David (Michelangelo)

826: 810: 657: 752:, identified the probable cause of the cracks in its legs as a slight forward inclination of the statue that developed after the flood of 1844 in Florence. The statue being located outdoors in front of the Palazzo della Signoria (Palazzo Vecchio) from 1504 to 1873, this inclination likely occurred because of the "uneven subsidence and rotation of the statue's foundations". Further damage occurred with the additional weight placed on the statue when, in 1847, Clemente Papi made a plaster mould composed of more than 1,500 separate segments, some weighing as much as 680 kg. The sculpture was also inclined on other occasions, such as when it was moved in 1873 to its placement in the Galleria dell'Accademia, after which the tilt was corrected. 880: 868: 850: 838: 798: 1280: 735: 42: 1153: 987: 565: 5059: 5050: 8187: 1335:

scientists from the Consiglio Nazionale delle Ricerche (National Research Council) and the Opificio delle Pietre Dure, a government art-restoration department. They carried out tests and analyses and determined that the statue should be cleaned by poultices soaked in distilled water and applied to the sculpture's surface. Agnese Parronchi, the restorer originally selected by Florentine museums superintendent Antonio Paolucci, assessed the

6889: 1224:, calls the innovative installation of statues in the Piazza della Signoria in 16th-century Florence the "greatest public forum for the display of modern freestanding sculpture in Renaissance Italy", a reflection of the importance given in the city to upholding collective and personal honour. The pedestal created for Michelangelo's colossus was novel in this social context, installed as the terminus of the 1099:, a convention most completely developed in the arts – especially in the series of statues, from Donatello's to Michelangelo's, depicting him as the protector of his people. Having returned the armour given him by King Saul, and choosing to fight Goliath with his own weapons – a sling and a knife – David personified the citizen soldier of Florence, and the city's ability to defend itself with its own arms. 1399:. Papi, a master bronze caster, was experienced in making moulds and reproductions, and set about the project in the summer of 1847. He probably used wax to release the mould rather than oil or fat. This was less damaging than the encaustic wax used by Ricci in 1813, but residue from the gypsum of the plaster mould appears to be present in places where removing coatings is difficult, such as between the 970:

parts of the sculpture may have been accentuated in order to be visible from below. The small size of the genitals, though, is in line with his other works and with Renaissance conventions in general. The statue is unusually slender (front to back) in comparison to its height, which may be a result of the work done on the block before Michelangelo began carving it.

629:, which also embodied a theme of heroic resistance. It took four days to move it the half mile from the cathedral's workshop into the Piazza della Signoria. The statue was suspended in a wooden frame and rolled on fourteen greased logs by more than 40 men. Later that summer, the sling and tree-stump support were gilded, and the figure was given a gilt loin-garland. 776:. Measurements were made of such displacements on two days: Monday, 27 July and Tuesday, 28 July 2015; on Monday the Accademia is closed, while Tuesday is statistically the peak attendance day. Their results did not show a significant increase in the vibration amplitude on days the Accademia was open, compared to days it was closed. 427:

sketches, drawings and the making of small-scale terracotta or wax models. After these preliminary studies he went directly to sculpting the marble, using the method described by Vasari. He chiseled layer after layer from the main face of the stone, and then gradually more and more of the other sides. The unfinished state of the

950:; this classic pose causes both hips and shoulders to rest at opposing angles, giving a slight s-curve to the entire torso. The contrapposto stance is emphasized by the left leg stepping forward, and by the contrasting positions of the arms: the left arm raised with its hand to the shoulder and the other hand touching the thigh. 402:. Despite the precaution, the sculpture was damaged by stones, leaving still visible marks on the upper part of its back. Four youths from prominent Florentine families were subsequently arrested by the Otto di Guardia and all but one were imprisoned for what may have been simple vandalism without a political motive. 1085:(its aura, style, and excellence). The political overtones led to the statue being attacked twice in its early days. Protesters pelted it with stones the year it debuted, and, in 1527, an anti-Medici riot resulted in its left arm being broken into three pieces. Giorgio Vasari later claimed that he and his friend 1339:

s condition herself by examining hundreds of photographs and performing a series of tests. Consequently, she opposed the committee's pre-specified method, fearing further deterioration, and insisted that it should be cleaned dry, with soft brushes and motorized erasers. Paolucci demanded that she use

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was already situated, the pedestal apparently consisted of a sheath surrounding a core rather than a solid block of stone meant to support the weight of the statue. As it was architects who built and installed the pedestal, they have been credited entirely for its execution, but Brandt thinks it more

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In 1991, Piero Cannata, an artist whom the police described as deranged, attacked the statue with a hammer he had concealed beneath his jacket and damaged the second toe of the left foot. He later said that a 16th-century Venetian painter's model ordered him to do so. Cannata was restrained by museum

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where it would attract many visitors. The sculpture was secured in a wheeled wooden crate, and moved slowly across the city from 30 July to 10 August that year. Its 16th-century base, said to be decrepit in contemporary reports, was lost when the crate was disassembled. A model of the crate is in the

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belief that body and mind are separate, and must work in concert and strive to attain union with one another and with the divine. In later years, speaking of his early commissions sculpting marble, he contended that he was merely liberating figures that were already existent in the stone, and that he

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In Latin: 1501 die II.o Julii. Prefati omnes operarii et per tres fabas nigras ex relatu consulum deliberaverunt etc. (sic), quod quidem homo ex marmarmore (sic), vocato Davit, male abbozzatum et resupinum existentem (sic) in curte dicte Opere, et desiderantes tam dicti consules quam operarii dictum

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proposes that the node may have been a point, that is, a knob of marble left purposely by Agostino as a fixed reference for a mechanical transfer measuring off his statue from the model. Lavin suggests that Agostino's aborted attempt was the result of an error in his pointing system, and that if his

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Most of the cleaning involved distilled water, although mineral spirits were used to remove yellowish spots of centuries'-old beeswax. Parnigoni used plaster to fill considerable pitting on the marble's surface that was serving as dirt traps. Parnigoni also wielded a scalpel-like instrument to chip

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to support a sculptural colossus. Practical considerations such as the support's ability to bear the weight and the difficulty of installation were necessarily taken into account, but otherwise its dimensions and form were a matter of free discretion. Nevertheless, the pedestal was not an arbitrary

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are atypical of Michelangelo's work as well as of antique models; the figure has an unusually large head and hands (particularly apparent in the right hand). These enlargements may be due to the fact that the statue was originally intended to be placed on the cathedral roofline, where the important

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looks wary as he sizes up the giant Goliath before the battle has actually taken place. His brow is drawn, his neck tense, and the veins bulge out of his lowered right hand. His left hand holds a sling that is draped over his shoulder and down to his right hand, which holds the handle of the sling.

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Some scholars have suggested that the relative weakness caused by the cracks in its legs could make the statue vulnerable to the vibrations of foot traffic from visitors to the gallery. Nearly a million and a half tourists (about four thousand people each day it is open) visit the Accademia Gallery

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Three samples (F17G, F18G, and F19G), weighing on the whole about 120 mg, were available for the measurements. They all originate from the second toe of the left foot of the David, partly destroyed by an act of vandalism that occurred in 1991 The results of discriminant analysis carried out using

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in Latin: Spectabiles etc. viri Consules Artis Lane una cum dominis Operariis adunati in Audentia dicte Opere, elegerunt in sculptorem dicte Opere dignum magistrum Michelangelum Lodovici Bonarroti, civem florentinum, ad faciendum et perficiendum et perfecte finiendum quendam hominem vocato Gigante

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Michelangelo's statue is the best known and the most often reproduced of all the artistic works created in Florence. Later reproductions have been made in plaster and in simulated marble fibreglass, signifying an attempt to lend an atmosphere of culture even in some unlikely settings such as beach

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The gilt garland of leaves did not entirely negate the figure's erotic aura. Machiavelli penned a brief text in satirical vein describing the laws of an imaginary society devoted to seeking pleasure. Its people were required to violate all the normal rules of society and decorum, and were punished

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described it as "certainly a miracle that Michelangelo was able to raise up one who had died", and then listed all of the largest and most grand of the ancient statues that he had ever seen, concluding that Michelangelo's work surpassed "all ancient and modern statues, whether Greek or Latin, that

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is covered. Their macroscopic examination determined that the cavities have not resulted from deterioration of the stone, but rather that they can be attributed to the mineralogical structure of the marble taken from quarries in the Apuan Alps. The local quarrymen in their dialect call those less

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was commissioned in 1463 to create a terracotta figure of Hercules for the series, almost certainly under the supervision of Donatello, Paoletti writes that "The term 'hercules' may not be a specific indication of the subject of the figure but simply a synonym... used at the time for a 'giant' or

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On 25 January 1504, when the sculpture was nearing completion, Florentine authorities had to acknowledge there would be little possibility of raising the 5.17 metre high statue weighing approximately 8.5 tons to the roof of the cathedral. They convened a committee of 30 Florentine citizens that

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Because of the marble's surface degradation, on the eve of the 500th anniversary of the sculpture's unveiling in 2004 the statue was given its first major cleaning since 1843. A scientific committee was formed to advise in the restoration. The committee was composed of university professors and

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has been neglected in the literature as a component of Michelangelo's extraordinary achievement with his completion of the statue, and is usually not seen in photographs. The bases of most Renaissance statues have historically suffered a similar fate. When Michelangelo was young, pedestals were

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that his method was to chisel the parts in highest relief first, then gradually revealing the lower parts. According to Franca Falletti, the passage describes Michelangelo's process of working marble in general. Lengthy preparatory work was done before the actual sculpting began – this included

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The history of the statue of David begins before Michelangelo's work on it from 1501 to 1504. The commission was made during a decisive period in the history of the Florentine republic established after the expulsion of the Medici. The advantages of democratic government never materialized, and

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and magnifying lenses shows that the marble immediately surrounding the cavity may present milky white or greyish "halos" averaging a few millimetres wide. Many of them are completely or partly filled with various substances; this deposition is caused by the statue's exposure over centuries to

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s nakedness being more than merely a reference to the sculpture of antiquity that inspired the arts in the Italian Renaissance. Standing at the entrance to Florence's town hall, it had power as a political symbol, using an image of the sexualized human body to represent the corporality of the

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installation in front of the Palazzo della Signoria, certain adornments were added that have since disappeared: the stump and the strap of the sling were gilded, a vine of copper leaves was strung around the groin covering the genitals, and a laurel wreath of gilt bronze was added.

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the complete set of five variables, fully confirms these findings. The assignments of the David's marble to the Miseglia district and to the Fantiscritti quarries is supported by high values of the probability parameters, well above the thresholds set as limits of reliability.

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The Operai del Duomo had raised the block to an upright position prior to the first inspection of their purchase, but a scaffolding had to be built so that Michelangelo could reach every part. The artist, who made his steel chisels himself, began cutting the stone with the

934:, standing with most of its weight on his right foot and the other leg forward, effectively conveys to the viewer a sense of potential energy, the feeling that he is about to move. The statue is a Renaissance interpretation of a common ancient Greek theme of the standing 347:

and the Lords Overseers being met, have chosen as sculptor to the said Cathedral the worthy master, Michelangelo, the son of Lodovico Buonarrotti, a citizen of Florence, to the end that he may make, finish and bring to perfection the male figure known as the Giant, nine

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In 1991, the left foot of the statue was damaged by an unemployed Italian man named Piero Cannata, who was carrying a hammer he had hidden under his jacket and broke off the tip of the second toe. The samples obtained from that incident allowed scientists, utilising

312:, also a Florentine, was commissioned in 1476 to resume the work, but the contract was apparently rescinded, and the block lay neglected and exposed to the weather in the yard of the cathedral workshop for another twenty-five years. This was of great concern to the 982:

s sexual organs "the most disquieting genitals of Renaissance sculpture", referring to the manner in which the small bulge, typical of adolescence, frames a tuft of pubic hair that "supports a penis full of energy and displays the testicles, also full of vigour".

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was high up on the cathedral, its location was still in question. The commission, consisting of the most prominent artists of the day, debated in great detail the best placement for the colossal figure to be seen and appreciated, with consideration for its

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Museo di Casa Buonarroti, the house-museum in Florence's Via Ghibellina where Michelangelo lived. The statue was not placed in its permanent setting in the Accademia until 1882. The architect Emilio De Fabris, professor at the Accademia, designed a

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s centre of gravity. Nevertheless, FEM analysis suggests that the statue is stable in its current position and indicates that its forward inclination of 1 degree to 3 degrees has played a major part in the development of cracks in the ankles.

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As of 2024 temporary scaffolding is erected around the statue every two months and in an operation that takes a half a day, dust and spider's webs are removed using soft-bristled brushes of various sizes and a bristle tipped vacuum cleaner.

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decorative element that could be exchanged for another. In one sense it was an extension of the architectural surroundings, but its form responded to the figure it supports. Thereafter, pedestals would become integral parts of sculptures.

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abozatum, brachiorum novem ex marmore, existentem in dicta Opera, olim abozatum per magistrum Augustinum grande de Florentia, et male abozatum, pro tempore et termino annorum duorum proxime futurorum, incipiendorum kalendis septembris.

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that stood before the town hall, the Palazzo della Signoria. Considered within this framing of the performative and ritual functions of the city's important sites, pedestals expressed the will to do honour in public and sacred spaces.

