David, who was destined to be the second king of Israel, destroyed the Philistine giant Goliath with a stone and a sling. Donatello, Verrocchio, Michelangelo, and Bernini each designed a sculpture of David. However, the sculptures are drastically different from one another. Each one is unique in its own way.
             Donatello, whose David was the first life-size nude statue since Classical times, struck a balance between Classicism and realism by presenting a very real image of an Italian peasant boy in the form of a classical nude figure. This David was carved from marble and stood 191 centimeters in height. It was originally intended for a buttress of the Duomo. Like Michelangelo's later David, it resonates with political symbolism. David became a symbol of the Florentine Republic in conflict with more powerful enemies, yet favored by God. The statue was first placed by Saint Maria of the Flower in 1408, taken to Old Palace in 1416 and partially elaborated. Although Donatello was inspired by Classical figures, he did not choose a Greek youth in his prime as a model for his David. Instead, he chooses a barely developed adolescent boy whose arms appeared weak due to the lack of muscles. After defeating Goliath, whose head lies at David's feet, he rests his sword by his side, almost too heavy to handle. It seems almost impossible that a young boy like David could have accomplished such a task. Apparently, David's intellect, faith and courage made up for his lack of build. David himself seems skeptical of his deed as he glances down towards his body. Neither the stance nor the face of David conveys a sense of pride in his victory. He wears a crown of leaves, connecting him with the heroes of antiquity. Goliath's hair and beard contrast with the smooth, young face of David. David's right hand originally held a bronze slingshot. The marble portion with the stone is embedded in Goliath's forehead (Fichner-Rathus 331-332).
             Verrocchio...