The David, nothing like this work combines the genius and the pragmatism of Michelangelo. The creation of Adam that we’ve deepened few weeks ago treat certainly important topics, but it is here that the artist has represented all of himself.
Twenty-five, at the height of his strength, sculpts what has always been considered the ideal of human perfection. Michelangelo, homosexual, in his works overflowing of muscles, represents his love for the male body. Here, it seems to carve himself at the beginning of an uphill battle. Like David that challenged Goliath, the Philistine giant who had besmirched the name of God, even Michelangelo sculpting that precarious block of marble that had discouraged other sculptors before him. Both won theirs challenge.
But we’re sure that David hated Goliath?
We’ll see. The left area of the figure was so brittle that somebody advised Michelangelo to leave the block lying and carve it horizontally, depicting Goliath lying on the ground after the shot, and David standing. But the work in that way couldn’t soar on Piazza della Signoria, touching the hearts of the Florentines.
The ambitious sculptor lifted the block vertically, as David had raised the lethal stone. Michelangelo loaded weight on the right leg, strengthening it and decorating it with a trunk that starts from the base, thus solving the problem of stability.
Michelangelo stop the time immediately prior to the launch of the stone. That moment of supreme calm before the storm. Beautiful but less effective the Donatello or Verrocchio David’s, depicting the boy after beheading the giant, when the vital energy had already exhausted.
Donatello and Verrocchio make us spectators, showing merely the outcome of the battle. Instead Michelangelo choose the most important moment of the event, making us protagonists of scene. The eye of the David is pure, concentrated, conscious of the importance of the task because it is an emissary of the Lord, but sure of success because protected by God. And is here that Michelangelo perfected the technique of the dug-out eyes, containers of greater expressiveness.
Unlike the other Davids, here Goliath there isn’t. The author lets imagine his appearance and size, reflected on the David’s eyes.
The sculpture was called The giant, maybe not only because of the size of the block of marble: are we really sure that Goliath is absent from the scene?
We have always believed it, until our recent visit to the Accademia Gallery in Florence where David is exposed. A careful inspection of the work has enabled us to formulate another interpretation. Michelangelo, magician of the details hidden, concealed something in one point of sculpture rarely observed: the back.
Perhaps Goliath physically absent, is present in the heart of David, as well as on another point. We never advanced this hypothesis if we had not discovered this:
A G carved on the butt of David.
What is this letter if not the name of the man that David is force to kill, by divine justice? Sometimes the duty contrasts with what our heart tells us. David love Golia of a impossible love, because of priorities of the war. He wanted to leave traces of his beloved at the point of his body, perhaps more affected by the giant.
And the famous big hands? Many argue that symbolize the great strength of mind of the little man, and the activity through the reason is expressed. And if the reason was less symbolic, and more practical? If they were a necessity of David to draw near Goliath size, for satisfy her partner?
We realize that our theories seem daring, but justified by the many pieces of the puzzle that, seen from this angle, fit perfectly.
The sling. What about the sling that looks like one of those whips used in some erotic games? And yet, the oversized head of David. That of Goliath, present in the other sculptors, is absent here. Or maybe is present inside. Who’s say that the large David’s head does not want to get close to the size of Goliath’s head? Maybe the author wants unify in this way the two lovers separated by destiny?
In this new light, in the eyes of David penetrating and penetrated, we can find more than just concentration. We can find the anguish, the dilemma: leave the battle and disobeying the will of God, or kill his lover and earn eternal glory? Use the whip as a means of pleasure or as a weapon? Tough choice, conditioned by a special love, as special are the dimensions that distinguished the giant Goliath who owned the heart of David. That G tattooed on his heart, must be canceled in the moment of truth, for not hinder the act of divine vengeance. But it can’t disappear completely and remains so impressed and visible only from one angle, elusive as a vision that appears to a hundredth of a second and then disappears but succeeds, however, to affect the hard marble.
Michelangelo loves David as a symbol of man and homosexuality. He chose that block of marble because fragile in his left side. The artist hoped that the heart was fragile also. But remains a cold stone.
Therefore the sculpture forges the soul of the sculptor, and with his stone chisel hits the heart of Michelangelo, that explode in an eternal and impossible love.