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s feet, Michelangelo carved the stump of a tree on the back of the right leg, a device conventionally employed by sculptors in ancient times to help support the weight of a statue. In a contemporary document the stump was called

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Michelangelo regarded a single block of stone as containing all the possible conceptions for a work of art, and believed that the artist's task is sculpting the marble block to reveal the ideal form within, an expression of his

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consisted of a 12-member committee that organized competitions, chose the best entries, commissioned the prevailing artists, and paid for the finished work. Most of them were members of the influential woolen cloth guild, the

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Manetti, Giacomo; Bellucci, Marco; Nitti, Carmela; Bagnoli, Luca (February 2023). "A study of Michelangelo's David from an accountability perspective: Antecedents of dialogic accounting in the early Florentine Renaissance".

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and Pietro di Marco Parenti, a guard was placed to protect it from violence by other artists in Florence who had hoped for the commission. They were hostile to Michelangelo because of his bold request to the wardens of the

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the wet pack method instead, but Parronchi refused. After Parronchi resigned, restorer Cinzia Parnigoni undertook the job of restoring the statue under the direction of Franca Falletti, director of the Accademia Gallery.

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was recorded incorrectly and the mistake proliferated through many art history publications (434 cm, e.g. by Pope-Hennessy 1996 and Poeschke 1992). The accurate height was only determined in 1998–99 when a team from

356:, of Florence, and badly blocked; and now stored in the workshops of the Cathedral. The work shall be completed within the period and term of two years next ensuing, beginning from the first day of September ... 3518: 2006:

talem gigantem erigi et elevari in altum per magistros dicte Opere et in pedes stare, ad hoc ut videatur per magistros in hoc expertos possit absolvi et finiri. (AOD. Del. 1498–1507 fol. 36 b. Milanesi) p. 620.

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arose when, based on a legal review of historical documents, the municipality of Florence claimed ownership of the statue in opposition to the Italian Culture Ministry, which disputes the municipal claim.

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A naturalistic rendition of the nude human body, if rendered successfully, has an erotic aspect. Vasari alludes to the statue's sexual locus when he acclaims the figure's "very divine flanks". The flanks

2787:, Florence, 1839–40, 2: 454–463. For an English translation of the document, see Seymour 1967, 140–155, and for an analysis, see Levine 1974, 31–49; N. Randolph Parks, "The Placement of Michelangelo's 257:. They had plans long before Michelangelo's involvement to commission a series of twelve large sculptures of Old Testament prophets for the twelve spurs, or protrusions, generated by the four diagonal 912:

had shown the boy in mid-swing, even as Goliath's head rested between his legs, but no earlier Florentine artist had omitted the giant altogether. According to such scholars as Howard Hibbard,

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has become one of the most recognized works of Renaissance sculpture; a symbol of strength and youthful beauty. The colossal size of the statue alone impressed Michelangelo's contemporaries.

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Vasari on Technique: Being the Introduction to the Three Arts of Design, Architecture, Sculpture and Painting, Prefixed to the Lives of the Most Excellent Painters, Sculptors and Architects

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Pieraccini, Massimiliano; Betti, Michele; Forcellini, Davide; Dei, Devis; Papi, Federico; Bartoli, Gianni; Facchini, Luca; Corazzi, Riccardo; Kovacevic, Vladimir Cerisano (10 April 2017).

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from his moulds, one of which was given in 1857 by Leopold II to Queen Victoria of England. A decree by the Tuscan state on 2 October 1858 ordered the casting of the entire figure of the

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In 1500, an inventory of the cathedral workshops described the piece as "a certain figure of marble called David, badly blocked out and supine." A year later, documents showed that the

672:, which can possibly be attributed to an uneven sinking of the ground under the massive statue. In 1873, it was removed from the piazza to protect it from damage, and was moved to the 1265:

solution that removed the encaustic coating and left the marble surface pitted and porous, damaging the statue far more than the weathering it had suffered in the previous 400 years.

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was conceived as politically controversial before Michelangelo began work on it, as well as an artistic response to that earlier work. While the originally intended location for the

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The said Michelangelo began to work on the said giant on the morning of 13 September 1501, although a few days earlier, on 9 September, he had with one or two blows of the chisel (

1032:. An artistic deviation from what very likely would have been accurately portrayed as a circumcised penis, it is in keeping with the conventions of Renaissance art, in which the 764:

s right leg rests, are the most worrisome of those in the statue. The left ankle and the area where the left heel and the base are attached also show cracks of critical concern.

6626: 6218: 237:'s successors and their supporters were a constant threat to the republic, and it was in defiance of the menace they represented that the project of a marble David was renewed. 693:

patrons until the police arrived. Fragments fell to the floor, and three tourists were caught by guards as they were trying to leave the gallery with pieces in their pockets.

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The statue sent to Queen Victoria was intended as a diplomatic gesture by Duke Leopoldo II to assuage any ill feelings caused by his refusal to allow the sending of a notable

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David the giant-killer had long been seen as a political symbol in Florence, and images of the biblical hero already carried political implications there. Donatello's bronze

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were determined to find an artist who could take this large piece of marble and turn it into a finished work of art. They ordered that the block of stone, which they called

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painting from Florence to London. Apparently Queen Victoria was surprised to receive such a gift, and gave the statue to the newly opened South Kensington Museum, now the

1347:(Università di Siena) performed an investigation of the small cavities, about a millimetre in diameter and of irregular distribution, with which the marble surface of the 1173:

seldom a matter of much consideration to the sculptor; free‑standing sculpture executed by contemporaries was rare and was made to surmount antique or new columns.

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that he deserved the commission. On 16 August 1501, Michelangelo was given the official contract to undertake this task. It said (English translation of the Latin text):

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and model railroads. Some parody reproductions feature uncharacteristic embellishments, such as a 1966 reproduction, called “Leather David”, that captured attention in

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away at what looks like age spots – blotches of sulfate deposits that were first blamed by the experts on pollution but later attributed to restorations centuries ago.

1064:, where it symbolized the Republican government of the city. According to Levine, by placing Michelangelo's statue in the same general location, it is likely that the 3209:"a man the police described as deranged, broke part of a toe with a hammer, saying a 16th century Venetian painter's model ordered him to do so." Cowell, Alan. 689:, towards the apse, where it was bathed in light that streamed in through windows in the dome above. A replica was placed in the Piazza della Signoria in 1910. 207:. Because of the nature of the figure it represented, the statue soon came to symbolize the defence of civil liberties embodied in the 1494 constitution of the 5658: 2395: 773: 8258: 2948: 1406:

This cast was to be moved to various locations in the city to determine their suitability for the statue. Papi first made two plaster replicas of the marble

308:, and possibly hollowing a hole between the legs. For unknown reasons his work on the block of marble halted with the death of his master Donatello in 1466. 1437:

of Florence where it resides in the Gipsoteca (Gallery of Plaster Casts) of the Istituto Statale d'Arte, has been used to make all subsequent casts of the

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fell off a barge into the river Arno as it was being transported to Florence. Vasari wrote that it had jumped into the river in despair when it heard that

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He began carving the statue early in the morning on 13 September, a month after he was awarded the contract. The contract provided him a workspace in the

5668: 1168:, that it is the support, not the statue itself that decides the monumentality of a work of sculpture. She describes how the pedestal that supports the 482:, a serrated claw chisel whose marks are seen in his unfinished sculptures, the basic form of the statue was emerging from the matrix. When he sculpted 316:

authorities, as such a large piece of marble was not only costly, but represented considerable labour and difficulty in its transportation to Florence.

1456:'s apparent shock upon first viewing the statue's nudity, and was hung on the figure by means of two strategically placed hooks prior to royal visits. 1253:

recommended in 1842 that a thorough conservation of the statue should be performed, and, like most of the advisory committee formed in 1504, that the

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in earnest has been interpreted by historians as a knot of drapery, based on the surmise that Agostino di Duccio's figure was intended to be clothed.

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objects by photographing sculptures by Michelangelo and found that the sculpture was considerably taller than any of the sources had indicated. See

6104: 458:. It came from the old Roman Fantiscritti quarry at the centre of the Carrara marble basins, and had been transported by oxen-pulled carts to the 4547: 3440: 3305: 2376: 1933: 3441:"Crack assessment in marble sculptures using ultrasonic measurements: Laboratory tests and application on the statue of David by Michelangelo" 3304:

Corti, Giacomo; Costagliola, Pilario; Bonini, Marco; Benvenuti, Marco; Pecchioni, Elena; Vaiani, Alberto; Landucci, Francesco (January 2015).

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Carteggio inedito d'artisti dei secoli 14., 15., 16. pubblicato ed illustrato con documenti pure inediti dal dott. Giovanni Gaye: 1500-1557. 2

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from the Fantiscritti quarry. He began work on the statue but got only as far as beginning to shape the torso, legs, and feet, roughing out

8273: 8115: 6662: 4675: 4611: 585:. While nine different locations for the statue were discussed, the majority of members seem to have been closely split between two sites. 1276:, along with Michelangelo's other sculptures in the Accademia, was packed in sand and entombed in brick to protect it from being damaged. 1241:

s physical state by the middle of the 19th century. A cleaning of the statue had apparently occurred about 1746, and in 1813 the sculptor

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contracted Agostino to create a marble sculpture of the young David, a symbol of Florence, to be mounted high on the eastern end of the

6323: 6245: 1144:. As a civic metaphor, it resonated with the everyday life experiences of 16th-century Florentine people among all the social classes. 327:(the giant), be "raised on its feet" so that a master experienced in this kind of work might examine it and express an opinion. Though 2614: 1128:

with even more pleasurable tasks if they failed to satisfy these demands. For example, women offenders would be forced to gaze at the

825: 809: 8288: 5886: 938:. In the Renaissance, contrapposto poses were thought of as a distinctive feature of antique sculpture, initially manifested in the 276:, gessoed and painted white to give it the appearance of marble at a distance. Although Charles Seymour Jr says Donatello's protégé 176:

was originally commissioned as one of a series of statues of twelve prophets to be positioned along the roofline of the east end of

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Encountering the Renaissance: Celebrating Gary M. Radke and 50 Years of the Syracuse University Graduate Program in Renaissance Art

378: 4647:"Studies of the marble and the conservation environment | The meaning of the taroli on the marble surface of Michelangelo's David" 1135:

According to Paoletti, a naked colossus situated in the primary public space of the city was necessarily politically charged, the

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Miccinesi, Lapo; Beni, Alessandra; Monchetti, Silvia; Betti, Michele; Borri, Claudio; Pieraccini, Massimiliano (26 March 2021).

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marked a pivotal event in the history of pedestals: the first still existent use in the Renaissance of an antique architectural

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is the Italian word generally used for the supports of sculpture; these and other kinds of pedestals were customarily made by

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Kathleen Weil-Garris Brandt makes the case that pedestals are of great significance for Renaissance sculpture, and, following

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L'art et les révolutions: Conférences plénières | Tirage à part Strasbourg 1990 Congres International de histoire de l'art

474:, a heavy, pointed iron tool used to rough out the main mass, before he employed the two-toothed shorter blade called the 8313: 8278: 8263: 7260: 6773: 6229: 1378: 189: 7098: 1434: 8318: 8163: 7342: 6966: 6932: 6258: 6012: 5879: 5865: 3210: 2128: 1388: 624: 4645:

Giamello, Marco; Guasparri, Giovanni; Mugnaini, Sonia; Sabatini, Giuseppe; Meccheri, Marco; Dumas, Fiorenzo (2004).

4310:"On Pedestals: Michelangelo's David, Bandinelli's Hercules and Cacus and the Sculpture of the Piazza della Signoria" 4309: 2210:

Bambach, Carmen C.; Barry, Claire; Caglioti, Francesco; Elam, Caroline; Marongiu, Marcella; Mussolin, Mauro (2017).

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s damaged left foot, caused by exposure to the elements and the 1991 incident when a man vandalized it with a hammer

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the next year. His intention had always been to cast a bronze replica, and this cast was eventually raised on the

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conjecture is correct, it may illuminate a note added in the margin next to the passage in the commission giving

292:. This was to be formed in the Roman manner from several blocks of marble, but in 1465 Agostino himself went to 7552: 7133: 7108: 6316: 5423: 5111: 1249:, consisting of beeswax, possibly mixed with linseed oil, to its surface as a protective coating. The sculptor 4589: 7481: 7276: 7235: 7010: 5907: 5900: 5814: 5744: 5472: 5457: 5430: 5332: 2021:

Il duomo di Firenze: documenti sulla decorazione della chiesa e del campanile tratti dall'archivio dell'opera

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On 11 June 1504, the architects in charge of the transportation of the statue to the Palazzo della Signoria,

740: 149: 7043: 6132: 8283: 8132: 7972: 7088: 7083: 6768: 6118: 5928: 5800: 5551: 1089:, although just boys, braved the violence and saved the pieces, storing them in Silviati's father's house. 1086: 2045: 7329: 7154: 6837: 6648: 6224: 6054: 5921: 5012: 3639: 1560: 1060:

in 1494, when the Medici were exiled from Florence, and the statue was installed in the courtyard of the

5840: 2883: 2684: 2464: 1672: 678: 7534: 7486: 7337: 7058: 6993: 6709: 6610: 6600: 6504: 6207: 5304: 2691: 1430: 673: 248:, the organization charged with the construction and maintenance of the new Cathedral of Florence. The 185: 102: 8298: 8253: 7529: 7309: 6574: 6309: 3306:"Modelling the failure mechanisms of Michelangelo's David through small-scale centrifuge experiments" 2910: 2380: 897: 8303: 7583: 7440: 7123: 7073: 7068: 7063: 6795: 6738: 1242: 4828: 3970:

Butterfield, Andrew (1995). "New Evidence for the Iconography of David in Quattrocento Florence".

