David and the Galleria dell’Accademia

“When all was finished, it cannot be denied that this work has carried off the palm from all other statues, modern or ancient, Greek or Latin; no other artwork is equal to it in any respect, with such just proportion, beauty and excellence did Michelangelo finish it.” 

                                                                                                     –Giorgio Vasari

I suspect that most people who visit Florence do so with very specific must-sees in mind. It’s my guess that Michelangelo’s David is somewhere near the top of everyone’s list. Carved from what was considered an inferior block of granite because of its many “taroli” (imperfections) when the master was only 26 years old, David is recognized as Michelangelo’s greatest sculpture—and the very face of Renaissance Man. Originally intended to adorn the roofline of Florence’s Duomo some 80 meters above the ground, upon completion examiners considered David too exceptional to be placed so high. Instead David was placed at the entrance of the Palazzo Vecchio (where a copy stands today). The original was moved indoors in the 1800’s to protect it from the weather, which brings us to the Galleria dell’Accademia.

The first drawing school in Europe was established in Florence in the mid-1600’s. After moving its location and broadening its scope the school became the Accademia di Belle Arti. Twenty years hence, the school opened its gallery—the Galleria dell’Accademia, future home to one of the world’s most recognizable statues.

The story in which the Bibical hero defeats the barbarian, Goliath, was intended to reveal David’s identity as the true king of Israel who as God’s king would triumph over paganism much as Jesus would one day triumph over Satan. Nowadays as a widely recognized allegory for good conquering evil, even the term “David and Goliath” represents the plight of the underdog. The simplicity of the statue seems to reveal both—the regal king perfect in form yet vulnerable and naked while armed with only a modest sling.

Brick encasements during the war

Prior to 1943, by virtue of its alliance with Nazi Germany, Italy was spared the destruction suffered throughout much of Europe. Once that bond was broken German personnel from the top down looted countless works of art from one of the richest reserves on earth. To this day some 2500 pieces of art are officially listed as “missing” by Italian authorities. There is evidence that leadership on both sides of the conflict paid special concern for the welfare of priceless artistic Italian treasures including the Last Supper and David. For example, along with many other works, David was entombed in brick for protection against bomb blasts.

Standing 14 ft. tall, David is slightly disproportionate due to the originally intended vantage point from far below. That known, the statue is considered a masterwork of size and proportion. The subject of David was certainly not new when Michelangelo carved him, but the interpretation was. Traditionally David was depicted victorious in battle often portrayed with the severed head of Goliath. Michelangelo depicted David before the battle at the apex of concentration. Carved in the classical pose known as “contrapposto” (one leg supporting full weigh with hips and shoulders at contrasting angles forming a slight s-shaped contour). He is tense yet alert. He is alert yet relaxed. He is relaxed yet focused. Michelangelo’s David is the very essence of the Renaissance ideal of perfection. 

“For in it may be seen most beautiful contours of legs, with attachments of limbs and slender outlines of flanks that are divine; not has there ever been seen a pose so easy, or any grace to equal that in this work, or feet, hands and head so well in accord, one member with another, in harmony, design, and excellence of artistry.” 
                                                        –Giorgio Vasari, from Lives of the Most Excellent Painters, Sculptors and Architects