The first version of David (1408-1409). Museo Nazionale del Bargello, Florence. Height 191 cm.

This article is about the sculptures by Donatello, for other uses see David (disambiguation).

David is the name of two statues by Italian early Renaissance sculptor Donatello.

The biblical text[link]

The story of David and Goliath comes from 1 Samuel 17. The Israelites are fighting the Philistines, whose best warrior - Goliath - repeatedly offers to meet the Israelites' best warrior in man-to-man combat to decide the whole battle. None of the trained Israelite soldiers is brave enough to fight the giant Goliath, until David - a shepherd boy who is too young to be a soldier - accepts the challenge. Saul, the Israelite leader, offers David armor and weapons, but the boy is untrained and refuses them. Instead, he goes out with his slingshot, and confronts the enemy. He hits Goliath in the head with a stone, knocking the giant down, and then grabs Goliath's sword and cuts off his head. The Philistines honorably retired as pacted and the Israelites are saved. David's special strength comes from God, and the story illustrates the triumph of good over evil.^[1]

[edit] The marble David

Donatello was first commissioned to carve a statue of David in 1408. The commission came from the operai of the cathedral of Florence, who intended to decorate the buttresses of the tribunes of the cathedral with 12 statues of prophets. Nanni di Banco was commissioned to carve a marble statue of Isaiah, at the same scale, in the same year. One of the statues was lifted into place in 1409, but was found to be too small to be easily visible from the ground and was taken down; both statues then languished in the workshop of the opera for several years.^[2] In 1416 the Signoria of Florence commanded that the David be sent to their palazzo; evidently the young David was seen as an effective political symbol, as well as a religious hero. Donatello was asked to make some adjustments to the statue (perhaps to make him look less like a prophet), and a pedestal with an inscription was made for it: PRO PATRIA FORTITER DIMICANTIBUS ETIAM ADVERSUS TERRIBILISSIMOS HOSTES DII PRAESTANT AUXILIUM (To those who fight bravely for the fatherland the gods lend aid even against the most terrible foes).^[3]

The marble David is Donatello's earliest known important commission, and it is a work closely tied to tradition, giving few signs of the innovative approach to representation that the artist would develop as he matured. Although the positioning of the legs hints at a classical contrapposto, the figure stands in an elegant Gothic sway that surely derives from Ghiberti. The face is curiously blank (curiously, that is, if one expects naturalism, but very typical of the Gothic style), and David seems almost unaware of the head of his vanquished foe that rests between his feet. Some scholars have seen an element of personality - a kind of cockiness - suggested by the twist of the torso and the akimbo placement of the left arm,^[4] but overall the effect of the figure is rather bland.

[edit] The bronze David

Donatello, David (1440s?)
Museo Nazionale del Bargello
h.158 cm

Donatello's bronze statue of David (circa 1440s) is famous as the first unsupported standing work of bronze cast during the Renaissance, and the first freestanding nude male sculpture made since antiquity. It depicts David with an enigmatic smile, posed with his foot on Goliath's severed head just after defeating the giant. The youth is completely naked, apart from a laurel-topped hat and boots, bearing the sword of Goliath. This piece was commissioned by the Medici family and placed in the center of the courtyard of the Medici Palace in Florence. This daring move showed that the Medici family thought that they could take ownership of David, a symbol of the city of Florence. Because this was such a scandalous idea at the time, Donatello put some shifts on the subject matter that could explain away the identity of David as "just another sculpture". For example, David was supposed to have gone into battle completely nude, but this statue shows him wearing boots and a helmet. Goliath's helmet also has a feather protruding that can be seen as attached to David's foot, and thus characterized as Hermes, the Greek god. The Medici were exiled from Florence in 1494, and the statue was moved to the courtyard of the Palazzo della Signoria (the marble David was already in the palazzo). It was moved to the Pitti Palace in the 17th century, to the Uffizi in 1777, and then finally, in 1865, to the Bargello museum, where it remains today.^[5]

Left side of Donatello's David

According to Vasari, the statue stood on a column designed by Desiderio da Settignano in the middle of the courtyard of the Palazzo Medici; an inscription seems to have explained the statue's significance as a political monument: "Victor est quisquis patriam tuetur/Frangit immanis Deus hostis iras/En puer grandem domuit tiramnum/Vincite cives" (The victor is whoever defends the fatherland. God crushes the wrath of an enormous foe. Behold! A boy overcame a great tyrant. Conquer, o citizens.)^[6] Although a political meaning for the statue is widely accepted, exactly what that meaning is has been a matter of considerable debate among scholars.^[7]

Most scholars assume the statue was commissioned by Cosimo de' Medici, but the date of its creation is unknown and widely disputed; suggested dates vary from the 1420s to the 1460s (Donatello died in 1466), with the majority opinion recently falling in the 1440s, when the new Medici Palace designed by Michelozzo was under construction.^[8] The iconography of the bronze David follows that of the marble David: a young hero stands with sword in hand, the decapitated head of his enemy at his feet. Visually, however, this statue is startlingly different. Naked, but for hat and shoes, David is both physically frail and strikingly effeminate. The head has been said to have been inspired by classical sculptures of Antinous, a favorite of Hadrian renowned for his beauty. The statue's physique, which Mary McCarthy called "a transvestite's and fetishist's dream of alluring ambiguity," contrasted with the absurdly large sword by his side, shows that David has conquered Goliath not by physical prowess, but through the will of God. The boy's nakedness further enhances the idea of the presence of God, contrasting the youth with the heavily-armored giant. David is presented uncircumcised, which is generally customary for male nudes in Italian Renaissance art.^[9]

Controversy[link]

There are no indications of contemporary responses to the David, although the fact that the statue was not placed in the town hall of Florence in the 1490s suggests that it was viewed as controversial. In the early 16th century, the Herald of the Signoria mentioned the sculpture in a way that suggested there was something unsettling about it: "The David in the courtyard is not a perfect figure because its right leg is tasteless."^[10] By mid-century Vasari was describing the statue as so naturalistic that it must have been made from life. However, among 20th and 21st century art historians there has been considerable controversy about how to interpret it.

While the Bible describes David as a beautiful youth, and we can accept a classical basis for the pose and the nudity of the statue (Greco-Roman heroes were typically portrayed as nude males standing in contrapposto), there are nevertheless several disconcerting elements to Donatello's David. David's pose is languid and his expression dreamy, neither of which seems to express the narrative moment. A pre-pubescent boy could not be expected to have the muscular development of an adult, but the softness of his body and the emphasis on his lower stomach strike most viewers as surprisingly effeminate. The nudity can be explained by David's refusal to wear armor in his confrontation with Goliath, as well as by references to classical heroes, but the fact that he wears a hat and boots makes no sense in terms of either the Biblical narrative or the classical connection and tends to make his lack of clothing seem strange. He places his left foot on Goliath's head; on the one hand, this pose allows Donatello to connect David more strongly to his fallen foe than he did in the marble version.

Head of Goliath and feet of David

Back view of the legs of the David in the Bargello Museum, Florence

On the other hand, there's something disturbing about the way the beard on the decapitated head curls around David's sandaled foot. Goliath is wearing a winged helmet. David's right foot stands firmly on the short right wing, while the left wing, considerably longer, works its way up his right leg to his groin.

The strangeness of the figure has been interpreted in a variety of ways. One has been to suggest that Donatello was homosexual and that he was expressing that sexual attitude through this statue.^[11] A second is to suggest that the work refers to homosocial values in Florentine society without expressing Donatello's personal tendencies.^[12] During Classical antiquity, homosexuality had been something that was practiced regularly, and men believed that they could only achieve great love with other men. However, during the time of the Renaissance, when the statue was created, sodomy was illegal, and over 14,000 people had been tried in Florence for this crime.^[13] So this homosexual implication was very risky and dangerous. A third interpretation is that David represents Donatello's effort to create a unique version of the male nude, to exercise artistic license rather than copy the classical models that had thus far been the sources for the depiction of the male nude in Renaissance art.^[14] What is certain in this statue is that Donatello has not followed any traditions, and the representation is far from bland.