7648: 7613: 7476: 7319: 7229: 7194: 7118: 7113: 7093: 7038: 6983: 6859: 6820: 6555: 6282: 6043: 5399: 5161: 4990: 4936: 3710: 2678: 2645:"Bozzetti and Modelli | Notes on Sculptural Procedure from the Early Renaissance through Bernini" 1734: 1505: 493:

Michelangelo did without flat chisels in his sculpturing, and brought his pieces to the state of

395: 8032: 7986: 6519: 5480: 4619: 335:

was also keen to get the commission, it was Michelangelo, at 26 years of age, who convinced the

117: 8013: 7225: 7138: 6561: 6526: 6432: 6048: 5873: 5567: 5512: 5465: 5062: 3482: 5241:. An Introduction to Italian Sculpture. Vol. III (Revised 4th ed.). London: Phaidon. 4646: 4562: 4506: 4409: 4382: 4355: 4236: 4207: 4149: 3944: 3666: 3411: 3111:

Borri, A. (2006). "Diagnostic analysis of the lesions and stability of Michelangelo's David".

3083: 2990: 2963: 2587: 2160: 1959: 1911: 1855: 1738: 1625: 879: 867: 849: 837: 797: 756:

crack assessment tests carried out by Pascale and Lolli in 2014 determined that cracks in the

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would be carving it rather than Michelangelo, to whom the commission for a colossal statue of

215:

threatened on all sides by more powerful rival states and by the political aspirations of the

8108: 8055: 7739: 7430: 7383: 7362: 7347: 7281: 7209: 7189: 7184: 7078: 7028: 6915: 6457: 6387: 6277: 6181: 6161: 6111: 5737: 5712: 5626: 5385: 5297: 4905: 4878: 4851: 4787: 4728: 4701: 4436: 4178: 4053: 3859: 3832: 3805: 3755: 3683: 3612: 3544: 3228: 3056: 2942: 2706: 2548: 2521: 2494: 2437: 2241: 2211: 2184: 2019: 1884: 1826: 1772: 1526: 1419: 1112: 601: 382: 234: 3784:

Le vite de' più eccellenti pittori, scultori e architettori nelle redazioni del 1550 e 1568,

2349: 1627:

The Machiavellian Moment: Florentine Political Thought and the Atlantic Republican Tradition

920:

his battle with Goliath. Rather than being shown victorious over a foe much larger than he,

8195: 8140: 7943: 7678: 7673: 7314: 7301: 7033: 6978: 6844: 6723: 6422: 5893: 5675: 5577: 5437: 5417: 4475: 3356: 3273: 1600: 1426: 1392: 1237:

Officials responsible for the artistic heritage of Florence had become concerned about the

1213: 1185: 1049: 589: 208: 2658:. Akten des 21. internationalen Kongresses für Kunstgeschichte in Bonn 1964: 93–94, 97–98. 1387:

has stood on display at Florence's Galleria dell'Accademia since 1873. On 29 August 1846,

1181:, that is, professional carvers of architectural ornament, or ideally by other sculptors. 8: 8248: 7714: 7576: 7445: 7435: 7240: 7179: 7023: 6961: 6944: 6810: 6683: 6487: 6156: 5696: 5689: 3514: 3259:"Ground Penetrating Radar Survey of the Floor of the Accademia Gallery (Florence, Italy)" 2674: 1344: 1279: 909: 722:. These observations have shown that in its present vertical orientation, with the basal 719: 169: 41: 6033: 5751: 4479: 3360: 3277: 3230:

The Cults of Raphael and Michelangelo: Artistic Sainthood and Memorials as a Second Life

3088:

The Cults of Raphael and Michelangelo: Artistic Sainthood and Memorials as a Second Life

978:) frame this part of the body, the nexus of its carnality. Antonio Forcellino calls the 748:

In 2006, Borri and Grazini, using historical analysis and a finite element model of the

619:

was installed next to the entrance to the Palazzo della Signoria, replacing Donatello's

454: 8190: 8061: 8007: 7965: 7806: 7668: 7378: 7357: 7352: 7255: 7199: 7174: 6910: 6728: 6452: 6407: 6392: 6269: 6028: 6008: 5807: 5682: 5633: 5557: 5234: 4965: 4108: 4100: 4034: 3987: 3911: 3886: 3733: 3593: 3387: 3344: 2834: 2766: 2418: 2291: 1996: 1716: 1608: 1593: 1488: 1468: 1258: 1246: 1165: 1152: 901: 391: 309: 277: 177: 5759: 5279: 4269:"'… con uno inbasamento et ornamento alto': The Rhetoric of the Pedestal c. 1430-1550" 523:(dog's tooth). They found no evidence of Michelangelo using flat chisels in the work. 8093: 8085: 8075: 8019: 7709: 7663: 7557: 7539: 7503: 7466: 7404: 7286: 6949: 6920: 6805: 6371: 5505: 5220: 5199: 5107: 5086: 5017: 4969: 4911: 4884: 4857: 4799: 4766: 4734: 4707: 4654: 4568: 4518: 4442: 4415: 4388: 4361: 4329: 4287: 4244: 4215: 4186: 4157: 4137:. Société alsacienne pour le développement de l'histoire de l'art. pp. 135, 137. 4112: 4059: 4026: 3950: 3916: 3865: 3838: 3811: 3787: 3763: 3737: 3689: 3645: 3618: 3585: 3552: 3463: 3419: 3392: 3374: 3234: 3178: 3148: 3091: 3062: 3035: 2996: 2969: 2889: 2862: 2826: 2758: 2714: 2620: 2593: 2554: 2527: 2500: 2470: 2443: 2414: 2355: 2323: 2283: 2247: 2217: 2190: 2124: 2087: 2051: 1988: 1890: 1863: 1834: 1805: 1778: 1746: 1720: 1678: 1631: 1566: 1532: 1525:

Paolucci, Antonio (2004). Bracci, Susanna; Falletti, Franca; Matteini, Mauro (eds.).

1262: 1250: 646: 578: 328: 130: 2422: 986: 8148: 7791: 7729: 7658: 7628: 7618: 7471: 7399: 7018: 6971: 6743: 6733: 6671: 6605: 6467: 6402: 6332: 6191: 6166: 5948: 5640: 5584: 5185: 4955: 4513:. In Bracci, Susanna; Falletti, Franca; Matteini, Mauro; Scopigno, Roberto (eds.). 4483: 4384:

Michelangelo's Mountain: The Quest For Perfection in the Marble Quarries of Carrara

4321: 4283: 4092: 4018: 3979: 3906: 3898: 3725: 3455: 3382: 3364: 3320: 3281: 3120: 2926: 2922: 2818: 2750: 2496:

Michelangelo's Mountain: The Quest For Perfection in the Marble Quarries of Carrara

2466:

Michelangelo's Mountain: The Quest For Perfection in the Marble Quarries of Carrara

2410: 2116: 1708: 1323:. The chemists and spectroscopists who conducted these tests say the marble of the 734: 620: 597: 332: 165: 4703:

Western European Museums and Visual Persuasion: Art, Edifice, and Social Influence

8170: 8068: 7979: 7508: 7493: 7420: 7244: 7204: 6998: 6876: 6866: 6854: 6849: 6748: 6699: 6447: 6427: 6412: 6346: 6212: 6176: 6171: 6038: 6004: 5619: 5283: 5214: 5130: 5101: 5080: 4760: 3459: 3369: 3324: 3172: 3124: 3029: 2856: 2313: 2120: 1799: 1221: 1095:

wrote of the long Florentine tradition that represented David as defender of the

1061: 896:

is unlike that of earlier Renaissance depictions of David. The bronze statues by

609: 605: 593: 254: 216: 181: 4540:"Michelangelo's 'David' Gets Spruced Up for His 500th Birthday (Published 2004)" 4464:"The marble of the David of Michelangelo: A multi-method analysis of provenance" 4325: 8156: 8122: 7760: 7724: 7683: 7513: 7425: 6937: 6620: 6437: 6397: 6186: 5861: 5703: 5377: 5255: 5250:. Mellon Studies in the Humanities. Pittsburgh: University of Pittsburgh Press. 4930:

That "typical examples of kitsch include fridge magnets showing Michelangelo’s

3902: 3791: 2309: 2108: 1453: 1257:

be moved to the Loggia della Signoria for its protection. In 1843 the sculptor

958: 705: 459: 419: 399: 73: 5273: 4676:"'Dust is everywhere': rare glimpse of how Michelangelo's David is kept clean" 4487: 4096: 1712: 572:

in front of the Palazzo Vecchio before 1873, with a leaf covering his genitals

8242: 8224: 8211: 8048: 7994: 7955: 7887: 7877: 7638: 7498: 7461: 7291: 6988: 6832: 6815: 6758: 6567: 6482: 6442: 6417: 5719: 5605: 4960: 4943: 4590:"Inglorious Restorations | Destroying old masterpieces in order to save them" 4333: 4030: 3589: 3467: 3378: 2911:"Donatello's Bronze David and Judith as Metaphors of Medici Rule in Florence" 2830: 2762: 2287: 1992: 1484: 1361: 935: 638: 564: 386: 161: 7927: 7719: 7053: 6925: 6790: 6615: 6356: 5544: 5320: 5069: 4985: 3920: 3396: 1296: 1269: 1141: 1033: 1029: 1006: 930: 535: 412: 153: 52: 3345:"Radar detection of pedestrian-induced vibrations on Michelangelo's David" 1471:

for a week. Photographs of the installation reveal the statue the way the

1414:, which Papi completed in August 1866, sending the finished statue to the 94:

517 cm × 199 cm (17 ft × 6.5 ft)

8101: 6825: 5612: 5598: 5591: 5537: 5049: 2319: 1304: 1092: 943: 701: 653:

at the entrance to the Palazzo della Signoria had originally been given.

145: 4104: 4080: 3597: 3573: 2000: 1976: 385:

over the course of four days, as reported by two contemporary diarists,

7949: 7902: 7831: 7623: 6778: 6704: 5821: 4038: 4007:"The Location of Michelangelo's David: The Meeting of January 25, 1504" 4006: 3991: 3286: 3141:

Paolucci, Antonio; Amendola, Aurelio; Buonarroti, Michelangelo (2006).

2838: 2807:"The Location of Michelangelo's David: The Meeting of January 25, 1504" 2806: 2770: 2739:"The Location of Michelangelo's David: The Meeting of January 25, 1504" 2738: 1025: 1002: 939: 753: 612:, was that the sculpture should be situated in front of the cathedral. 495: 297: 273: 212: 6640: 4462:

Attanasio, Donato; Platania, Rosario; Rocchi, Paolo (September 2005).

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horizontal, the centre of gravity of the base does not align with the

7959: 7912: 7882: 7856: 7796: 7599: 7128: 6541: 6477: 6472: 6351: 6059: 2394:

Rusbult, Caryl; Finkel, Eli J.; Kumashiro, Madoka (1 December 2009).

2271: 1422:

in 1875 to commemorate the fourth centenary of Michelangelo's birth.

1102:

Rather than placing Goliath's severed head between or underneath the

499:

almost entirely with toothed chisels. During the 2003 restoration of

265: 233:

internal circumstances grew worse as dangers from without increased.

5280:"Principal resigns after Florida students shown Michelangelo statue" 4022: 3983: 3510:"Florence vs Italy: Michelangelo's David at centre of ownership row" 2822: 2754: 2075: 1977:"Studien zu Michelagniolo Buonarroti und zur Kunst seiner Zeit. III" 1674:

Past-Present: Essays on Historicism in Art from Donatello to Picasso

7892: 7653: 7643: 6694: 6675: 6301: 6139: 4463: 3729: 3668:

Italy Through the Stereoscope: Journeys in and about Italian Cities

3549:

Michelangelo, Selected Scholarship in English: Life and Early Works

1860:

Michelangelo, Selected Scholarship in English: Life and Early Works

1464: 1452:

which is displayed nearby. The fig leaf was created in response to

1449: 1316: 1225: 1057: 1014: 991: 831:

Back view with the sling running down his spine into his right hand

668:

In the mid-1800s, small cracks were noticed on the left leg on the

258: 204: 106: 2272:"Michelangelo in Florence: 'David' in 1503 and 'Hercules' in 1506" 1391:

commissioned Clemente Papi, a student of Stefano Ricci, to make a

700:

has been monitored and evaluated since 2000 using high-resolution

268:

had made the first of the series of statues, a colossal figure of

7897: 7811: 7801: 6361: 4644: 2677:

went to Florence to try out a project on digitally imaging large

1743:

The Nature of Creativity: Contemporary Psychological Perspectives

1328: 1320: 1300: 1119:– a dead branch of laurel sprouting new green growth. Soon after 905: 772:. In 2015, Pieraccini et al. measured its dynamic movements with 714: 305: 293: 5216:

Michelangelo and His World: Sculpture of the Italian Renaissance

4649:. In Bracci, Susanna; Falletti, Franca; Matteini, Mauro (eds.). 3174:

Michelangelo and His World: Sculpture of the Italian Renaissance

2858:

Michelangelo and His World: Sculpture of the Italian Renaissance

374:

per month, and allowed him two years to complete the sculpture.

