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Introduction

Traditionally, David was depicted after his triumph, triumphant over Goliath. Both Verrochio's and Donatello's Davids are depicted standing over Goliath's severed head. Michelangelo has depicted David before the battle. Davis is tense, but not so much in a physical as in a mental sense. The slingshot he carries over his shoulder is almost invisible, emphasizing that David's triumph was one of cleverness, not sheer force. This understanding comes from Gardner's art through the ages. Irving Stone is somewhat more specific in stating that David is depicted at the instant that he decides to enlist Goliath.

Discussion

Michelangelo was a civilian of the town state of Firenze (Florence). The nationwide state of Italy is very juvenile, and in the time the statue was made (between 1501 and 1504), power resided with one-by-one cities. Firenze was surrounded by enemies that much stronger and more numerous than the town was. When the statue of David was put on the square in front of the town auditorium (where you can now find a copy), the persons of Firenze directly recognised with him, as a cunning victor over superior enemies. To them, David was a symbol representing fortezza and ira, strength and anger. The statue had (intended) political connotations for the town state that had lately cast of the ruling of the Medici family. Note how David's feature traits, are considered more significant than his triumph over Goliath, which is why Michelangelo depicted him before the assault, strong-willed and prepared to fight.

In 1501 Michelangelo was commissioned to conceive the David by the Arte della Lana (Guild of Wool Merchant), who were responsible for the upkeep and the adornment of the Cathedral in Florence. For this purpose, he was granted a impede of marble which Agostino di Duccio had currently tried to fashion forty years previously, ...