Change in identification[link]

The traditional identification of the figure was first questioned in 1939 by Jeno Lanyi, with an interpretation leaning toward ancient mythology, the hero's helmet especially suggesting Hermes. A number of scholars over the last 70 years have followed Lanyi, sometimes referring to the statue as David-Mercury.^[15] If the figure were indeed meant to represent Mercury, it may be supposed that he stands atop the head of the vanquished giant Argus Panoptes. However, this identification is certainly mistaken; all quattrocento references to the statue firmly identify it as David.^[16]

Restoration[link]

The statue underwent restoration from June 2007 to November 2008. This was the first time the statue had ever been restored, but concerns about layers of "mineralized waxings" on the surface of the bronze led to the 18-month intervention. The statue was scraped with scalpels (on the non-gilded areas) and lasered (on the gilded areas) to remove surface build-up.^[17]

Copies and influence[link]

Plaster copy of Donatello's David (sword broken off)
Victoria and Albert Museum, London

There is a full-size plaster cast (with a broken sword) in the Victoria and Albert Museum, London. There is also a full-size white marble copy in the Temperate House at the Royal Botanic Gardens, Kew, Surrey, a few miles outside central London. In addition to the copies in the United Kingdom, there is also another copy at the Slater Museum at the Norwich Free Academy in Norwich, Connecticut, United States.^[18]

David continued to be a subject of great interest for Italian patrons and artists. Later representations of the Biblical hero include Antonio del Pollaiuolo's David (Berlin, Staatliche Museen, c. 1470, panel painting), Verrocchio's David (Florence, Bargello, 1470s, bronze), Domenico Ghirlandaio's David (Florence, S. Maria Novella, c. 1485, fresco), Bartolomeo Bellano's David (New York, Metropolitan Museum of Art, 1470s, bronze), Michelangelo's David (Florence, Accademia, 1501-4, marble), and Bernini's David, (Rome, Galleria Borghese, 1623–24, marble).

Notes[link]

External links[link]

Wikimedia Commons has media related to: Donatello's David

• Analysis, theme and critical reception
• Discussion & many detailed photos
• Two more angles
• Site with numerous image links
• White marble copy at Kew (part of a set on Flickr)

King David
King of Israel
Statue of David by Nicolas Cordier, in the basilica of Santa Maria Maggiore, Rome
Reign	over Judah c. 1010–1003 BC; over Judah and Israel c. 1003–970 BC
Born	c. 1040 BC
Birthplace	Bethlehem
Died	c. 970 BC
Place of death	Jerusalem
Predecessor	Saul (Judah), Ishbaal (Israel)
Successor	Solomon
Royal House	House of David (new house)
Father	Jesse
Mother	not named in the Bible; identified by the Talmud as Nitzevet, daughter of Adael

David (Hebrew: דָּוִד, דָּוִיד, Modern David Tiberian Dāwîḏ; ISO 259-3 Dawid; Strong's Daveed; beloved; Arabic: داوود‎ or داود‎ ^[a] Dāwūd) was, according to the Hebrew Bible, the second king of the United Kingdom of Israel and, according to the Gospel of Matthew and the Gospel of Luke, an ancestor of Jesus. David is seen as a major Prophet in Islamic traditions. ^[1][2] His life is conventionally dated to c. 1040–970 BC, his reign over Judah c. 1010–1003 BC,^{[citation needed]} and his reign over the United Kingdom of Israel c. 1003–970 BC.^{[citation needed]} The Books of Samuel, 1 Kings, and 1 Chronicles are the only sources of information on David, although the Tel Dan stele records "House of David", which some take as confirmation of the existence in the mid-9th century BC of a Judean royal dynasty called the "House of David".

David is very important to Jewish, Christian and Islamic doctrine and culture. In Judaism, David, or David HaMelekh, is the King of Israel, and the Jewish people. Jewish tradition maintains that a direct descendant of David will be the Messiah. In Islam, he is known as Dawud, considered to be a prophet and the king of a nation. He is depicted as a righteous king, though not without faults, as well as an acclaimed warrior, musician, and poet, traditionally credited for composing many of the psalms contained in the Book of Psalms.

Historicity[link]

Archaeological evidence[link]

Tel Dan Stele and Mesha Stele[link]

The Tel Dan Stele.

A fragment of an Aramean victory stele discovered in 1993 at Tel Dan and dated c.850–835 BC contains the phrase ביתדוד (bytdwd). Because the ancient Aramaic script is written without vowels, different readings are possible. Scholars agree that the first part should be read בֵּית (beyt), meaning "house". However, the second part can be read as דּוֹד (dod), which means "uncle" or "beloved" or as דָּוִד (David). The phrase therefore can mean either "House of the beloved", "House of the uncle" or "House of David".^[3] Since the stele recounts the victory of an Aramean king over "the king of Israel",^[4] the translation of "ביתדוד" as "the House of David" is not illogical.^[5][6]

The Mesha Stele from Moab, dating from approximately the same period, may also contain the name David, in two places: in line 12, where the interpretation is uncertain, and בת[ד]וד in line 31, where one destroyed letter must be supplied (here it is bracketed in the middle).^[7] Kenneth Kitchen has proposed that an inscription of c. 945 BC by the Egyptian Pharaoh Shoshenq I mentions "the highlands of David."^[8] Although a reference to King David in this geographical name is not certain, some scholars suggest it is reasonable.^[9]

City of David and Judah, ca. 1000 BC onward[link]

Part of the Large Stone Structure thought by some archaeologists to be the remains of King David's Palace.

The Bronze and Iron Age remains of the City of David, the original urban core of Jerusalem identified with the reigns of David and Solomon, were investigated extensively in the 1970s and 1980s under the direction of Yigal Shiloh of the Hebrew University, but failed to discover significant evidence of occupation during the 10th century BC,^[10] In 2005, Eilat Mazar found a Large Stone Structure which she claimed was David's palace, but the archaeology is contaminated and impossible to date accurately.^[11][12] Finkelstein and Silberman feel the archaeological evidence from surface surveys indicates that Judah at the time of David was a small tribal kingdom, although both do accept that David and Solomon were likely historical figures in Judah about the 10th century BC. They describe the earliest tales of David as a "classical bandit tale".^[13]

The biblical account[link]

The biblical account about David comes from the book of Samuel and the book of Chronicles (each of which are divided into two books in Jewish and Christian traditions). While almost half of the Psalms are headed "A Psalm of David", the headings are later additions, and no psalm can be attributed to David with certainty.^[14] Chronicles merely retells Samuel from a different theological vantage point, and contains little if any information not available there, and the biblical evidence for David is therefore dependent almost exclusively on the material contained in the chapters from 1 Samuel 16 to 1 Kings 2.

Russian icon of St. David, the Prophet and King, 18th century (Iconostasis of Kizhi monastery, Karelia, Russia).