7917: 7851: 7846: 7836: 7770: 7734: 7688: 7633: 6871: 6366: 6219:

Lives of the Most Excellent Painters, Sculptors, and Architects

5289: 3644:. Berkeley : University of California Press. p. 116. 3303: 1480: 1312: 1308: 803:

His slender profile and elegant lines of the arms from the left

723: 686: 462:, whence it was carried on barges dragged by oxen up the river 369: 269: 261:

that helped support the enormous weight of the cathedral dome.

6888: 5013:"Finding Fe-Be's - Rediscovering the history of an iconic bar" 1677:. Berkeley : University of California Press. p. 52. 180:, but was instead placed in the public square in front of the 7922: 7907: 7872: 7821: 7765: 7693: 2377:"The Process of Artistic Creation in Terms of the Non-finito" 1475:

who commissioned the work originally expected it to be seen.

1245:

gave the statue a gentle cleaning and applied a thin coat of

352:

in height, already blocked out in marble by Maestro Agostino

200: 196: 84: 7568: 4505:

Attanasio, Donato; Rocchi, Paolo; Platania, Rosario (2004).

4498: 3342: 2783:

The minutes of the meeting were published in Giovanni Gaye,

2553:. Translated by Maclehose, Louisa S. J.M. Dent. p. 48. 1547:

in Florence's Accademia is young Michelangelo's masterpiece.

1132:

closely, "with eyeglasses" (a notable product of the city).

8025: 7841: 7826: 7816: 7786: 7755: 5103:

Renaissance Rivals: Michelangelo, Leonardo, Raphael, Titian

5082:

From Marble to Flesh: The Biography of Michelangelo's David

4907:

Michelangelo's David: Florentine History and Civic Identity

4853:

Michelangelo's David: Florentine History and Civic Identity

4762:

From Marble to Flesh: The Biography of Michelangelo's David

4651:

Exploring David: Diagnostic Tests and State of Conservation

4515:

Exploring David: Diagnostic Tests and State of Conservation

4455: 4411:

Michelangelo's David: Florentine History and Civic Identity

4357:

Michelangelo's David: Florentine History and Civic Identity

4241:

Michelangelo's David: Florentine History and Civic Identity

4212:

Michelangelo's David: Florentine History and Civic Identity

4154:

Michelangelo's David: Florentine History and Civic Identity

3416:

Michelangelo's David: Florentine History and Civic Identity

3256: 3031:

From Marble to Flesh: The Biography of Michelangelo's David

2589:

Il Gigante: Michelangelo, Florence, and the David 1492–1504

2243:

Michelangelo's David: Florentine History and Civic Identity

2113:

Michelangelo's David: Florentine History and Civic Identity

1886:

Michelangelo's David: Florentine History and Civic Identity

1831:

Michelangelo's David: Florentine History and Civic Identity

1801:

From Marble to Flesh: The Biography of Michelangelo's David

1697: 1528:

Exploring David: Diagnostic Tests and State of Conservation

1448:

at the Victoria and Albert Museum has a detachable plaster

1200:(underneath and around the feet of the giant). Because the 463: 156:. With a height of 5.17 metres (17 ft 0 in), the 4183:

The Beholder: The Experience of Art in Early Modern Europe

3760:

The Beholder: The Experience of Art in Early Modern Europe

3140: 2387: 904:

represented the hero standing victorious over the head of

4303: 4301: 4299: 4297: 4128:"David's Sling and Michelangelo's Bow: a Sign of Freedom" 3338: 3336: 3334: 2692:"A 3D computer model of the head of Michelangelo's David" 2439:

David's Sling: A History of Democracy in Ten Works of Art

664:

from Piazza della Signoria to the Galleria dell'Accademia

490:, a drill worked with a bow, like the ancient sculptors. 438:

The massive block of white marble that was to become the

192:

was installed at the original site on the public square.

4179:"Michelangelo's works in the eyes of his contemporaries" 3756:"Michelangelo's works in the eyes of his contemporaries" 3578:

Mitteilungen des Kunsthistorischen Institutes in Florenz

3252: 3250: 2209: 2203: 1009:, is in keeping with the conventions of Renaissance art. 530:

that Michelangelo chiseled away before he began work on

4986:"Thirty Years of Collecting Art that Tells Our Stories" 4504: 4461: 3574:"The Sources of the Young David by Andrea del Castagno" 3136: 3134: 2152: 1651:

Seymour, Charles Jr. (1967). "Prehistory and Genesis".

1467:

on a corner of the north tribune below the roofline of

1220:

Alison Wright, drawing on the work of social historian

577:

included many artists, including Leonardo da Vinci and

4294: 3331: 2393: 1903: 519:, as well as marks from a smaller-toothed chisel, the 5179:

Levine, Saul (1974), "The Location of Michelangelo's

4730:

Michelangelo: A Reference Guide to His Life and Works

3439:

Pascale, Giovanni; Lolli, Antonio (1 November 2015).

3247: 3058:

Michelangelo: A Reference Guide to His Life and Works

3009: 2567: 1552: 1365:

atmospheric agents or to past restoration processes.

4638: 3299: 3297: 3131: 2159:

Buonarroti, Michelangelo; Milanesi, Gaetano (1875).

1910:

Buonarroti, Michelangelo; Milanesi, Gaetano (1875).

1559:

Buonarroti, Michelangelo; Paolucci, Antonio (2006).

3884: 2652:

Stil und Überlieferung in der Kunst des Abendlandes

1981:

