Within the course of two hundred years,
four completely different statues of David originated in Italy;
all are masterpieces. Donatello's came first, then Verrocchio's,
followed by Michelangelo's, and finally that of Bernini. The
four sculptors had completely different objectives. Only Bernini
appears to have been specifically interested in a believable
depiction of the slaying of Goliath by the youthful David. Of
the four statues, certainly Bernini's is the most dramatic, the
most realistic portrayal of the biblical hero. That was the objective
which Bernini wished to achieve. It was really not the objective
of the other three sculptors. Bernini conceived and carved his
statue of David in seven months, a remarkable achievement in
itself.
One fact of Bernini's great genius should be pointed out. Almost
all statues which preceded his stood self contained, insulated,
apart from the spectator. Bernini causes the viewer to become
a part of his David statue. He who looks at this giant slayer
senses Goliath standing behind and above his shoulder. The viewer
is almost prompted to move from the path of the projectile. The
space in front of the statue becomes a part of the concept. David
stands above his cast-off harp and armor. He grimaces with determination.
The features are those of the twenty-four year old Bernini whose
patron, Cardinal Barberinik, held a mirror while the youthful
sculptor made a face and carved it. The immense tension of the
twisted body conveys the force that David is ready to release.
His muscular foot grips the base of the statue to withstand the
body tension. The action has reached that moment when the stone
is ready to be released. It is a marvel of dramatic action frozen
in stone. |