Since Martin Noth put forward his analysis of the Deuteronomistic History, biblical scholars have accepted that these two books form part of a continuous history of Israel, compiled no earlier than the late 7th century BC, but incorporating earlier works and fragments. Samuel's account of David "seems to have undergone two separate acts of editorial slanting." The original writers show a strong bias against Saul, and in favour of David and Solomon. Many years later the Deuteronomists edited the material in a manner that conveyed their religious message, inserting reports and anecdotes that strengthened their monotheistic doctrine. Some of the materials in Samuel I and II — notably the boundary, allotment and administrative lists — are believed to be very early, since they correspond closely to what we know of the territorial conditions of the late Davidic-early Solomonic period.^[15]

Beyond this, the full range of possible interpretations is available. The late John Bright, whose History of Israel, which went through four editions from 1959 to 2000, takes Samuel at face value, but Donald B. Redford thinks all reconstructions from Biblical sources for the United Monarchy period are examples of 'academic wishful thinking',^[16] and Thomas L. Thompson measures Samuel against the archaeological evidence and concludes that "an independent history of Judea during the Iron I [i.e., the period of David] and Iron II periods has little room for historicizing readings of the stories of I-II Samuel and I Kings."^[17] Some interesting studies of David have been written: Baruch Halpern has pictured David as a lifelong vassal of Achish, the Philistine king of Gath;^[18] Israel Finkelstein and Neil Asher Silberman have identified as the oldest and most reliable section of Samuel those chapters which describe David as the charismatic leader of a band of outlaws who captures Jerusalem and makes it his capital.^[19] Steven McKenzie, Associate Professor of the Hebrew Bible at Rhodes College and author of King David: A Biography, states the belief that David actually came from a wealthy family, was "ambitious and ruthless" and a tyrant who murdered his opponents, including his own sons.^[14]

Biblical narrative[link]

Samuel anoints David, Dura Europos, Syria, Date: 3rd c. AD.

Chosen by God[link]

God withdraws his favour from Saul, king of Israel, "It repenteth me that I have set up Saul to be king, for he is turned back from following me, and has not performed my commandments."^[20] The prophet Samuel seeks a new king from the sons of Jesse of Bethlehem. Seven of Jesse's sons are led before Samuel, but Samuel says, "Yahweh has not chosen these." "And Samuel said unto Jesse, Are here all thy children? And he said, There remaineth yet the youngest, and behold, he keepeth the sheep. And Samuel said unto Jesse, Send and fetch him: for we will not sit down till he come hither. And he sent, and brought him in. Now he was ruddy, and withal of a beautiful countenance, and goodly to look to. And the LORD said, Arise, anoint him: for this is he."^[21]

At the court of Saul[link]

God sends an evil spirit to torment Saul (1 Samuel 16:14) and his attendants suggest he send for David, a young warrior famed for his bravery and for his skill with the harp. Saul does so and makes David one of his armor-bearers and "whenever the spirit from God came upon Saul, David would take his harp and play. Then relief would come to Saul; he would feel better, and the evil spirit would leave him."

David and Goliath[link]

Young David holds the impaled head of the Philistine giant and marches in front of a general riding a white horse, most likely King Saul.

The Israelites, under King Saul, faced the Philistines in the Valley of Elah. He heard the Philistine giant Goliath challenge the Israelites to send their own champion to decide the outcome in single combat. David told Saul he was prepared to face Goliath and Saul allowed him to make the attempt. He was victorious, striking Goliath in the forehead with a stone from his sling. Goliath fell, and David killed him with his own sword and beheaded him; the Philistines fled in terror. Saul inquired about the name of the young champion, and David told him that he is the son of Jesse.^[22]

David and Jonathan[link]

Saul makes David a commander over his armies and offers him his daughter Michal in marriage for bringing more than 200 foreskins of the Philistines to him. David is successful in many battles, and his popularity awakes Saul's fears — "What more can he have but the kingdom?" By various stratagems the jealous king seeks his death, but the plots only endear David the more to the people, and especially to Saul's son Jonathan, who loves David (1 Samuel 18:1, 2 Samuel 1:25–26).^[23][24] Warned by Jonathan, David flees into the wilderness, where he gathers a band of followers and becomes the champion of the oppressed while evading the pursuit of Saul. He accepts the town of Ziklag from the Philistine king Achish of Gath, but continues secretly to champion the Israelites. Achish marches against Saul, but David is excused from the war on the accusation of the Philistine nobles that his loyalty to their cause cannot be trusted.

Anointed king[link]

Panorama of the Harod Valley below, part of the Jezreel- see Mount Gilboa.

Jonathan and Saul are killed in battle with the Philistines at Mount Gilboa. David mourns their deaths, especially that of Jonathan, his friend. He goes up to Hebron, where he is anointed king over Judah. In the north, Saul's son Ish-Bosheth becomes king of the tribes of Israel. War ensues between Ish-Bosheth and David, until Ish-Bosheth is murdered. The assassins bring the head of Ish-Bosheth to David hoping for a reward, but David executes them for their crime against the Lord's anointed. Yet with the death of the son of Saul, the elders of Israel come to Hebron and David, who is 30 years old, is anointed King over Israel and Judah.^[25]

Jerusalem and the Davidic Covenant[link]

David conquers the Jebusite fortress of Jerusalem, and makes it his capital, and "Hiram king of Tyre sent messengers to David, and cedar trees, also carpenters and masons who built David a house." David brings the Ark of the Covenant to Jerusalem, intending to build a temple, but God, speaking to the prophet Nathan, is pleased, saying the temple will be built. God makes a covenant with David, promising that he will establish the house of David : "Your throne shall be established forever."

With God's help, David is victorious over his people's enemies. The Philistines are subdued, the Moabites to the east pay tribute, along with Hadadezer of Zobah, from whom David takes gold shields and bronze vessels.^[26]

Bathsheba and Uriah the Hittite[link]

David commits adultery with Bathsheba, the wife of Uriah the Hittite.^[27] Bathsheba becomes pregnant. David sends for Uriah, who is with the Israelite army at the siege of Rabbah, so that he may lie with his wife and conceal the identity of the child's father. Uriah refuses to do so while his companions are in the field of battle and David sends him back to Joab, the commander, with a message instructing him to abandon Uriah on the battlefield, "that he may be struck down, and die." David marries Bathsheba and she bears his child, "but the thing that David had done displeased the Lord."^[28] The prophet Nathan confronts David, saying: "Why have you despised the word of God, to do what is evil in his sight? You have smitten Uriah the Hittite with the sword, and have taken his wife to be your wife." Nathan presents three punishments from God for this sin. First, that the "sword shall never depart from your house" (2 Samuel 12:10) second, that "Before your very eyes I will take your wives and give them to one who is close to you, and he will sleep with your wives in broad daylight. 12 You did it in secret, but I will do this thing in broad daylight before all Israel., (2 Samuel 12:12) and finally, that "the son born to you will die."2 Samuel 12:14 David repents, yet God "struck the [David's] child ... and it became sick ... [And] on the seventh day the child died." David leaves his lamentations, dresses himself, goes to the House of the Lord and worships, and then returns home to eat. His servants ask why he wept when the baby was alive, but ends his mourning when the child dies. David replies: "While the child was still alive, I fasted and wept. I thought, 'Who knows? The LORD may be gracious to me and let the child live.' But now that he is dead, why should I fast? Can I bring him back again? I will go to him, but he will not return to me."2 Samuel 12:22–23

David's son Absalom rebels[link]

David's son Absalom rebels against his father, and they come to battle in the Wood of Ephraim. Absalom is caught by his hair in the branches of an oak and David’s general Joab kills him as he hangs there.^[29] When the news of the victory is brought to David, he does not rejoice, but is instead shaken with grief: "O my son Absalom, my son, my son Absalom! Would I had died instead of you, O Absalom, my son, my son!"^[30]

Old age[link]

When David has become old and bedridden, Adonijah, his eldest surviving son and natural heir, declares himself king and worthy to marry Abishag. Bathsheba, David's favorite wife, and Nathan the prophet, fearing that they will be killed by Adonijah, go to David and procure his agreement that Solomon, Bathsheba's son, should sit on the throne. And so the plans of Adonijah collapse, and Solomon becomes king.^[31] It is to Solomon that David gives his final instructions, including his promise that the line of Solomon and David will inherit the throne of Judah forever, and his request that Solomon kill his oldest enemies on his behalf.^[32] David dies and is buried in the City of David, having ruled forty years over Israel, seven in Hebron and thirty-three in Jerusalem.