Jahrbuch der Königlich Preussischen Kunstsammlungen

1727: 240:The Overseers of the Office of Works, known as the 5151:Hirst, Michael (2000), "Michelangelo in Florence: 5123:Michelangelo and the Reinvention of the Human Body 4511:marble: new evidence supporting an old hypothesis" 4349: 4347: 4345: 4343: 4307: 3508: 2488: 2486: 2158: 2082:. In Bourne, Molly; Coonin, Arnold Victor (eds.). 1909: 1777:. University of California Press. pp. 12–13. 1558: 1356:and those several millimetres or larger they call 4754: 4752: 4750: 4243:. Cambridge University Press. pp. 183, 197. 3294: 2982: 2965:The Expanding Discourse: Feminism And Art History 2947:: CS1 maint: DOI inactive as of September 2024 ( 2875: 2850: 2848: 2785:Carteggio inedito d'artisti del sec. XIV, XV, XVI 2711:Making and Moving Sculpture in Early Modern Italy 2523:Elementary Instructions for Students of Sculpture 2235: 2233: 1766: 1764: 1762: 1691: 8240: 6105:Study of a Kneeling Nude Girl for The Entombment 6086: 5262:(? ed.). London: Penguin. pp. 325–442. 4554: 4374: 4214:. Cambridge University Press. pp. 180–181. 2069: 2067: 1733: 1588:See, for example, Donatello's two sculptures of 478:. By the time he began to use the three-toothed 4897: 4843: 4779: 4581: 4401: 4340: 4228: 4199: 4141: 3943:Steinberg, Leo (2018). Schwartz, Sheila (ed.). 3685:Michelangelo: The Artist, the Man and his Times 3538: 3536: 3403: 3166: 3164: 3075: 2483: 2343: 2341: 2339: 1307:analysis simultaneously, to determine that the 637:In 1525 the block of marble intended to be the 486:s hair and the pupils of his eyes, he used the 172:, a precedent for the 16th century and beyond. 5239:Italian High Renaissance and Baroque Sculpture 4856:. Cambridge University Press. pp. 77–78. 4747: 4045: 3851: 3749: 3747: 2885:Italian High Renaissance and Baroque sculpture 2845: 2795:, 57 (1975) 560–570; and Goffen 2002, 123–127. 2322:. Penguin Publishing Group. pp. 337–339. 2246:. Cambridge University Press. pp. 96–97. 2230: 1876: 1818: 1759: 7584: 6656: 6317: 5305: 4706:. Cambridge Scholars Publishing. p. 96. 4693: 4603: 4428: 4262: 4260: 4170: 3936: 3711:"Bellotto's Blunder and Michelangelo's David" 3631: 3565: 3048: 2988: 2888:. New York : Vintage Books. p. 12. 2881: 2732: 2730: 2606: 2513: 2456: 2064: 1927: 1925: 1923: 1847: 1657:. University of Pittsburgh Press. p. 26. 1459:On 12 November 2010, a fibreglass replica of 608:). Another opinion, shared by Botticelli and 284:Ready to continue their project, in 1464 the 4796:Michelangelo's David: A Masterpiece Restored 4720: 4438:Michelangelo's David: A Masterpiece Restored 4314:Römisches Jahrbuch der Bibliotheca Hertziana 4072: 4052:Rubin, Patricia Lee; Rubin, Maurice (1995). 3998: 3949:. University of Chicago Press. p. 182. 3824: 3797: 3533: 3438: 3432: 3220: 3161: 2798: 2638: 2636: 2351:Michelangelo's David: A Masterpiece Restored 2336: 2265: 2263: 2178: 2176: 2100: 1791: 1644: 503:, Italian researchers observed marks of the 435:must have been sculpted in the same manner. 377:When the finished statue was moved from the 5248:Michelangelo's David: A Search for Identity 4870: 4560: 4531: 4414:. Cambridge University Press. p. 107. 4360:. Cambridge University Press. p. 104. 4156:. Cambridge University Press. p. 155. 3969: 3744: 3675: 3658: 3604: 3418:. Cambridge University Press. p. 114. 2698: 2682: 2403:Current Directions in Psychological Science 2213:Michelangelo: Divine Draftsman and Designer 2165:. Successori Le Monnier. pp. 620–623. 1770: 1745:. Cambridge University Press. p. 335. 1666: 1664: 1654:Michelangelo's David: A Search for Identity 1630:. Princeton University Press. p. 103. 1518: 7591: 7577: 6663: 6649: 6324: 6310: 6246:Restoration of the Sistine Chapel frescoes 5312: 5298: 5196:Michelangelo Inside and Outside the Uffizi 4910:. Cambridge University Press. p. 17. 4257: 4051: 3857: 3702: 3688:. Cambridge University Press. p. 63. 3021: 2989:Paoletti, John T.; Radke, Gary M. (2005). 2955: 2727: 2540: 2469:. New York : Free Press. p. 94. 2429: 2368: 2302: 2216:. Metropolitan Museum of Art. p. 70. 2109:"The David and Sculpture at the Cathedral" 2037: 1920: 1916:. Successori Le Monnier. pp. 620–623. 1889:. Cambridge University Press. p. 63. 1833:. Cambridge University Press. p. 58. 1013:Commentators have noted the presence of a 744:(1560 and 1574) and other sculptural works 40: 8259:Sculptures in the Galleria dell'Accademia 5887:The Creation of the Sun, Moon, and Plants 4959: 4941: 4673: 4587: 4380: 4119: 3946:Michelangelo's Sculpture: Selected Essays 3942: 3910: 3885:Strauss, R. M.; Marzo-Ortega, H. (2002). 3834:Michelangelo's Nose: A Myth and Its Maker 3671:. Underwood & Underwood. p. 449. 3637: 3571: 3542: 3386: 3368: 3285: 3205: 3203: 3144:Michelangelo's David: From Symbol to Myth 2902: 2633: 2612: 2519: 2492: 2462: 2260: 2173: 2086:. WAPACC Organization. pp. 116–120. 2011: 1827:"The Commission and History of the David" 1617: 1205:likely to have been Michelangelo's idea. 1039: 1024:penis, which may appear at odds with the 779:In 2010, a dispute over the ownership of 6903: 6764:Museo Nazionale Alinari della Fotografia 5212: 5010: 4903: 4849: 4812: 4785: 4733:. Rowman & Littlefield. p. 63. 4699: 4434: 4407: 4353: 4234: 4205: 4147: 4081:"Machiavelli, Michelangelo, and "David"" 4078: 3830: 3551:. Taylor & Francis. pp. 85–87. 3480: 3409: 3226: 3170: 3081: 3061:. Rowman & Littlefield. p. 20. 2854: 2579: 2347: 2239: 2186:Michelangelo: A Life in Six Masterpieces 2143: 2106: 2080:of Florence Became Michelangelo's David" 1968: 1951: 1882: 1824: 1661: 1524: 1319:, the central of three small valleys in 1311:used was obtained from the Fantiscritti 1278: 1151: 985: 733: 718:fracture monitoring through fibre optic 655: 563: 6670: 4880:Michelangelo and the Viewer in His Time 4726: 4176: 3803: 3753: 3681: 3664: 3610: 3481:Povoledo, Elisabetta (31 August 2010). 3054: 2709:. In Helmstutler Di Dio, Kelley (ed.). 2704: 2115:. Cambridge University Press: 111–112. 1853: 1650: 1577:...a masterpiece of throbbing vitality. 1196:of the Cathedral to make a marble base 581:, to decide on an appropriate site for 152:in marble created from 1501 to 1504 by 14: 8241: 6065:Santa Maria degli Angeli e dei Martiri 5194:Natali, Antonio; Michelangelo (2014). 5125:. New York: Farrar, Straus and Giroux. 5099: 5078: 4876: 4758: 4674:Giuffrida, Angela (19 February 2024). 4537: 4266: 4004: 3708: 3641:Art of Renaissance Florence, 1400-1600 3217:, 1991-09-15. Retrieved on 2008-05-23. 3200: 3027: 3015: 2961: 2804: 2736: 2573: 2546: 2499:. Simon and Schuster. pp. 48–49. 2435: 2374: 2308: 2073: 2043: 1931: 1797: 1623: 1261:cleaned the statue with a 50 per cent 452:grade stone, rather than the superior 7572: 6644: 6305: 6085: 5986: 5781: 5352: 5293: 4308:Weil-Garris Brandt, Kathleen (1983). 4125: 4058:. Yale University Press. p. 88. 3864:. John Wiley & Sons. p. 53. 3545:"The Art and Thought of Michelangelo" 3110: 3090:. Taylor & Francis. p. 219. 2908: 2642: 2269: 2182: 2162:La lettere di Michelangelo Buonarroti 2148:. et al. Time-Life Books. p. 85. 2017: 1913:La lettere di Michelangelo Buonarroti 1862:. Taylor & Francis. p. 283. 1670: 1624:Pocock, John Greville Agard (2016) . 1433:. Papi's copy, which was sent to the 1198:subtus et circum circa pedes gigantis 738:The Pallazzo Vecchio today, with the 300:, and acquired a very large block of 203:was a favoured subject in the art of 27:Renaissance statue in Florence, Italy 8002:Equestrian Statue of Marcus Aurelius 6331: 5669:Giuliano de' Medici, Duke of Nemours 5183:: The Meeting of January 25, 1504", 5135:Michelangelo: The Complete Sculpture 4653:. Giunti Editore. pp. 136–137. 4612:"Michelangelo's 'David' Gets a Bath" 4507:"The Fantiscritti provenance of the 3506: 3233:. Taylor & Francis. p. 62. 2882:Pope-Hennessy, John Wyndham (1985). 2585: 2436:Coates, Victoria C. Gardner (2016). 2146:The World of Michelangelo: 1475–1564 2024:(in Latin). B. Cassirer. p. 83. 1974: 1957: 422:wrote of Michelangelo sculpting the 8274:Monuments and memorials in Florence 6774:Museo di Storia Naturale di Firenze 4821:"The story of Michelangelo's David" 4564:Contemporary Theory of Conservation 4387:. Simon and Schuster. p. 105. 4085:Source: Notes in the History of Art 3177:. Harry N. Abrams. pp. 85–86. 3147:. Harry N. Abrams. pp. 10–11. 2616:Sculpture: Processes and Principles 1056:1440, had been appropriated by the 760:, the tree trunk against which the 24: 6911:Cathedral of Santa Maria del Fiore 4883:. Reaktion Books. pp. 51–52. 3483:"Who Owns Michelangelo's 'David'?" 2526:. Getty Publications. p. 98. 2354:. Giunti Editore. pp. 9, 12. 2189:. Simon and Schuster. p. 90. 416:could see them in his mind's eye. 25: 8330: 5880:Separation of Light from Darkness 5267: 5258:(1963) . "Life of Michelangelo". 5165:, vol. 142, pp. 487–492 4983: 4818: 4468:Journal of Archaeological Science 3709:Coonin, A. Victor (Spring 2016). 3211:"Michelangelo's David Is Damaged" 1774:The Private Life of a Masterpiece 1741:. In Sternberg, Robert J. (ed.). 1327:consists entirely of the mineral 1111:, the same Italian word used for 946:(c. 440 BC). This is typified in 787: 696:The state of preservation of the 8289:Vandalized works of art in Italy 8186: 8185: 6887: 6252:The Titan: Story of Michelangelo 5987: 5319: 5274:The Digital Michelangelo Project 5057: 5048: 5011:Flanagan, Michael (2019-09-25). 5004: 4977: 4924: 4667: 4610:Frances D'Emilio (24 May 2004). 4288:10.1111/j.1467-8365.2010.00798.x 4267:Wright, Alison (February 2011). 3547:. In Wallace, William E. (ed.). 2415:10.1111/j.1467-8721.2009.01657.x 2034:Seymour, 1967, 134–137, doc. 34. 1858:. In Wallace, William E. (ed.). 1389:Grand Duke Leopold II of Tuscany 1379:Replicas of Michelangelo's David 878: 873:Modelling of his chest and belly 866: 848: 843:A sling handle in his right hand 836: 824: 808: 796: 632: 331:among others was consulted, and 8294:Tourist attractions in Florence 8028:, Easter Islands (1250–1500 CE) 6463:Antonio da Sangallo the Younger 5035: 4588:Scigliano, Eric (August 2005). 4567:. Routledge. pp. 139–140. 4517:. Giunti Editore. p. 133. 4055:Giorgio Vasari: Art and History 3963: 3927: 3878: 3776: 3521:from the original on 2022-01-11 3500: 3474: 3191: 3104: 3084:"Michelangelo's Suicidal Stone" 2861:. Harry N. Abrams. p. 41. 2777: 2662: 2442:. Encounter Books. p. 96. 2137: 2028: 1232: 1001:penis, though at odds with the 431:demonstrates this process, and 8269:Outdoor sculptures in Florence 8164:Genghis Khan Equestrian Statue 8077:Liberty Enlightening the World 6786:National Archaeological Museum 5958:The Crucifixion of Saint Peter 5353: 5246:Seymour, Jr., Charles (1967). 5189:, vol. 56, pp. 31–49 5079:Coonin, Arnold Victor (2014). 4798:. Giunti Editore. p. 62. 4765:. B'Gruppo. pp. 146–148. 4759:Coonin, Arnold Victor (2014). 4561:Munoz-Vinas, Salvador (2012). 4441:. Giunti Editore. p. 48. 4185:. Routledge. pp. 62, 65. 