David as a Florentine MetaphorDavid (c.1005–970 BC) was the second king of the united Kingdom of Israel. He is shown also as a warrior, musician and poet (he is traditionally credited with the authorship of many of the Psalms). David served as a metaphor for Florence during the Renaissance, because like the young king, Florence managed to keep away its formidable enemies with extraodinary might.
LINKS:Andrea del Verrocchio's David Restored
The Metropolitan Museum's A Masterwork of Byzantine Art
David and Goliath, 629–630, Silver.David's combat with Goliath. On the backs are the control stamps of the emperor Heraclius, who may have commissioned them to celebrate his victory over the Persians in 628–29, which resulted in the recapture of Jerusalem. During the war, it is said that Heraclius fought the Persian general Razatis in single-handed combat, an event which is perhaps evoked in the depiction of David's defeat of Goliath. From MMA
Michelangelo paints himself as St. Bartholomew. Here we have Bartholomew witnessing the light of his God and taking a celestial seat.
Donato di Niccolò di Betto Bardi, aka Donatello, (c. 1386–1466), 1408-1409, Marble.
Donatello, c. 1430, Bronze.
Andrea di Michele di Francesco de' Cioni, aka Andrea del Verrocchio, (c. 1435 -1488), c. 1465, Bronze. The model for this sculpture is said to have been Andrea del Verrocchio's most famous student - Leonardo da Vinci.
Michelangelo Buonarroti (1475-1564), 1501, Marble.
Detail of above.
David and Goliath, Michelangelo Merisi da Caravaggio (1571-1610), 1601-1602, oil on canvas.
David with the Head of Goliath, Michelangelo Merisi da Caravaggio, c. 1609-1610, oil on canvas.
The head of Goliath may be a self-portrait. Compare to Michelangelo's self-portrait in the next image.
Detail of Michelangelo's Last Judgment, 1524, fresco.
David Slaying Goliath, Peter Paul Rubens (1577-1640), c. 1616, oil on canvas.