Religious view[link]

Judaism[link]

King David the Prophet
King David in Prayer, by Pieter de Grebber (c. 1640)
Holy Monarch, Prophet, Reformer, Spiritual Poet & Musician, Vicegerent of God, Psalm-Receiver
Born	c. 1040 B.C.E. Bethlehem
Died	c. 970 B.C.E. Jerusalem
Honored in	Judaism Christianity Islam
Attributes	Psalms, Harp, Head of Goliath

David is an important figure in Judaism. Historically, David's reign represented the formation of a coherent Jewish kingdom centered in Jerusalem. David is an important figure within the context of Jewish messianism. In the Hebrew Bible, it is written that a human descendant of David will occupy the throne of a restored kingdom and usher in a messianic age.

David is also viewed as a tragic figure; his acquisition of Bathsheba, and the loss of his son are viewed as his central tragedies.

Many legends have grown around the figure of David. According to one Rabbinic tradition, David was raised as the son of his father Jesse and spent his early years herding his father's sheep in the wilderness while his brothers were in school. Only at his anointing by Samuel – when the oil from Samuel's flask turned to diamonds and pearls – was his true identity as Jesse's son revealed.

David's adultery with Bathsheba was only an opportunity to demonstrate the power of repentance, and some Talmudic authors stated that it was not adultery at all, quoting a Jewish practice of divorce on the eve of battle. However, in tractate Sanhedrin, David's broken heart pleads and numerous actions for forgiveness are discussed, God ultimately forgives but would not remove his sins from Scripture.^[33]

Furthermore, according to David's apologists, the death of Uriah was not to be considered murder, on the basis that Uriah had committed a capital offence by refusing to obey a direct command from the King.^[34]

According to midrashim, Adam gave up 70 years of his life for the life of David.^[35] Also, according to the Talmud Yerushalmi, David was born and died on the Jewish holiday of Shavuot (Feast of Weeks). His piety was said to be so great that his prayers could bring down things from Heaven.

Christianity[link]

David and King Saul, by Rembrandt. David plays the lyre (depicted here as a harp) to the king "tormented by an evil spirit."

The concept of the Messiah is important in Christianity. Originally an earthly king ruling by divine appointment ("the anointed one", as the title Messiah had it), the "son of David" became in the last two pre-Christian centuries the apocalyptic and heavenly one who would deliver Israel and usher in a new kingdom. This was the background to the concept of Messiahship in early Christianity, which interpreted the career of Jesus "by means of the titles and functions assigned to David in the mysticism of the Zion cult, in which he served as priest-king and in which he was the mediator between God and man."^[36] The early Church believed that "the life of David [foreshadowed] the life of Christ; Bethlehem is the birthplace of both; the shepherd life of David points out Christ, the Good Shepherd; the five stones chosen to slay Goliath are typical of the five wounds; the betrayal by his trusted counsellor, Achitophel, and the passage over the Cedron remind us of Christ's Sacred Passion. Many of the Davidic Psalms, as we learn from the New Testament, are clearly typical of the future Messiah."^[37] In the Middle Ages, "Charlemagne thought of himself, and was viewed by his court scholars, as a 'new David'. [This was] not in itself a new idea, but [one whose] content and significance were greatly enlarged by him."^[38] The linking of David to earthly kingship was reflected in later Medieval cathedral windows all over Europe through the device of the Tree of Jesse, its branches demonstrating how divine kingship descended from Jesse, through his son David, to Jesus.

Western Rite churches (Roman Catholic, Lutheran) celebrate his feast day on 29 December, Eastern-rite on 19 December.^[39] The Eastern Orthodox Church and Eastern Catholic Churches celebrate the feast day of the "Holy Righteous Prophet and King David" on the Sunday of the Holy Forefathers (two Sundays before the Great Feast of the Nativity of the Lord), when he is commemorated together with other ancestors of Jesus. He is also commemorated on the Sunday after the Nativity, together with Joseph and James, the Brother of the Lord.

Mormonism[link]

The Doctrine and Covenants of The Church of Jesus Christ of Latter-day Saints cites David as one directed by God to practice polygamy, but who sinned in committing adultery with Bathsheba and having Uriah killed.^[40]

Islam[link]

Main article Islamic view of David

David (Arabic داود, Dāwūd) is a highly important figure in Islam as one of the major prophets sent by God to guide the Israelites. David is mentioned several times in the Qur'an, often with his son Solomon. In the Qur'an: David killed Goliath (II: 251), Goliath was a powerful king who used to invade random kingdoms and villages. Goliath was spreading evil and corruption. When David killed Goliath, God granted him kingship and wisdom and enforces it (XXXVIII: 20). David is made God's "vicegerent on earth" (XXXVIII: 26) and God further gives David sound judgment (XXI: 78; XXXVII: 21–24, 26) as well as the Psalms, which are regarded as books of divine wisdom (IV: 163; XVII, 55). The birds and mountains unite with David in ushering praise to God (XXI: 79; XXXIV: 10; XXXVIII: 18), while God instructs David in the art of fashioning chain-mail out of iron (XXXIV: 10; XXI: 80). Together with Solomon, David gives judgment in a case of damage to the fields (XXI: 78) and David judges in the matter between two disputants in his prayer chamber (XXXVIII: 21–23). Since there is no mention in the Qur'an of the wrong David did to Uriah nor is there any reference to Bathsheba, Muslims reject this narrative.^[41]

Muslim tradition and the hadith stress David's zeal in daily prayer^[42] as well as in fasting. Qur'an commentators, historians and compilers of the numerous Stories of the Prophets elaborate upon David's concise Qur'anic narratives and specifically mention David's gift in singing his Psalms as well as his musical and vocal talents. His voice is described as having had a captivating power, weaving its influence not only over man but over all beasts and nature, who would unite with him to praise God.^[43]

Baha'i Faith[link]

David is described as a minor prophet who came in the shadow of the dispensation of Moses to develop and consolidate the process he set in motion.^[44]

Succession[link]

The oldest complete Tree of Jesse window is in Chartres Cathedral, 1145.

Genealogy[link]

According to Genesis 46:12 and Ruth 4:18–22, David is the eleventh^[45] generation from Judah, the fourth son of the patriarch Jacob (Israel). The genealogical line runs as follows: (1) Judah → (2) Pharez → (3) Hezron → (4) Ram → (5) Amminadab → (6) Nahshon → (7) Salmon → (8) Boaz (the husband of Ruth) → (9) Obed → (10) Jesse → (11) David.^[45]

Family[link]

David was born in Bethlehem, in the territory of the Tribe of Judah. His father was named Jesse. His mother is not named in the Bible, but the Talmud identifies her as Nitzevet daughter of Adael.^[46] David had seven brothers and was the youngest of them all. He had eight wives: Michal, the second daughter of King Saul; Ahinoam the Jezreelite; Abigail the Carmelite, previously wife of Nabal;^[47] Maachah, daughter of Talmai, king of Geshur; Haggith; Abital; Eglah; and Bathsheba, previously the wife of Uriah the Hittite.

The Book of Chronicles lists David's sons by various wives and concubines. In Hebron he had six sons 1 Chronicles 3:1–3: Amnon, by Ahinoam; Daniel, by Abigail; Absalom, by Maachah; Adonijah, by Haggith; Shephatiah, by Abital; and Ithream, by Eglah. By Bathsheba, his sons were: Shammua; Shobab; Nathan; and Solomon. His sons born in Jerusalem by other wives included: Ibhar; Elishua; Eliphelet; Nogah; Nepheg; Japhia; Elishama; and Eliada. 2 Samuel 5:14–16 According to 2 Chronicles 11:18, Jerimoth, who is not mentioned in any of the genealogies, is mentioned as another of David's sons. According to 2 Samuel 9:11, David adopted Jonathan's son Mephibosheth as his own.