3861:Michelangelo: A Tormented Life 3762:. Routledge. pp. 62, 65. 3665:Ellison, Daniel James (1908). 3028:Coonin, Arnold Victor (2014). 2927:10.1080/00043079.2001.10786967 2685:"We finish scanning the David" 2683:Levoy, Marc (March 28, 1999). 2315:Lives of the Artists: Volume 1 2074:Coonin, Arnold Victor (2016). 1964:. G. Molini. pp. 454–455. 1798:Coonin, Arnold Victor (2014). 1582: 1565:. Harry N. Abrams. p. 7. 1531:. Giunti Editore. p. 12. 592:and supported by Leonardo and 362:Opera di Santa Maria del Fiore 246:Opera di Santa Maria del Fiore 13: 1: 7598: 7236:British Institute of Florence 6546: 6509: 5782: 5365: 5146:. New York: Harper & Row. 4538:Riding, Alan (May 24, 2004). 4181:. In Williams, Robert (ed.). 3758:. In Williams, Robert (ed.). 3507:Pisa, Nick (16 August 2010). 2520:Carradori, Francesco (2002). 2396:"The Michelangelo phenomenon" 2375:Angier, Jeremy (7 May 2001). 1854:Seymour, Charles Jr. (1995). 1501:List of works by Michelangelo 1435:Accademia di delle Belle Arti 1190:Antonio da Sangallo the Elder 1160:with its present-day pedestal 1053: 885:Composition of parallel lines 227: 150:Italian Renaissance sculpture 62: 7973:Winged Victory of Samothrace 6801:Palazzo dell'Arte dei Beccai 6769:Museo Nazionale di San Marco 6119:Studies for the Libyan Sibyl 6087:Works on paper, milieu, etc. 5801:The Torment of Saint Anthony 5245: 5141: 4948:Postgraduate Medical Journal 4788:"Historical research on the 4700:Ragsdale, J. Donald (2020). 4609: 3858:Forcellino, Antonio (2023). 3682:Wallace, William E. (2011). 3638:Partridge, Loren W. (2009). 3460:10.1016/j.culher.2015.02.005 3448:Journal of Cultural Heritage 3370:10.1371/journal.pone.0174480 3325:10.1016/j.culher.2014.03.001 3313:Journal of Cultural Heritage 3125:10.1016/j.culher.2006.06.004 3113:Journal of Cultural Heritage 3034:. B'Gruppo. pp. 90–94. 2995:. Laurence King Publishing. 2791:A Review of the Documents," 2705:Wallace, William E. (2017). 2121:10.1017/cbo9781107338784.004 1804:. B'Gruppo. pp. 21–22. 1771:Bohm-Duchen, Monica (2001). 1739:"Systems view of creativity" 1511: 559: 343:... the Consuls of the 7: 7104:S Maria Maddalena dei Pazzi 7049:Oratory of S Thomas Aquinas 6225:Michelangelo and the Medici 6055:San Giovanni dei Fiorentini 5254: 5193: 5178: 5169: 4727:Zirpolo, Lilian H. (2020). 4326:10.11588/rjbh.1983.20.91932 3887:"Michelangelo and medicine" 3794:, Florence, 1966–87, 6: 21. 3718:Notes in the History of Art 3543:De Tolnay, Charles (1995). 3055:Zirpolo, Lilian H. (2020). 2909:McHam, Sarah Blake (2001). 2050:. Summerfield. p. 42. 1494: 1372: 1147: 892:The pose of Michelangelo's 555:) that it had on its chest. 551:) removed a certain nodus ( 368:, paid him a salary of six 10: 8335: 8314:Sculptures of men in Italy 8279:Sculptures by Michelangelo 8264:Marble sculptures in Italy 7535:Maggio Musicale Fiorentino 7251:Kunsthistorisches Institut 7089:S Giovannino dei Cavalieri 7084:S Giovannino degli Scolopi 7044:Oratory of Gesù Pellegrino 7024:Battistero di San Giovanni 6994:Bartolini Salimbeni Chapel 6885: 6754:Museo dell'Opera del Duomo 6611:Johann Joachim Winckelmann 6601:Art patronage of Julius II 6208:Art patronage of Julius II 6133:Pietà for Vittoria Colonna 5213:Poeschke, Joachim (1996). 5150: 5129: 4942:J. Launer (5 March 2008). 4904:Paoletti, John T. (2015). 4877:Barnes, Bernadine (2017). 4850:Paoletti, John T. (2015). 4825:Victoria and Albert Museum 4408:Paoletti, John T. (2015). 4354:Paoletti, John T. (2015). 4235:Paoletti, John T. (2015). 4206:Paoletti, John T. (2015). 4177:Günther, Hubertus (2017). 4148:Paoletti, John T. (2015). 3903:10.1177/014107680209501014 3810:. Routledge. p. 174. 3754:Günther, Hubertus (2017). 3410:Paoletti, John T. (2015). 3171:Poeschke, Joachim (1996). 2968:. Routledge. p. 217. 2855:Poeschke, Joachim (1996). 2619:. Allen Lane. p. 86. 2613:Wittkower, Rudolf (1977). 2592:. Macmillan. p. 219. 2240:Paoletti, John T. (2015). 2107:Paoletti, John T. (2015). 1883:Paoletti, John T. (2015). 1825:Paoletti, John T. (2015). 1431:Victoria and Albert Museum 1376: 1352:than a millimetre in size 405: 222: 8225:43.7767028°N 11.2594500°E 8181: 7936: 7865: 7779: 7748: 7702: 7606: 7548: 7530:Calcio storico fiorentino 7522: 7454: 7413: 7392: 7371: 7328: 7300: 7269: 7218: 7167: 7147: 7009: 6896: 6682: 6593: 6496: 6380: 6339: 6260:The Agony and the Ecstasy 6200: 6149: 6096: 6092: 6081: 6021: 5997: 5993: 5982: 5947: 5860: 5839: 5792: 5788: 5777: 5729: 5659:Christ Carrying the Cross 5650: 5566: 5490: 5449: 5409: 5363: 5359: 5348: 5327: 5233: 5137:. New York: Abrams Books. 5120: 5106:. Yale University Press. 5056: 5047: 5042: 4792:'s state of conservation" 4786:Falletti, Franca (2004). 4488:10.1016/j.jas.2005.03.013 4435:Falletti, Franca (2004). 4097:10.1086/sou.23.3.23206849 3837:. John Wiley & Sons. 3617:. Routledge. p. 78. 3572:Haitovsky, Dalia (1985). 3227:Smithers, Tamara (2022). 3082:Smithers, Tamara (2022). 2713:. Routledge. p. 47. 2348:Falletti, Franca (2004). 2144:Coughlan, Robert (1966). 1713:10.1177/10323732221132029 1208:According to Brandt, the 928:The twist of his body in 511:, the slightly flattened 125: 113: 98: 90: 79: 69: 58: 48: 39: 32: 18:Michelangelo's David 8319:Nude sculptures in Italy 7441:Orto Botanico di Firenze 7261:National Central Library 6796:Ospedale degli Innocenti 6739:Loggia del Mercato Nuovo 6126:The Punishment of Tityus 5260:The Lives of the Artists 5198:. Florence: Maschietto. 5170:Hughes, Anthony (1997). 5142:Hibbard, Howard (1974). 4961:10.1136/PGMJ.2008.068031 4381:Scigliano, Eric (2007). 3804:Hibbard, Howard (2018). 3611:Hibbard, Howard (2018). 2992:Art in Renaissance Italy 2547:Vasari, Giorgio (1907). 2493:Scigliano, Eric (2007). 2463:Scigliano, Eric (2005). 2183:Unger, Miles J. (2015). 2018:Poggi, Giovanni (1909). 1735:Csikszentmihalyi, Mihaly 1487:for portraying David in 526:A node of marble on the 8309:Republicanism in Europe 7649:Environmental sculpture 7614:Architectural sculpture 7343:Piazza della Repubblica 7230:Palazzo Medici Riccardi 7039:Oratorio dei Vanchetoni 6860:Studiolo of Francesco I 6821:Palazzo Medici Riccardi 6710:Galleria dell'Accademia 6283:Michelangelo quadrangle 6013:Basilica of San Lorenzo 5162:The Burlington Magazine 4991:GLBT Historical Society 4937:British Medical Journal 4474:(9): 1370, 1375, 1376. 4079:Barolsky, Paul (2004). 3831:Barolsky, Paul (1997). 2276:The Burlington Magazine 2270:Hirst, Michael (2000). 2044:Hodson, Rupert (1999). 1958:Gaye, Giovanni (1840). 1506:List of tallest statues 1115:'s personal emblem, or 965:The proportions of the 244:, were officers of the 186:Galleria dell'Accademia 160:was the first colossal 103:Galleria dell'Accademia 8230:43.7767028; 11.2594500 7226:Biblioteca Riccardiana 7124:S Salvatore al Vescovo 7074:S Frediano in Cestello 6838:Museo delle Porcellane 6562:Sistine Chapel ceiling 6527:San Pietro in Montorio 6433:Bernardino delle Croci 6034:Piazza del Campidoglio 5965:The Conversion of Saul 5841:Salone dei Cinquecento 5513:Piccolomini Altarpiece 5393:Battle of the Centaurs 5085:. Florence: B'Gruppo. 4126:Lavin, Irving (1990). 2962:Broude, Norma (2018). 2689:and about the process 2643:Lavin, Irving (1967). 2047:Michelangelo: Sculptor 1856:"Homo Magnus et Albus" 1671:Lavin, Irving (1993). 1291: 1192:, were ordered by the 1161: 1062:Palazzo della Signoria 1040:Political implications 1010: 745: 685:in a vaulted interior 665: 573: 557: 515:(fingernail), and the 358: 188:, Florence. In 1910 a 182:Palazzo della Signoria 8056:Kamagaya Great Buddha 7780:Traditional materials 7749:Elements in sculpture 7553:Districts of Florence 7523:Events and traditions 7363:Piazzale Michelangelo 7348:Piazza della Signoria 7114:S Martino del Vescovo 6458:Sebastiano del Piombo 6388:Mariotto Albertinelli 6278:Michelangelo (crater) 6182:Sebastiano del Piombo 6162:Tommaso dei Cavalieri 6112:Male Back with a Flag 5627:The Genius of Victory 5386:Madonna of the Stairs 5276:, Stanford University 5100:Goffen, Rona (2002). 4934:" is reported in the 4237:"Naked Men in Piazza" 4208:"Naked Men in Piazza" 4150:"Naked Men in Piazza" 4005:Levine, Saul (1974). 3933:Coonin 2014, 105–108. 3412:"Naked Men in Piazza" 2929:(inactive 2024-09-12) 2805:Levine, Saul (1974). 2737:Levine, Saul (1974). 1932:Barron, A.J. (2018). 1463:was installed atop a 1420:Piazzale Michelangelo 1416:1867 Paris Exposition 1282: 1155: 989: 774:interferometric radar 737: 712:(FEM) analyses, and 710:finite element method 659: 626:Judith and Holofernes 602:Piazza della Signoria 567: 545: 383:Piazza della Signoria 341: 8141:The Motherland Calls 7990:(c. 200 BCE – 70 CE) 7987:Laocoön and His Sons 7976:(c. 2nd century BCE) 7944:Great Sphinx of Giza 7487:del Poggio Imperiale 7482:Medicea L'Ambrogiana 7315:Teatro della Pergola 7099:S Maria degli Angeli 7029:Certosa del Galluzzo 6845:Palazzo Spini Feroni 6724:Garden of Archimedes 6556:St. Peter's Basilica 6423:Antonio da Correggio 6340:Principal proponents 6044:St. Peter's Basilica 5894:The Creation of Adam 5418:Arca di San Domenico 5121:Hall, James (2005). 4831:on 28 September 2020 4320:: 379–384, 392–393. 2707:"An Impossible Task" 2586:Gill, Anton (2013). 1601:Domenico Ghirlandaio 1594:Verrocchio's bronze 1562:Michelangelo's David 1444:The plaster cast of 1427:Domenico Ghirlandaio 1186:Simone del Pollaiolo 962:have ever existed." 815:The free leg of the 768:annually to see the 590:Giuliano da Sangallo 281:very large figure." 209:Republic of Florence 8284:Sculptures of David 8221: / 8133:Christ the Redeemer 8125:Shrine of Democracy 8079:, Statue of Liberty 7703:Styles of sculpture 7446:Parco delle Cascine 7436:Giardino delle Rose 7277:Fountain of Neptune 7241:Gabinetto Vieusseux 6967:S Maria del Carmine 6811:Palazzo Della Stufa 6488:Antonio Vassilacchi 6157:Cecchino dei Bracci 5651:Florence, 1516–1534 5491:Florence, 1501–1505 5235:Pope-Hennessy, John 5219:. Harry N. Abrams. 4622:on 16 November 2018 4550:on October 2, 2020. 4480:2005JArSc..32.1369A 3515:The Daily Telegraph 3361:2017PLoSO..1274480P 3278:2021RemS...13.1273M 2675:Stanford University 1975:Frey, Karl (1909). 1360:. Observation with 1345:University of Siena 1343:Researchers at the 910:Andrea del Castagno 741:Fountain of Neptune 549:uno vel duo ictibus 170:classical antiquity 65:1501 – June 8, 1504 8109:Jules Verne's tomb 8008:Buddhas of Bamiyan 7966:Colossus of Rhodes 7950:Abu Simbel temples 7946:(c. 2558–2532 BCE) 7937:Notable sculptures 7607:Types of sculpture 7431:Giardino dell'Iris 7384:Via de' Tornabuoni 7358:Piazza San Lorenzo 7353:Piazza Santa Croce 7282:Giotto's Campanile 7256:Laurentian Library 7210:Giotto's Campanile 7139:S Stefano al Ponte 7094:S Jacopo sopr'Arno 6979:S Miniato al Monte 6729:Loggia del Bigallo 6453:Baldassare Peruzzi 6408:Moretto da Brescia 6393:Pellegrino Aretusi 6271:A Season of Giants 6254:(1950 documentary) 6029:Capitoline Museums 6009:Laurentian Library 5808:Manchester Madonna 5558:Rothschild Bronzes 5410:Bologna, 1494–1495 5174:. London: Phaidon. 