In the Room with David

On Friday, 29 August, I walked the Hall of Prisoners in the Accademia Gallery, in Florence, Italy, and stood in the room with David. 

This hall leading up to David is lined with unfinished work by Michelangelo, massive pieces of marble from which figures partially emerge, buried behind the master’s chisel marks. Each of these lends David yet more gravitas, and engenders gratitude that David found his final form.

What is it about this work of art?

Maybe it’s the history of how this masterpiece was made. Michelangelo was the third sculptor to work on the block of marble which would become David. The others had given up due to the block’s imperfections.

Maybe it’s the fact that Michelangelo captured David before he went into battle with Goliath, in that moment of contemplation over what he was facing—and his confidence in the success God would grant him.

Maybe it’s the knowledge that Michelangelo had already completed his Pieta when David would enshrine him in the trinity of the Italian Renaissance, alongside Da Vinci and Rafael.

Maybe it’s seeing the pristine result of a skill which we perceive has only been granted mankind a handful of times in our history.

It was all of this, and it delivered. David exceeds all the hype. A work of art usually speaks to some viewers and not to others. Most work has limited appeal. This sculpture is universally gripping. Observing it in person offers a unique and singular education in beauty, human persistence, and our image-ness before The Maker.