David also had at least one daughter, Tamar by Maachah, who was raped by Amnon, her half-brother. Her rape leads to Amnon's death. 2 Samuel 13:1–29 Absalom, Amnon's half-brother and Tamar's full-brother, waits two years, then avenges his sister by sending his servants to kill Amnon at a feast to which he had invited all the king's sons. 2 Samuel 13

Legend and legacy[link]

In European Christian culture of the Middle Ages, David was made a member of the Nine Worthies, a group of heroes encapsulating all the ideal qualities of chivalry. His life was thus proposed as a valuable subject for study by those aspiring to chivalric status. This aspect of David in the Nine Worthies was popularised firstly through literature, and was thereafter adopted as a frequent subject for painters and sculptors.

The musician[link]

"David Playing the Harp" by Jan de Bray, 1670.

In various biblical passages, David is referred to as “the favorite of the songs of Israel,”^[48] the one who soothed Saul with music,^[49] and the founder of Temple singing.^[50][51] A Psalms scroll from the Dead Sea Scrolls (11QPs^a) attributes 3600 tehilim (songs of praise) plus other compositions to David.^[52] Seventy-three of the 150 Psalms in the Bible are attributed to David.^[53] The supreme kingship of Yahweh is the most pervasive theological concept in the book of Psalms,^[54][55] and many psalms attributed to David are directed to Yahweh by name,^[56] whether in praise or petition, suggesting a relationship.^[57] According to the Midrash Tehillim, King David was prompted to the Psalms by the Holy Spirit that rested upon him.^[58]

In addition to ascribing authorship to David, several Psalms are identified with specific events in David’s life.^[59] Psalm 34 is attributed to David on the occasion of his escape from the Abimelech (king) Achish by pretending to be insane.^[60] According to the narrative in 1 Samuel 21, instead of killing the man who had exacted so many casualties from him, Abimelech allows David to depart, exclaiming, “Am I so short of madmen that you have to bring this fellow here to carry on like this in front of me? Must this man come into my house?"^[61] Psalm 34 is one of seven acrostic Psalms in the original Hebrew; most English translations do not retain the acrostic form.^[62] The first part of Psalm 34 is directed toward Yahweh in complete and humble gratitude (David does not even mention his own royal status); the second part confidently directs others to Yahweh.^[63]

This poor man cried, and the LORD heard him, and saved him out of all his troubles. The angel of the LORD encamps around those who fear him, and delivers them … Come, O children, listen to me; I will teach you the fear of the LORD.

— Psalm 34:6–7,11 (ESV)

In contrast, Psalm 18 is not related to a specific incident but rather to God’s faithful deliverance from “all of his enemies and from the hand of Saul.”^[64][65] The text of this Psalm was thought to date to the 10th century BC even before the discovery of the Dead Sea Scrolls^[66] and is very similar to that of 2 Samuel 22.^[67] In this Psalm, David recalls being in deadly situations: “The cords of death entangled me, the torrents of destruction overwhelmed me.”^[68] He cries out to God for help, and God rescues David.

I love you, O LORD, my strength. The LORD is my rock, my fortress and my deliverer; my God is my rock, in whom I take refuge. He is my shield and the horn of my salvation, my stronghold. I call to the LORD, who is worthy of praise, and I am saved from my enemies.

— Psalm 18:1–3 (NIV)

The Scottish theologian Samuel Rutherford (1600–1661) notes that crying out to God is mentioned in many Psalms attributed to David.^[69] He comments, “Fervour is a heavenly ingredient in prayer. An arrow drawn with full strength hath a speedier issue.” ^[70] The Midrash Tehillim teaches from Psalm 4 “that the mere mechanical application to the Throne of Mercy is not efficacious is plainly seen from the words of King David, who says God is nigh to all that call upon Him, and … he adds the important words, 'to those who call upon Him in truth.'”^[71]

According to Psalm 40, David’s cries to God were heartfelt though not necessarily impatient; the poignant combination of a cry for help with a confident expression of faith echo today in the song “40” by the rock group U2 and that encapsulates David’s experience with his God:

I waited patiently for the LORD; he turned to me and heard my cry. He lifted me out of the slimy pit, out of the mud and mire; he set my feet on a rock and gave me a firm place to stand. He put a new song in my mouth, a hymn of praise to our God. Many will see and fear and put their trust in the LORD.

— Psalm 40:1–3 (NIV)

Representation in art and literature[link]

Art[link]

Famous sculptures of David include (in chronological order) those by:

• Donatello (c. 1430 – 1440), David (Donatello)
• Andrea del Verrocchio (1476), David (Verrocchio)
• Michelangelo (1504), David (Michelangelo)
• Gian Lorenzo Bernini (1624), David (Bernini)
• Antonin Mercié (1873)

Literature[link]

• Dryden's long poem Absalom and Achitophel is an allegory that uses the story of the rebellion of Absalom against King David as the basis for his satire of the contemporary political situation, including events such as the Monmouth Rebellion (1685), the Popish Plot (1678) and the Exclusion Crisis.
• Elmer Davis's novel Giant Killer (1928, The John Day company) retells and embellishes the Biblical story of David, casting David as primarily a poet who managed always to find others to do the "dirty work" of heroism and kingship. In the novel, Elhanan in fact killed Goliath but David claimed the credit; and Joab, David's cousin and general, took it upon himself to make many of the difficult decisions of war and statecraft when David vacillated or wrote poetry instead.
• Gladys Schmitt wrote a novel titled "David the King" (1946, Doubleday Books) which proceeds as a richly embellished biography of David's entire life. The book took a risk, especially for its time, in portraying David's relationship with Jonathan as overtly homoerotic, but was ultimately panned by critics as a bland rendition of the title character.
• In Thomas Burnett Swann's Biblical fantasy novel How are the Mighty Fallen (1974, DAW), David and Jonathan are explicitly stated to be lovers. Moreover, Jonathan is a member of a winged semi-human race (possibly nephilim), one of several such races co-existing with humanity but often persecuted by it.
• Joseph Heller wrote a novel based on David, God Knows (1984, Simon & Schuster). Told from the perspective of an aging David, the humanity — rather than the heroism — of various biblical characters is emphasized. The portrayal of David as a man of flaws such as greed, lust, selfishness, and his alienation from God, the falling apart of his family is a distinctly 20th century interpretation of the events told in the Bible.
• Juan Bosch, Dominican political leader and writer, wrote "David: Biography of a King" (1966, Hawthorn, NY) a realistic approach to David's life and political career.
• Allan Massie wrote "King David" (1996, Sceptre), a novel about David's career which portrays the king's relationship to Jonathan and others as openly homosexual.
• Madeleine L'Engle's novel Certain Women (1993, HarperOne) explores family, the Christian faith, and the nature of God through the story of King David's family and an analogous modern family's saga.
• Sir Arthur Conan Doyle used the story of David and Bathsheba as the main structure for the Sherlock Holmes story The Adventure of the Crooked Man. The betrayal of the Crooked Man is paralleled with David's betrayal of Uriah the Hittite, carried out in order to win Bathsheba.
• Stefan Heym's "The King David Report" (1998, Northwestern University Press) is a fiction depicting the writings of the Bible historian Ethan, upon King Solomon's orders, of a true and authoritative report on the life of David, Son of Jesse.
• Malachi Martin's 1980 factional novel King of Kings: A Novel of the Life of David relates the life of David, Adonai's champion in his battle with the Philistine deity Dagon.
• William Faulkner's "Absalom, Absalom!"(1936) refers to the story of Absalom, David's son; his rebellion against his father and his death at the hands of David's general, Joab. In addition it parallels Absalom's vengeance for the rape of his sister Tamar by his half-brother, Amnon.
• Dan Jacobson's The Rape of Tamar (1970) is an imagined account, by one of David's courtiers Yonadab, of the rape of Tamar by Amnon.