4984:Cornu, Elisabeth. 4544:The New York Times 3487:The New York Times 3287:10.3390/rs13071273 3197:Coonin 2014, p. 89 2817:(1): 35, note 16. 2668:The height of the 2383:on 8 October 2007. 1701:Accounting History 1609:Bartolomeo Bellano 1479:resorts, gambling 1469:Florence Cathedral 1292: 1259:Aristodemo Costoli 1162: 1113:Lorenzo de' Medici 1087:Francesco Silviati 1011: 990:The presence of a 908:, and the painter 746: 666: 651:Hercules and Cacus 588:One group, led by 574: 448:in length, was of 310:Antonio Rossellino 278:Agostino di Duccio 235:Lorenzo de' Medici 178:Florence Cathedral 8204: 8203: 8094:The Golden Virgin 8086:The Gates of Hell 8020:Konark Sun Temple 8016:(c. 1194–1250 CE) 8014:Chartes Cathedral 7664:Kinetic sculpture 7566: 7565: 7558:Trams in Florence 7540:Scoppio del carro 7414:Gardens and parks 7405:Fortezza da Basso 7287:Monument to Dante 7195:dei Gianfigliazzi 7163: 7162: 7134:Ss Simone e Giuda 6950:Tornabuoni Chapel 6921:Baroncelli Chapel 6806:Palazzo Davanzati 6638: 6637: 6583:The Last Judgment 6372:Leonardo da Vinci 6299: 6298: 6295: 6294: 6291: 6290: 6077: 6076: 6073: 6072: 5978: 5977: 5974: 5973: 5938:The Last Judgment 5866:(ceiling gallery) 5850:Battle of Cascina 5829:Leda and the Swan 5773: 5772: 5769: 5768: 5568:Tomb of Julius II 5511:Additions to the 5506:Madonna of Bruges 5416:Additions to the 5226:978-0-8109-4276-9 5205:978-88-6394-085-5 5092:978-88-97696-02-5 5075: 5074: 5018:Bay Area Reporter 4917:978-1-316-24013-7 4890:978-1-78023-788-6 4863:978-1-316-24013-7 4805:978-88-09-03760-1 4772:978-88-97696-02-5 4740:978-1-5381-2304-1 4713:978-1-5275-5669-0 4660:978-88-09-03325-2 4597:Harper's Magazine 4574:978-1-136-41453-4 4524:978-88-09-03325-2 4448:978-88-09-03760-1 4421:978-1-316-24013-7 4394:978-1-4165-9135-1 4367:978-1-316-24013-7 4250:978-1-316-24013-7 4221:978-1-316-24013-7 4192:978-1-351-54598-3 4163:978-1-316-24013-7 4065:978-0-300-04909-1 3956:978-0-226-48257-6 3871:978-1-5095-3997-0 3844:978-0-271-03272-6 3817:978-0-429-97857-9 3788:Rosanna Bettarini 3769:978-1-351-54598-3 3695:978-1-139-50568-0 3651:978-0-520-25773-3 3624:978-0-429-97857-9 3558:978-0-8153-1823-1 3425:978-1-316-24013-7 3240:978-1-000-62438-0 3184:978-0-8109-4276-9 3154:978-1-903973-99-8 3097:978-1-000-62438-0 3068:978-1-5381-2304-1 3041:978-88-97696-02-5 3002:978-1-85669-439-1 2975:978-0-429-97246-1 2895:978-0-394-72934-3 2868:978-0-8109-4276-9 2720:978-1-351-55951-5 2626:978-0-7139-0878-7 2599:978-1-4668-5504-5 2560:978-0-486-20717-9 2533:978-0-89236-688-0 2506:978-1-4165-9135-1 2476:978-0-7432-5477-9 2449:978-1-59403-722-1 2361:978-88-09-03760-1 2329:978-0-14-044500-8 2253:978-1-316-24013-7 2223:978-1-58839-637-2 2196:978-1-4516-7878-9 2093:978-0-9785461-2-0 2057:978-88-8138-051-0 1941:Mercian Geologist 1896:978-1-316-24013-7 1869:978-0-8153-1823-1 1840:978-1-316-24013-7 1811:978-88-97696-02-5 1784:978-0-520-23378-2 1752:978-0-521-33892-9 1684:978-0-520-06816-2 1637:978-1-4008-8351-6 1572:978-1-903973-99-8 1538:978-88-09-03325-2 1263:hydrochloric acid 1251:Lorenzo Bartolini 1050:Cosimo de' Medici 674:Accademia Gallery 647:Baccio Bandinelli 579:Sandro Botticelli 543:to Michelangelo: 442:, measuring nine 329:Leonardo da Vinci 211:, an independent 137: 136: 131:Madonna of Bruges 16:(Redirected from 8326: 8299:Colossal statues 8254:1500s sculptures 8236: 8235: 8233: 8232: 8231: 8226: 8222: 8219: 8218: 8217: 8214: 8189: 8188: 8149:Fallen Astronaut 7866:Modern materials 7730:Modern sculpture 7659:Installation art 7593: 7586: 7579: 7570: 7569: 7338:Piazza del Duomo 7109:S Maria Maggiore 7019:Badia Fiorentina 6972:Brancacci Chapel 6901: 6900: 6891: 6744:Loggia del Pesce 6734:Loggia dei Lanzi 6665: 6658: 6651: 6642: 6641: 6606:Jacob Burckhardt 6551: 6550: 1502–1516 6548: 6514: 6513: 1492–1498 6511: 6468:Andrea del Sarto 6403:Ludovico Beretta 6333:High Renaissance 6326: 6319: 6312: 6303: 6302: 6238:Replicas of the 6192:Luigi del Riccio 6167:Vittoria Colonna 6094: 6093: 6083: 6082: 5995: 5994: 5984: 5983: 5915:Prophet Jeremiah 5790: 5789: 5779: 5778: 5752:Palestrina Pietà 5745:Florentine Pietà 5585:Rebellious Slave 5370: 5369: 1488–1492 5367: 5361: 5360: 5350: 5349: 5314: 5307: 5300: 5291: 5290: 5286:, 25 March 2023. 5263: 5251: 5242: 5230: 5209: 5190: 5186:The Art Bulletin 5175: 5166: 5147: 5138: 5131:Hartt, Frederick 5126: 5117: 5096: 5061: 5060: 5052: 5040: 5039: 5029: 5028: 5026: 5025: 5008: 5002: 5001: 4999: 4998: 4981: 4975: 4973: 4963: 4954:(988): 111–112. 4944:"Medical kitsch" 4928: 4922: 4921: 4901: 4895: 4894: 4874: 4868: 4867: 4847: 4841: 4840: 4838: 4836: 4827:. Archived from 4816: 4810: 4809: 4783: 4777: 4776: 4756: 4745: 4744: 4724: 4718: 4717: 4697: 4691: 4690: 4688: 4686: 4671: 4665: 4664: 4642: 4636: 4635: 4629: 4627: 4618:. Archived from 4607: 4601: 4600: 4594: 4585: 4579: 4578: 4558: 4552: 4551: 4546:. Archived from 4535: 4529: 4528: 4502: 4496: 4495: 4459: 4453: 4452: 4432: 4426: 4425: 4405: 4399: 4398: 4378: 4372: 4371: 4351: 4338: 4337: 4305: 4292: 4291: 4273: 4264: 4255: 4254: 4232: 4226: 4225: 4203: 4197: 4196: 4174: 4168: 4167: 4145: 4139: 4138: 4132: 4123: 4117: 4116: 4076: 4070: 4069: 4049: 4043: 4042: 4011:The Art Bulletin 4002: 3996: 3995: 3967: 3961: 3960: 3940: 3934: 3931: 3925: 3924: 3914: 3882: 3876: 3875: 3855: 3849: 3848: 3828: 3822: 3821: 3801: 3795: 3782:Giorgio Vasari, 3780: 3774: 3773: 3751: 3742: 3741: 3715: 3706: 3700: 3699: 3679: 3673: 3672: 3662: 3656: 3655: 3635: 3629: 3628: 3608: 3602: 3601: 3569: 3563: 3562: 3540: 3531: 3530: 3528: 3526: 3512: 3504: 3498: 3497: 3495: 3493: 3478: 3472: 3471: 3445: 3436: 3430: 3429: 3407: 3401: 3400: 3390: 3372: 3340: 3329: 3328: 3310: 3301: 3292: 3291: 3289: 3263: 3254: 3245: 3244: 3224: 3218: 3207: 3198: 3195: 3189: 3188: 3168: 3159: 3158: 3138: 3129: 3128: 3108: 3102: 3101: 3079: 3073: 3072: 3052: 3046: 3045: 3025: 3019: 3013: 3007: 3006: 2986: 2980: 2979: 2959: 2953: 2952: 2946: 2938: 2936: 2934: 2915:The Art Bulletin 2906: 2900: 2899: 2879: 2873: 2872: 2852: 2843: 2842: 2811:The Art Bulletin 2802: 2796: 2781: 2775: 2774: 2743:The Art Bulletin 2734: 2725: 2724: 2702: 2696: 2695: 2688: 2666: 2660: 2659: 2649: 2640: 2631: 2630: 2610: 2604: 2603: 2583: 2577: 2571: 2565: 2564: 2544: 2538: 2537: 2517: 2511: 2510: 2490: 2481: 2480: 2460: 2454: 2453: 2433: 2427: 2426: 2400: 2391: 2385: 2384: 2379:. 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Translated by 2306: 2300: 2299: 2267: 2258: 2257: 2237: 2228: 2227: 2207: 2201: 2200: 2180: 2171: 2170: 2156: 2150: 2149: 2141: 2135: 2134: 2104: 2098: 2097: 2071: 2062: 2061: 2041: 2035: 2032: 2026: 2025: 2015: 2009: 2008: 1972: 1966: 1965: 1955: 1949: 1948: 1938: 1934:"Carrara marble" 1929: 1918: 1917: 1907: 1901: 1900: 1880: 1874: 1873: 1851: 1845: 1844: 1822: 1816: 1815: 1795: 1789: 1788: 1768: 1757: 1756: 1731: 1725: 1724: 1695: 1689: 1688: 1668: 1659: 1658: 1648: 1642: 1641: 1621: 1615: 1586: 1580: 1579: 1556: 1550: 1549: 1522: 1289: 1055: 1023: 1000: 936:heroic male nude 882: 870: 860: 852: 840: 828: 812: 800: 621:bronze sculpture 598:Loggia dei Lanzi 509:subbia da taglio 507:, the sharpened 450:bianco ordinario 333:Andrea Sansovino 302:bianco ordinario 296:, a town in the 242:Operai del Duomo 166:High Renaissance 126:Followed by 114:Preceded by 64: 44: 30: 29: 21: 8334: 8333: 8329: 8328: 8327: 8325: 8324: 8323: 8304:Nude sculptures 8239: 8238: 8229: 8227: 8223: 8220: 8215: 8212: 8210: 8208: 8207: 8205: 8200: 8177: 8171:Statue of Unity 8123:Mount Rushmore 8116:Abraham Lincoln 8069:Lion of Belfort 8062:Nelson's Column 7980:Terracotta Army 7932: 7861: 7775: 7744: 7698: 7602: 7597: 7567: 7562: 7544: 7518: 7450: 7421:Bardini Gardens 7409: 7388: 7367: 7324: 7310:Teatro Comunale 7296: 7265: 7245:Palazzo Strozzi 7214: 7190:dei Della Bella 7185:dei Belfredelli 7159: 7155:Great Synagogue 7143: 7005: 6999:Sassetti Chapel 6945:S Maria Novella 6897:Religious sites 6892: 6883: 6877:Vasari Corridor 6867:Stibbert Museum 6855:Palazzo Vecchio 6850:Palazzo Strozzi 6749:Loggia Rucellai 6700:Casa Buonarroti 6687: 6678: 6669: 6639: 6634: 6589: 6575:Transfiguration 6549: 6512: 6505:The Last Supper 6492: 6448:Maffeo Olivieri 6428:Piero di Cosimo 6413:Gasparo Cairano 6376: 6347:Donato Bramante 6335: 6330: 6300: 6287: 6213:Casa Buonarroti 6196: 6177:Gherardo Perini 6172:Ascanio Condivi 6145: 6088: 6069: 6049:Tor San Michele 6039:Palazzo Farnese 6017: 5989: 5970: 5943: 5864: 5856: 5835: 5793:Panel paintings 5784: 5765: 5760:Rondanini Pietà 5730:Rome, 1534–1564 5725: 5646: 5620:Awakening Slave 5562: 5486: 5450:Rome, 1496–1500 5445: 5424:Saint Petronius 5405: 5368: 5355: 5344: 5323: 5318: 5284:BBC News Online 5270: 5256:Vasari, Giorgio 5227: 5206: 5114: 5093: 5063:Michelangelo's 5058: 5043:External videos 5038: 5033: 5032: 5023: 5021: 5009: 5005: 4996: 4994: 4982: 4978: 4929: 4925: 4918: 4902: 4898: 4891: 4875: 4871: 4864: 4848: 4844: 4834: 4832: 4817: 4813: 4806: 4784: 4780: 4773: 4757: 4748: 4741: 4725: 4721: 4714: 4698: 4694: 4684: 4682: 4672: 4668: 4661: 4643: 4639: 4625: 4623: 4608: 4604: 4592: 4586: 4582: 4575: 4559: 4555: 4536: 4532: 4525: 4503: 4499: 4460: 4456: 4449: 4433: 4429: 4422: 4406: 4402: 4395: 4379: 4375: 4368: 4352: 4341: 4306: 4295: 4271: 4265: 4258: 4251: 4233: 4229: 4222: 4204: 4200: 4193: 4175: 4171: 4164: 4146: 4142: 4130: 4124: 4120: 4077: 4073: 4066: 4050: 4046: 4023:10.2307/3049194 4003: 3999: 3984:10.2307/4603693 3972:I Tatti Studies 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2310:Vasari, Giorgio 2307: 2303: 2268: 2261: 2254: 2238: 2231: 2224: 2208: 2204: 2197: 2181: 2174: 2157: 2153: 2142: 2138: 2131: 2105: 2101: 2094: 2072: 2065: 2058: 2042: 2038: 2033: 2029: 2016: 2012: 1973: 1969: 1956: 1952: 1936: 1930: 1921: 1908: 1904: 1897: 1881: 1877: 1870: 1852: 1848: 1841: 1823: 1819: 1812: 1796: 1792: 1785: 1769: 1760: 1753: 1732: 1728: 1696: 1692: 1685: 1669: 1662: 1649: 1645: 1638: 1622: 1618: 1603:'s painting of 1587: 1583: 1573: 1557: 1553: 1539: 1523: 1519: 1514: 1497: 1383:Michelangelo's 1381: 1375: 1287: 1235: 1222:Richard Trexler 1166:Rosalind Krauss 1150: 1042: 1026:Judaic practice 1021: 1003:Judaic practice 998: 953:Michelangelo's 890: 889: 888: 887: 886: 883: 875: 874: 871: 863: 862: 858: 853: 845: 844: 841: 833: 832: 829: 821: 820: 813: 805: 804: 801: 790: 635: 610:Cosimo Rosselli 606:Palazzo Vecchio 594:Piero di Cosimo 562: 408: 379:Opera del Duomo 345:Arte della Lana 255:Arte della Lana 230: 225: 28: 23: 22: 15: 12: 11: 5: 8332: 8322: 8321: 8316: 8311: 8306: 8301: 8296: 8291: 8286: 8281: 8276: 8271: 8266: 8261: 8256: 8251: 8202: 8201: 8199: 8198: 8193: 8182: 8179: 8178: 8176: 8175: 8167: 8161: 8157:Mother Ukraine 8153: 8145: 8137: 8129: 8120: 8112: 8106: 8098: 8090: 8082: 8073: 8065: 8059: 8053: 8045: 8037: 8029: 8023: 8017: 8011: 8005: 7999: 7991: 7983: 7977: 7969: 7963: 7953: 7947: 7940: 7938: 7934: 7933: 7931: 7930: 7925: 7920: 7915: 7910: 7905: 7900: 7895: 