
Renaissance sculptor captured in his portrayal of the biblical hero
the tension of Lysippan athletes (FIG. 5-65) and the psychological590 Chapter 22 ITALY,1500 TO 160022-13Michelangelo Buonarroti,David,from Piazza della
Signoria, Florence, Italy, 1501–1504. Marble, 17high. Galleria
dell’Accademia, Florence.
In this colossal statue, Michelangelo represented David in heroic
classical nudity, capturing the tension of Lysippan athletes (FIG. 5-65)
and the emotionalism of Hellenistic statuary (FIGS. 5-80and 5-81).22-14Michelangelo Buonarroti,head ofDavid (detail of
FIG. 22-13), 1501–1504. Galleria dell’Accademia, Florence.
In contrast to earlier Renaissance depictions (FIGS. 21-12and 21-13)
of this Old Testament drama, Michelangelo portrayed David before
the battle with Goliath, as he sternly watches his gigantic foe.1 ft.
1 ft.