Film[link]

• Gregory Peck played King David in the 1951 film David and Bathsheba, directed by Henry King. Susan Hayward played Bathsheba and Raymond Massey played the prophet Nathan.
• Jeff Chandler played David in the 1960 film A Story of David
• Finlay Currie played an aged King David in the 1959 film Solomon and Sheba, directed by King Vidor. Yul Brynner played Solomon and Gina Lollobrigida played the Queen of Sheba.
• Richard Gere portrayed King David in the 1985 film King David directed by Bruce Beresford.

Music[link]

• Josquin des Prez's Planxit autem David is a polyphonic setting of 2 Samuel Chapter I verses 17–27, David's lamentation for the dead Saul and Jonathan. His Absalon fili mi is a polyphonic lamentation from David's perspective on the death of his son.
• George Frideric Handel's oratorio Saul features David as one of its main characters
• Arthur Honegger's oratorio Le Roi David ('King David'), with a libretto by Rene Morax, was composed in 1921 and instantly became a staple of the choral repertoire; it is still widely performed.
• Leonard Cohen's song "Hallelujah" has references to David ("there was a secret chord that David played and it pleased the Lord", "The baffled king composing Hallelujah") and Bathsheba ("you saw her bathing on the roof") in its opening verses.
• "Mad About You", a song on Sting's 1991 album The Soul Cages, explores David's obsession with Bathsheba from David's perspective.
• Dead by the Pixies is a retelling of David's adultery and repentance.
• Herbert Howells (1892–1983) composed an artsong for voice and piano called "King David".
• Eric Whitacre composed a choral piece, "When David Heard," chronicling the death of Absalom and David's grief over losing his son.

Musical theater[link]

• King David, a modern oratorio, with a book and lyrics by Tim Rice and music by Alan Menken.

Television[link]

• Nathaniel Parker portrayed King David in the 1997 TV film David, with Leonard Nimoy as Samuel and Jonathan Pryce as Saul.
• Max von Sydow portrayed an older King David in the TV film Solomon, a sequel to David above, with Ben Cross as Solomon.
• In 2009, NBC introduced the series Kings, which was explicitly designed as a modern retelling of the David story.
• In the PBS television series Wishbone the episode "Little Big Dog" recounts the story of David, his favor with Saul, and his triumphant battle over Goliath.
• The season two episode of Xena: Warrior Princess "Giant Killer" features David and his killing of Goliath.

Trivia[link]

For a considerable period, starting in the 15th century and continuing until the 19th, French playing card manufacturers assigned to each of the court cards names taken from history or mythology.^[72][73] In this context, the King of Spades was often known as "David".

See also[link]

Saints portal

• David and Jonathan
• King David's Palace site
• King David's Tomb
• Midrash Shmuel (aggadah)
• Passover songs
• Tel Arad

Notes[link]

References[link]

Translations of 1 and 2 Samuel[link]

• Samuel 1 and 2 at Bible Gateway
• Kirsch, Jonathan (2000) King David: the real life of the man who ruled Israel. Ballantine. ISBN 0-345-43275-4.
• See also the entry "David" in Easton's Bible Dictionary.
• Dever, William G. (2001) What did the Bible writers know and when did they know it? William B. Eerdmans Publ. Co., Cambridge UK.
• Thiele, E.R. (1983). The Mysterious Numbers of the Hebrew Kings. Eerdmans. http://books.google.com.au/books?id=Wx4GsZH3dzAC&printsec=frontcover&dq=Mysterious+Numbers+of+the+Hebrew+Kings&hl=en&ei=QaveTrDtNuOeiAfcycCqBQ&sa=X&oi=book_result&ct=result&resnum=1&ved=0CDcQ6AEwAA#v=onepage&q=Mysterious%20Numbers%20of%20the%20Hebrew%20Kings&f=false. 

Commentaries on Samuel[link]

• Auld, Graeme (2003). "1 & 2 Samuel". In James D. G. Dunn and John William Rogerson. Eerdmans Commentary on the Bible. Eerdmans. http://books.google.com.au/books?id=2Vo-11umIZQC&pg=PA213&lpg=PA213&dq=There+are+two+common+types+of+strategy+for+reading+the+books+of+Samuel#v=onepage&q=There%20are%20two%20common%20types%20of%20strategy%20for%20reading%20the%20books%20of%20Samuel&f=false. 
• Bergen, David T. (1996). 1, 2 Samuel. B&H Publishing Group. http://books.google.com.au/books?id=eGT6fWsajqcC&pg=PA49&dq=I+%26+II+Samuel:+a+commentary+Gordon&cad=3#v=onepage&q=I%20%26%20II%20Samuel%3A%20a%20commentary%20Gordon&f=false. 
• Gordon, Robert (1986). I & II Samuel, A Commentary. Paternoster Press. http://books.google.com.au/books?id=JMJ1ZAnswuUC&pg=PA338&lpg=PA338&dq=I+%26+II+Samuel:+a+commentary+Gordon#v=onepage&q&f=false. 
• Hertzberg, Hans Wilhelm (1964, trans. from German 2nd edition 1960). I & II Samuel, A Commentary. Westminster John Knox Press. http://books.google.com.au/books?id=friNN7IdjOIC&pg=PA11&lpg=PA11&dq=I+%26+II+Samuel:+a+commentary+Hans+Wilhelm+Hertzberg#v=onepage&q&f=false. 
• Tsumura, Hans Wilhelm (2007). The First book of Samuel. Eerdmans. http://books.google.com.au/books?id=iLKAlhLDkMwC&pg=PA103&lpg=PA103&dq=The+First+book+of+Samuel+Tsumura#v=onepage&q&f=false. 

General[link]

