Although their patrons often still considered them merely particularly
skillful servants, many artists of the Renaissance began to develop
a higher opinion of themselves. In the following anecdote the
great painter and sculptor Michelangelo finds a clever way to
deal with his patron, a presumptuous and ignorant noble. The David
did not only illustrate a story from the Bible, it was intended
to act as a symbol of Florence's readiness to defend itself.
It happened at this time that Piero Soderini, having seen it in place, was well pleased with it, but said to Michelagnolo, (1) at a moment when he was retouching it in certain parts, that it seemed to him that the nose of the figure was too thick. Michelagnolo noticed that the Gonfalonier was beneath the Giant, and that his point of view prevented him from seeing it properly; but in order to satisfy him he climbed upon the staging, which was against the shoulders, and quickly took up a chisel in his left hand, with a little of the marble-dust that lay upon the planks of the staging, and then, beginning to strike lightly with the chisel, let fall the dust little by little, nor changed the nose a whit from what it was before. Then, looking down at the Gonfalonier, who stood watching him, he said, "Look at it now." "I like it better," said the Gonfalonier, "you have given it life." And so Michelagnolo came down, laughing to himself at having satisfied that lord, for he had compassion on those who, in order to appear full of knowledge, talk about things of which they know nothing.
When it was built up, and all was finished, he uncovered it, and it cannot be denied that this work has carried off the palm (2) from all other statues, modern or ancient, Greek or Latin; and it may be said that neither the Marforio at Rome, nor the Tiber and the Nile of the Belvedere, nor the Giants of Monte Cavallo, (3) are equal to it in any respect, with such just proportion, beauty and excellence did Michelagnolo finish it. For in it may be seen most beautiful contours of legs, with attachments of limbs and slender outlines of flanks that are divine; nor has there ever been seen a pose so easy, or any grace to equal that in this work, or feet, hands and head so well in accord, one member with another, in harmony, design, and excellence of artistry. And, of a truth, whoever has seen this work need not trouble to see any other work executed in sculpture, either in our own or in other times, by no matter what craftsman. Michelagnolo received from Piero Soderini in payment for it four hundred crowns; and it was set in place in the year 1504.
Translated by Gaston du C. de Vere
(2) Won the championship.
(3) All these are comparable ìgiants.î
This is an excerpt from Reading
About the World, Volume 1, edited by Paul Brians, Mary Gallwey, Douglas Hughes, Azfar Hussain, Richard Law, Michael Myers
Michael Neville, Roger Schlesinger, Alice Spitzer, and Susan Swan and published by
Harcourt Brace Custom Books.
This is an excerpt from Reading About the World, Volume 1, edited by Paul Brians, Mary Gallwey, Douglas Hughes, Azfar Hussain, Richard Law, Michael Myers Michael Neville, Roger Schlesinger, Alice Spitzer, and Susan Swan and published by Harcourt Brace Custom Publishing.
The reader was created for use in the World Civilization course at Washington State
University, but material on this page
may be used for educational purposes by permission of the editor-in-chief:
This is just a sample of Reading About the World, Volume 1. Reading About the World is now out of print. You can search for used copies using the following information:Paul Brians, et al. Reading About the World, Vol. 1, 3rd edition, Harcourt Brace College Publishing: ISBN 0-15-567425-0 or Paul Brians, et al. Reading About the World, Vol. 2, 3rd edition, Harcourt Brace College Publishing: ISBN 0-15-512826-4.
http://www.chambal.com/csin/9780155674257/ (vol. 1)
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