• Breytenbach, Andries (2000). "Who Is Behind The Samuel Narrative?". In Johannes Cornelis de Moor and H.F. Van Rooy. Past, present, future: the Deuteronomistic history and the prophets. Brill. http://books.google.com.au/books?id=uP22QHpnKq8C&pg=PA50&lpg=PA50&dq=Breytenbach+Who+is+behind+the+Samuel+narrative#v=onepage&q=Breytenbach%20Who%20is%20behind%20the%20Samuel%20narrative&f=false. 
• Coogan, Michael D. (2009) A Brief Introduction to the Old Testament: the Hebrew Bible in its Context Oxford University Press
• Dick, Michael B (2004). "The History of "David's Rise to Power" and the Neo-Babylonian Succession Apologies". In Bernard Frank Batto and Kathryn L. Roberts. David and Zion: biblical studies in honor of J.J.M. Roberts. Eisenbrauns. http://books.google.com.au/books?id=Vlkb0cSBGlIC&pg=PA373&lpg=PA373&dq=David+and+Zion:+biblical+studies+in+honor+of+J.J.M.+Roberts#v=onepage&q&f=false. 
• Eynikel, Erik (2000). "The Relation Between the Eli Narrative and the Ark Narratives". In Johannes Cornelis de Moor and H.F. Van Rooy. Past, present, future: the Deuteronomistic history and the prophets. Brill. http://books.google.com.au/books?id=uP22QHpnKq8C&pg=PA50&lpg=PA50&dq=Breytenbach+Who+is+behind+the+Samuel+narrative#v=onepage&q=Breytenbach%20Who%20is%20behind%20the%20Samuel%20narrative&f=false. 
• Halpern, Baruch (2001). David's secret demons: messiah, murderer, traitor, king. Eerdmans. http://books.google.com/books?id=tn8PG4XfuBAC&pg=PA8&lpg=PA8&dq=David's+secret#v=onepage&q=lahmi+bethlehemite&f=false. 
• Jones, Gwilym H (2001). "1 and 2 Samuel". In John Barton and John Muddiman. The Oxford Bible Commentary. Oxford University Press. http://books.google.com.au/books?id=wCRYl9Ikk6EC&pg=PA196&lpg=PA196&dq=Gwilym+Jones+1+and+2+Samuel#v=onepage&q=Gwilym%20Jones%201%20and%202%20Samuel&f=false. 
• Klein, R.W. (2003). "Samuel, books of". In Bromiley, Geoffrey W. The international standard Bible encyclopedia. Eerdmans. http://books.google.com.au/books?id=6OJvO2jMCr8C&pg=PA314&lpg=PA314&dq=narrative+sources+books+of+samuel#v=onepage&q=narrative%20sources%20books%20of%20samuel&f=false. 
• Knight, Douglas A (1995). "Deuteronomy and the Deuteronomists". In James Luther Mays, David L. Petersen and Kent Harold Richards. Old Testament Interpretation. T&T Clark. http://books.google.com.au/books?id=SNLN1nEEys0C&printsec=frontcover&dq=Old+Testament+Interpretation+Mays+Peterson+Richards#v=onepage&q&f=false. 
• Knight, Douglas A (1991). "Sources". In Watson E. Mills, Roger Aubrey Bullard. Mercer Dictionary of the Bible. Mercer University Press. http://books.google.com.au/books?id=goq0VWw9rGIC&dq=Mercer+Bible+Dictionary&printsec=frontcover#v=onepage&q&f=false. 
• Schleffer, Eben (2000). "Saving Saul from the Deuteronomist". In Johannes Cornelis de Moor and H.F. Van Rooy. Past, present, future: the Deuteronomistic history and the prophets. Brill. http://books.google.com.au/books?id=uP22QHpnKq8C&pg=PA50&lpg=PA50&dq=Breytenbach+Who+is+behind+the+Samuel+narrative#v=onepage&q=Breytenbach%20Who%20is%20behind%20the%20Samuel%20narrative&f=false. 
• Soggin, Alberto (1987). Introduction to the Old Testament. Westminster John Knox Press. http://books.google.com.au/books?id=mqSNsKXnHQgC&pg=PA112&lpg=PA112&dq=Soggin+Introduction+to+the+Old+Testament#v=onepage&q&f=false. 
• Spieckerman, Hermann (2001). "The Deuteronomistic History". In Leo G. Perdue. The Blackwell companion to the Hebrew Bible. Blackwell. http://books.google.com.au/books?id=41_0okLzQJkC&pg=PA337&lpg=PA337&dq=The+Deuteronomistic+History+Hermann+Spieckermann#v=onepage&q=The%20Deuteronomistic%20History%20Hermann%20Spieckermann&f=false. 
• Van Seters, John (1997). In search of history: historiography in the ancient world and the origins of biblical history. Eisenbrauns. http://books.google.com.au/books?id=0-skPdXtewwC&pg=PA406&lpg=PA406&dq=Van+Seters+In+Search+of+History#v=onepage&q=Samuel&f=false. 
• Walton, John H (2009). "The Deuteronomistic History". In Andrew E. Hill, John H. Walton. A Survey of the Old Testament. Zondervan. http://books.google.com.au/books?id=41_0okLzQJkC&pg=PA337&lpg=PA337&dq=The+Deuteronomistic+History+Hermann+Spieckermann#v=onepage&q=The%20Deuteronomistic%20History%20Hermann%20Spieckermann&f=false. 

Further reading[link]

• Alexander, David; Alexander, Pat, eds. (1983). Eerdmans' handbook to the Bible ([New, rev.]. ed.). Grand Rapids, Mich.: Eerdmans. ISBN 0-8028-3486-8. 
• Bright, John (1981). A history of Israel (3rd ed.). Philadelphia: Westminster Press. ISBN 0-664-21381-2. 
• Bruce, F. F. (1963). Israel and the Nations. Grand Rapids, MI: Eerdmans. 
• Harrison, R.K. (1969). An Introduction to the Old Testament. Grand Rapids, MI: Eerdmans. 
• Kidner, Derek (1973). The Psalms. Downers Grove, IL: Inter-Varsity Press. ISBN 0-87784-868-8. 
• Noll, K. L. (1997). The faces of David. Sheffield: Sheffield Acad. Press. ISBN 1-85075-659-7. 
• Thompson, J.A. (1986). Handbook of life in Bible times. Leicester, England: Inter-Varsity Press. ISBN 0-87784-949-8. 

External links[link]

Wikimedia Commons has media related to: David

Wikiquote has a collection of quotations related to: David

• Complete Bible Genealogy David's family tree
• Double Identity: Orpheus as David. Orpheus as Christ? Biblical Archaeology Review

Donatello
Donatello's statue outside of the Uffizi Galleria.
Birth name	Donato di Niccolò di Betto Bardi
Born	c. 1386 Florence, Italy
Died	13 December 1466 (aged 80) Florence, Italy
Nationality	Florentine, Italian
Field	Sculpture
Training	Lorenzo Ghiberti
Movement	Early Renaissance
Works	St. George, David, Equestrian Monument of Gattamelata

Donato di Niccolò di Betto Bardi (circa 1386 – December 13, 1466), also known as Donatello, was an early Renaissance Italian artist and sculptor from Florence. He is, in part, known for his work in bas-relief, a form of shallow relief sculpture that, in Donatello's case, incorporated significant 15th century developments in perspectival illusionism.

Early life[link]

Statue of St. John the Baptist in the Duomo di Siena

Donatello was the son of Niccolò di Betto Bardi, who was a member of the Florentine Wool Combers Guild, and was born in Florence, most likely in the year 1386. Donatello was educated in the house of the Martelli family.^[1] He apparently received his early artistic training in a goldsmith's workshop, and then worked briefly in the studio of Lorenzo Ghiberti.

While undertaking study and excavations with Filippo Brunelleschi in Rome (1404–1407), work that gained the two men the reputation of treasure seekers, Donatello made a living by working at goldsmiths' shops. Their Roman sojourn was decisive for the entire development of Italian art in the 15th century, for it was during this period that Brunelleschi undertook his measurements of the Pantheon dome and of other Roman buildings. Brunelleschi's buildings and Donatello's sculptures are both considered supreme expressions of the spirit of this era in architecture and sculpture, and they exercised a potent influence upon the artists of the age.

Work in Florence[link]

In Florence, Donatello assisted Lorenzo Ghiberti with the statues of prophets for the north door of the Florence Baptistery, for which he received payment in November 1406 and early 1408. In 1409–1411 he executed the colossal seated figure of Saint John the Evangelist, which until 1588 occupied a niche of the old cathedral facade, and is now placed in the Museo dell'Opera del Duomo. This work marks a decisive step forward from late Gothic Mannerism in the search for naturalism and the rendering of human feelings.^[2] The face, the shoulders and the bust are still idealized, while the hands and the fold of cloth over the legs are more realistic.

In 1411–1413, Donatello worked on a statue of St. Mark for the church of Orsanmichele. In 1417 he completed the St. George for the Confraternity of the Cuirass-makers. The elegant St. George and the Dragon relief on the statue's base, executed in schiacciato (also known as bas-relief or basso rilievo) is one of the first examples of central-point perspective in sculpture.

From 1423 is the St. Louis of Toulouse, now in the Museum of the Basilica di Santa Croce. Donatello had also sculpted a tabernacle for this work, but it was sold in 1460 to house the Incredulity of St. Thomas by Verrocchio.

Between 1415 and 1426, Donatello created five statues for the campanile of Santa Maria del Fiore in Florence, also known as the Duomo. These works are the Beardless Prophet; Bearded Prophet (both from 1415); the Sacrifice of Isaac (1421); Habbakuk (1423–1425); and Jeremiah (1423–1426); which follow the classical models for orators and are characterized by strong portrait details. From the late teens is the Pazzi Madonna relief in Berlin. In 1425, he executed the notable Crucifix for Santa Croce; this work portrays Christ in a moment of the agony, eyes and mouth partially opened, the body contracted in an ungraceful posture.

From 1425–1427, Donatello collaborated with Michelozzo on the funerary monument of the Antipope John XXIII for the Battistero in Florence. Surely, by Donatello is the recumbent bronze figure of the deceased, under a shell. In 1427, he completed in Pisa a marble panel for the funerary monument of Cardinal Rainaldo Brancacci at the church of Sant'Angelo a Nilo in Naples. In the same period, he executed the relief of the Feast of Herod and the statues of Faith and Hope for the Baptstery of San Giovanni in Siena. The relief is mostly in stiacciato, while the foreground figures are done in bas-relief.

Major commissions in Florence[link]

David at Bargello Museum, Florence.

Around 1430, Cosimo de' Medici, the foremost art patron of his era, commissioned from Donatello the bronze David (now in the Bargello) for the court of his Palazzo Medici. This is now Donatello's most famous work. At the time of its creation, it was the first known free-standing nude statue produced since ancient times. Conceived fully in the round, independent of any architectural surroundings, and largely representing an allegory of the civic virtues triumphing over brutality and irrationality, it was the first major work of Renaissance sculpture. Also from this period is the disquietingly small Love-Atys, housed in the Bargello.

Statue of St. George in Orsanmichele, Florence

Some have perceived the David as having homo-erotic qualities, and have argued that this reflected the artist's own orientation.^[3] Yet, details of Donatello's relationships remain speculative. The historian Paul Strathern makes the claim that Donatello made no secret of his homosexuality, and that his behaviour was tolerated by his friends.^[4] This may not be surprising in the context of attitudes prevailing in the 15th and 16th century Florentine republic. However, little detail is known with certainty about his private life, and no mention of his sexuality has been found in the Florentine archives (in terms of denunciations)^[5] albeit which during this period are incomplete.^[6]

When Cosimo was exiled from Florence, Donatello went to Rome, remaining until 1433. The two works that testify to his presence in this city, the Tomb of Giovanni Crivelli at Santa Maria in Aracoeli, and the Ciborium at St. Peter's Basilica, bear a strong stamp of classical influence.

Donatello's return to Florence almost coincided with Cosimo's. In May 1434, he signed a contract for the marble pulpit on the facade of Prato cathedral, the last project executed in collaboration with Michelozzo. This work, a passionate, pagan, rhythmically-conceived bacchanalian dance of half-nude putti, was the forerunner of the great Cantoria, or singing tribune, at the Duomo in Florence on which Donatello worked intermittently from 1433 to 1440 and was inspired by ancient sarcophagi and Byzantine ivory chests. In 1435, he executed the Annunciation for the Cavalcanti altar in Santa Croce, inspired by 14th century iconography, and in 1437–1443, he worked in the Old Sacristy of the San Lorenzo in Florence, on two doors and lunettes portraying saints, as well as eight stucco tondoes. From 1438 is the wooden statue of St. John the Evangelist for Santa Maria Gloriosa dei Frari in Venice. Around 1440, he executed a bust of a Young Man with a Cameo now in the Bargello, the first example of a lay bust portrait since the classical era.

In Padua[link]

Donatello's equestrian statue of Gattamelata at Padua.

In 1443, Donatello was called to Padua by the heirs of the famous condottiero Erasmo da Narni, who had died that year. Completed in 1450 and placed in the square facing the Basilica of St. Anthony, his equestrian statue of Erasmo (better known as the Gattamelata, or "Honey-Cat") was the first example of such a monument since ancient times. (Other equestrian statues, from the 14th century, had not been executed in bronze and had been placed over tombs rather than erected independently, in a public place.) This work became the prototype for other equestrian monuments executed in Italy and Europe in the following centuries.

For the Basilica of St. Anthony, Donatello created, most famously, the bronze Crucifix of 1444–1447 and additional statues for the choir, including a Madonna with Child and six saints, constituting a Holy Conversation, which is no longer visible since the renovation by Camillo Boito in 1895. The Madonna with Child portrays the Child being displayed to the faithful, on a throne flanked by two sphinxes, allegorical figures of knowledge. On the throne's back is a relief of Adam and Eve. During this period—1446–50—Donatello also executed four extremely important reliefs with scenes from the life of St. Anthony for the high altar.

Last years in Florence[link]

Donatello returned to Florence in 1453. The Judith and Holofernes, begun for the Duomo di Siena date from 1455 to 1460 but were later acquired by the Medici. Until 1461, Donatello remained in Siena, where he created a St. John the Baptist, also for the Duomo, and models for its gates, now lost.

For his last commission in Florence, Donatello produced reliefs for the bronze pulpits in the church of San Lorenzo, with help from students Bartolomeo Bellano and Bertoldo di Giovanni. Donatello provided the general design and personally executed the Martyrdom of St. Lawrence and the Deposition from the Cross; he worked on the reliefs of Christ before Pilate and Christ before Caiphus, with Bellano. This work is characterized by an intense, free, indeed sketchy and suggestively unfinished—in Italian a non-finito—technique that heightens the dramatic effect of the scenes and emphasizes their spiritual intensity. Donatello died in Florence in 1466 and was buried in the Basilica of San Lorenzo, next to Cosimo de' Medici the Elder.

Statue of Habacuc from the bell tower of the Duomo, Florence.

Main works[link]

• "St. Mark" (1411–1413), Orsanmichele, Florence
• St. George Tabernacle (c. 1415–1417) — Museo Nazionale del Bargello, Florence
• "Prophet Habacuc" (1423–1425) — Museo dell'Opera del Duomo, Florence
• "The Feast of Herod" (c. 1425) — Baptismal font, Baptistry of San Giovanni, Siena
• "David" (c. 1425–1430) — Museo Nazionale del Bargello, Florence
• "Equestrian Monument of Gattamelata" (1445–1450) — Piazza del Santo, Padua
• "Magdalene Penitent" (c. 1455) — Museo dell'Opera del Duomo, Florence
• "Judith and Holofernes" (1455–1460) — Palazzo Vecchio, Florence
• "Virgin and Child with Four Angels" or "Chellini Madonna" (1456), Victoria and Albert Museum

Notes[link]

References[link]

 This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). Encyclopædia Britannica (11th ed.). Cambridge University Press. 

• Donatello article in the 1911 Edition of the Encyclopaedia Britannica
• Adrian W. B. Randolph, Engaging symbols: gender, politics, and public art in fifteenth-century Florence. Yale University Press, 2002.
• Giorgio Vasari, Le vite de' più eccellenti pittori, scultori e architettori Lives of the Most Excellent Painters, Sculptors, and Architects, Firenze 1568, edizione a cura di R. Bettarini e P. Barocchi, Firenze 1971.
• Rolf C. Wirtz, Donatello, Könemann, Colonia 1998. ISBN 3-8290-4546-8
• Charles Avery, Donatello. Catalogo completo delle opere, Firenze 1991
• Bonnie A. Bennett e David G. Wilkins, Donatello, Oxford 1984
• Michael Greenhalg, Donatello and his sources, Londra 1982
• Volker Herzner, Die Judith del Medici, in Zeitschrift für Kunstgeschichte, 43, 1980, pp. 139–180
• Horst W. Janson, The sculpture of Donatello, Princetown 1957
• Hans Kauffmann, Donatello, Berlino 1935
• Peter E. Leach, Images of political Triumph. Donatello's iconography of Heroes, Princetown 1984
• Pierluigi De Vecchi ed Elda Cerchiari, I tempi dell'arte, volume 2, Bompiani, Milano 1999. ISBN 88-451-7212-0
• Donatello e il suo tempo, atti dell'VIII convegno internazionale di Studi sul Rinascimento, Firenze e Padova, 1966, Firenze 1968
• Roberto Manescalchi Il Marzocco / The lion of Florence. In collaborazione con Maria Carchio, Alessandro del Meglio, English summary by Gianna Crescioli. Grafica European Center of Fine Arts e Assessorato allo sport e tempo libero, Valorizzazioni tradizioni fiorentine, Toponomastica, Relazioni internazionale e gemellaggi del comune di Firenze, novembre, 2005.