7890: 7885: 7880: 7875: 7869: 7867: 7863: 7862: 7860: 7859: 7854: 7849: 7844: 7839: 7834: 7829: 7824: 7819: 7814: 7809: 7804: 7799: 7794: 7789: 7783: 7781: 7777: 7776: 7774: 7773: 7768: 7763: 7761:Negative space 7758: 7752: 7750: 7746: 7745: 7743: 7742: 7737: 7732: 7727: 7725:Jain sculpture 7722: 7717: 7712: 7706: 7704: 7700: 7699: 7697: 7696: 7691: 7686: 7684:Soft sculpture 7681: 7676: 7671: 7666: 7661: 7656: 7651: 7646: 7641: 7636: 7631: 7626: 7621: 7616: 7610: 7608: 7604: 7603: 7596: 7595: 7588: 7581: 7573: 7564: 7563: 7561: 7560: 7555: 7549: 7546: 7545: 7543: 7542: 7537: 7532: 7526: 7524: 7520: 7519: 7517: 7516: 7511: 7506: 7501: 7496: 7491: 7490: 7489: 7484: 7479: 7474: 7469: 7458: 7456: 7452: 7451: 7449: 7448: 7443: 7438: 7433: 7428: 7426:Boboli Gardens 7423: 7417: 7415: 7411: 7410: 7408: 7407: 7402: 7396: 7394: 7390: 7389: 7387: 7386: 7381: 7375: 7373: 7369: 7368: 7366: 7365: 7360: 7355: 7350: 7345: 7340: 7334: 7332: 7326: 7325: 7323: 7322: 7317: 7312: 7306: 7304: 7298: 7297: 7295: 7294: 7289: 7284: 7279: 7273: 7271: 7267: 7266: 7264: 7263: 7258: 7253: 7248: 7238: 7233: 7222: 7220: 7216: 7215: 7213: 7212: 7207: 7202: 7197: 7192: 7187: 7182: 7177: 7171: 7169: 7168:Towers (Torri) 7165: 7164: 7161: 7160: 7158: 7157: 7151: 7149: 7145: 7144: 7142: 7141: 7136: 7131: 7126: 7121: 7116: 7111: 7106: 7101: 7096: 7091: 7086: 7081: 7076: 7071: 7066: 7061: 7056: 7051: 7046: 7041: 7036: 7031: 7026: 7021: 7015: 7013: 7007: 7006: 7004: 7003: 7002: 7001: 6996: 6986: 6981: 6976: 6975: 6974: 6964: 6959: 6954: 6953: 6952: 6942: 6941: 6940: 6938:Medici Chapels 6930: 6929: 6928: 6923: 6913: 6907: 6905: 6898: 6894: 6893: 6886: 6884: 6882: 6881: 6880: 6879: 6869: 6864: 6863: 6862: 6852: 6847: 6842: 6841: 6840: 6830: 6829: 6828: 6818: 6813: 6808: 6803: 6798: 6793: 6788: 6783: 6782: 6781: 6771: 6766: 6761: 6756: 6751: 6746: 6741: 6736: 6731: 6726: 6721: 6720: 6719: 6707: 6702: 6697: 6691: 6689: 6680: 6679: 6668: 6667: 6660: 6653: 6645: 6636: 6635: 6633: 6632: 6631: 6630: 6621:Giorgio Vasari 6618: 6613: 6608: 6603: 6597: 6595: 6591: 6590: 6588: 6587: 6579: 6571: 6565: 6559: 6553: 6538: 6530: 6524: 6516: 6500: 6498: 6494: 6493: 6491: 6490: 6485: 6480: 6475: 6470: 6465: 6460: 6455: 6450: 6445: 6440: 6438:Girolamo Genga 6435: 6430: 6425: 6420: 6415: 6410: 6405: 6400: 6398:Fra Bartolomeo 6395: 6390: 6384: 6382: 6378: 6377: 6375: 6374: 6369: 6364: 6359: 6354: 6349: 6343: 6341: 6337: 6336: 6329: 6328: 6321: 6314: 6306: 6297: 6296: 6293: 6292: 6289: 6288: 6286: 6285: 6280: 6275: 6273:(1990 TV film) 6267: 6256: 6248: 6243: 6235: 6227: 6222: 6215: 6210: 6204: 6202: 6198: 6197: 6195: 6194: 6189: 6187:Febo di Poggio 6184: 6179: 6174: 6169: 6164: 6159: 6153: 6151: 6147: 6146: 6144: 6143: 6136: 6129: 6122: 6115: 6108: 6100: 6098: 6097:Works on paper 6090: 6089: 6079: 6078: 6075: 6074: 6071: 6070: 6068: 6067: 6062: 6057: 6052: 6046: 6041: 6036: 6031: 6025: 6023: 6019: 6018: 6016: 6015: 6001: 5999: 5991: 5990: 5980: 5979: 5976: 5975: 5972: 5971: 5969: 5968: 5961: 5953: 5951: 5949:Pauline Chapel 5945: 5944: 5942: 5941: 5934: 5933: 5932: 5925: 5918: 5911: 5908:Prophet Isaiah 5904: 5901:Prophet Daniel 5897: 5890: 5883: 5870: 5868: 5862:Sistine Chapel 5858: 5857: 5855: 5854: 5845: 5843: 5837: 5836: 5834: 5833: 5825: 5818: 5815:The Entombment 5811: 5804: 5796: 5794: 5786: 5785: 5775: 5774: 5771: 5770: 5767: 5766: 5764: 5763: 5756: 5748: 5741: 5733: 5731: 5727: 5726: 5724: 5723: 5716: 5709: 5708: 5707: 5704:Medici Madonna 5700: 5693: 5686: 5679: 5672: 5664:Medici Chapel 5662: 5654: 5652: 5648: 5647: 5645: 5644: 5637: 5630: 5623: 5616: 5609: 5602: 5595: 5588: 5581: 5573: 5571: 5564: 5563: 5561: 5560: 5555: 5548: 5541: 5534: 5533: 5532: 5509: 5502: 5494: 5492: 5488: 5487: 5485: 5484: 5477: 5473:Standing Cupid 5469: 5462: 5458:Sleeping Cupid 5453: 5451: 5447: 5446: 5444: 5443: 5442: 5441: 5434: 5431:Saint Proculus 5427: 5413: 5411: 5407: 5406: 5404: 5403: 5396: 5389: 5382: 5378:Head of a Faun 5373: 5371: 5357: 5356: 5346: 5345: 5343: 5342: 5339: 5336: 5328: 5325: 5324: 5317: 5316: 5309: 5302: 5294: 5288: 5287: 5277: 5269: 5268:External links 5266: 5265: 5264: 5252: 5243: 5231: 5225: 5210: 5204: 5191: 5176: 5167: 5148: 5139: 5127: 5118: 5112: 5097: 5091: 5073: 5072: 5054: 5053: 5045: 5044: 5037: 5034: 5031: 5030: 5003: 4976: 4923: 4916: 4896: 4889: 4869: 4862: 4842: 4811: 4804: 4778: 4771: 4746: 4739: 4719: 4712: 4692: 4666: 4659: 4637: 4602: 4580: 4573: 4553: 4530: 4523: 4497: 4454: 4447: 4427: 4420: 4400: 4393: 4373: 4366: 4339: 4293: 4256: 4249: 4227: 4220: 4198: 4191: 4169: 4162: 4140: 4118: 4071: 4064: 4044: 3997: 3962: 3955: 3935: 3926: 3877: 3870: 3850: 3843: 3823: 3816: 3796: 3792:Paola Barocchi 3775: 3768: 3743: 3730:10.1086/686711 3701: 3694: 3674: 3657: 3650: 3630: 3623: 3603: 3584:(1): 174–182. 3564: 3557: 3532: 3499: 3473: 3431: 3424: 3402: 3330: 3293: 3266:Remote Sensing 3246: 3239: 3219: 3215:New York Times 3199: 3190: 3183: 3160: 3153: 3130: 3119:(4): 273–285. 3103: 3096: 3074: 3067: 3047: 3040: 3020: 3018:, p. 130. 3008: 3001: 2981: 2974: 2954: 2901: 2894: 2874: 2867: 2844: 2797: 2776: 2726: 2719: 2697: 2661: 2632: 2625: 2605: 2598: 2578: 2576:, p. 131. 2566: 2559: 2539: 2532: 2512: 2505: 2482: 2475: 2455: 2448: 2428: 2386: 2367: 2360: 2335: 2328: 2301: 2259: 2252: 2229: 2222: 2202: 2195: 2172: 2151: 2136: 2129: 2099: 2092: 2063: 2056: 2036: 2027: 2010: 1967: 1950: 1919: 1902: 1895: 1875: 1868: 1846: 1839: 1817: 1810: 1790: 1783: 1758: 1751: 1726: 1690: 1683: 1660: 1643: 1636: 1616: 1581: 1571: 1551: 1537: 1516: 1515: 1513: 1510: 1509: 1508: 1503: 1496: 1493: 1454:Queen Victoria 1377:Main article: 1374: 1371: 1362:optical fibres 1234: 1231: 1149: 1146: 1041: 1038: 884: 877: 876: 872: 865: 864: 854: 847: 846: 842: 835: 834: 830: 823: 822: 814: 807: 806: 802: 795: 794: 793: 792: 791: 789: 788:Interpretation 786: 720:Bragg gratings 706:photogrammetry 634: 631: 615:In June 1504, 561: 558: 420:Giorgio Vasari 407: 404: 400:Piero Soderini 229: 226: 224: 221: 135: 134: 127: 123: 122: 115: 111: 110: 100: 96: 95: 92: 88: 87: 81: 77: 76: 74:Carrara marble 71: 67: 66: 60: 56: 55: 50: 46: 45: 37: 36: 26: 9: 6: 4: 3: 2: 8331: 8320: 8317: 8315: 8312: 8310: 8307: 8305: 8302: 8300: 8297: 8295: 8292: 8290: 8287: 8285: 8282: 8280: 8277: 8275: 8272: 8270: 8267: 8265: 8262: 8260: 8257: 8255: 8252: 8250: 8247: 8246: 8244: 8237: 8234: 8216:11°15′34.02″E 8213:43°46′36.13″N 8197: 8194: 8192: 8184: 8183: 8180: 8173: 8172: 8168: 8165: 8162: 8159: 8158: 8154: 8151: 8150: 8146: 8143: 8142: 8138: 8135: 8134: 8130: 8127: 8126: 8121: 8118: 8117: 8113: 8110: 8107: 8104: 8103: 8099: 8096: 8095: 8091: 8088: 8087: 8083: 8080: 8078: 8074: 8071: 8070: 8066: 8063: 8060: 8057: 8054: 8051: 8050: 8049:Veiled Christ 8046: 8043: 8042: 8038: 8035: 8034: 8030: 8027: 8024: 8021: 8018: 8015: 8012: 8009: 8006: 8003: 8000: 7998:(130–100 BCE) 7997: 7996: 7995:Venus de Milo 7992: 7989: 7988: 7984: 7982:(246–210 BCE) 7981: 7978: 7975: 7974: 7970: 7967: 7964: 7961: 7957: 7956:Elgin Marbles 7954: 7952:(c. 1264 BCE) 7951: 7948: 7945: 7942: 7941: 7939: 7935: 7929: 7926: 7924: 7921: 7919: 7916: 7914: 7911: 7909: 7906: 7904: 7901: 7899: 7896: 7894: 7891: 7889: 7886: 7884: 7881: 7879: 7876: 7874: 7871: 7870: 7868: 7864: 7858: 7855: 7853: 7850: 7848: 7845: 7843: 7840: 7838: 7835: 7833: 7830: 7828: 7825: 7823: 7820: 7818: 7815: 7813: 7810: 7808: 7805: 7803: 7800: 7798: 7795: 7793: 7790: 7788: 7785: 7784: 7782: 7778: 7772: 7769: 7767: 7764: 7762: 7759: 7757: 7754: 7753: 7751: 7747: 7741: 7738: 7736: 7733: 7731: 7728: 7726: 7723: 7721: 7718: 7716: 7713: 7711: 7708: 7707: 7705: 7701: 7695: 7692: 7690: 7687: 7685: 7682: 7680: 7677: 7675: 7672: 7670: 7667: 7665: 7662: 7660: 7657: 7655: 7652: 7650: 7647: 7645: 7642: 7640: 7639:Gas sculpture 7637: 7635: 7632: 7630: 7627: 7625: 7622: 7620: 7617: 7615: 7612: 7611: 7609: 7605: 7601: 7594: 7589: 7587: 7582: 7580: 7575: 7574: 7571: 7559: 7556: 7554: 7551: 7550: 7547: 7541: 7538: 7536: 7533: 7531: 7528: 7527: 7525: 7521: 7515: 7512: 7510: 7507: 7505: 7502: 7500: 7497: 7495: 7492: 7488: 7485: 7483: 7480: 7478: 7475: 7473: 7470: 7468: 7465: 7464: 7463: 7462:Medici villas 7460: 7459: 7457: 7453: 7447: 7444: 7442: 7439: 7437: 7434: 7432: 7429: 7427: 7424: 7422: 7419: 7418: 7416: 7412: 7406: 7403: 7401: 7398: 7397: 7395: 7391: 7385: 7382: 7380: 7377: 7376: 7374: 7370: 7364: 7361: 7359: 7356: 7354: 7351: 7349: 7346: 7344: 7341: 7339: 7336: 7335: 7333: 7331: 7327: 7321: 7318: 7316: 7313: 7311: 7308: 7307: 7305: 7303: 7299: 7293: 7292:Ponte Vecchio 7290: 7288: 7285: 7283: 7280: 7278: 7275: 7274: 7272: 7268: 7262: 7259: 7257: 7254: 7252: 7249: 7246: 7242: 7239: 7237: 7234: 7231: 7227: 7224: 7223: 7221: 7217: 7211: 7208: 7206: 7203: 7201: 7198: 7196: 7193: 7191: 7188: 7186: 7183: 7181: 7180:degli Alberti 7178: 7176: 7173: 7172: 7170: 7166: 7156: 7153: 7152: 7150: 7146: 7140: 7137: 7135: 7132: 7130: 7127: 7125: 7122: 7120: 7117: 7115: 7112: 7110: 7107: 7105: 7102: 7100: 7097: 7095: 7092: 7090: 7087: 7085: 7082: 7080: 7077: 7075: 7072: 7070: 7067: 7065: 7062: 7060: 7057: 7055: 7052: 7050: 7047: 7045: 7042: 7040: 7037: 7035: 7032: 7030: 7027: 7025: 7022: 7020: 7017: 7016: 7014: 7012: 7008: 7000: 6997: 6995: 6992: 6991: 6990: 6987: 6985: 6982: 6980: 6977: 6973: 6970: 6969: 6968: 6965: 6963: 6960: 6958: 6957:SS Annunziata 6955: 6951: 6948: 6947: 6946: 6943: 6939: 6936: 6935: 6934: 6931: 6927: 6924: 6922: 6919: 6918: 6917: 6914: 6912: 6909: 6908: 6906: 6902: 6899: 6895: 6890: 6878: 6875: 6874: 6873: 6870: 6868: 6865: 6861: 6858: 6857: 6856: 6853: 6851: 6848: 6846: 6843: 6839: 6836: 6835: 6834: 6833:Palazzo Pitti 6831: 6827: 6824: 6823: 6822: 6819: 6817: 6816:Palazzo Gondi 6814: 6812: 6809: 6807: 6804: 6802: 6799: 6797: 6794: 6792: 6789: 6787: 6784: 6780: 6777: 6776: 6775: 6772: 6770: 6767: 6765: 6762: 6760: 6759:Museo Galileo 6757: 6755: 6752: 6750: 6747: 6745: 6742: 6740: 6737: 6735: 6732: 6730: 6727: 6725: 6722: 6718: 6717: 6713: 6712: 6711: 6708: 6706: 6703: 6701: 6698: 6696: 6693: 6692: 6690: 6685: 6681: 6677: 6673: 6666: 6661: 6659: 6654: 6652: 6647: 6646: 6643: 6629: 6628: 6624: 6623: 6622: 6619: 6617: 6614: 6612: 6609: 6607: 6604: 6602: 6599: 6598: 6596: 6592: 6585: 6584: 6580: 6577: 6576: 6572: 6569: 6568:Raphael Rooms 6566: 6563: 6560: 6557: 6554: 6544: 6543: 6539: 6536: 6535: 6531: 6528: 6525: 6522: 6521: 6517: 6507: 6506: 6502: 6501: 6499: 6495: 6489: 6486: 6484: 6483:Palma Vecchio 6481: 6479: 6476: 6474: 6471: 6469: 6466: 6464: 6461: 6459: 6456: 6454: 6451: 6449: 6446: 6444: 6443:Lorenzo Lotto 6441: 6439: 6436: 6434: 6431: 6429: 6426: 6424: 6421: 6419: 6418:Giulio Clovio 6416: 6414: 6411: 6409: 6406: 6404: 6401: 6399: 6396: 6394: 6391: 6389: 6386: 6385: 6383: 6381:Other artists 6379: 6373: 6370: 6368: 6365: 6363: 6360: 6358: 6355: 6353: 6350: 6348: 6345: 6344: 6342: 6338: 6334: 6327: 6322: 6320: 6315: 6313: 6308: 6307: 6304: 6284: 6281: 6279: 6276: 6274: 6272: 6268: 6266: 6263: 6261: 6257: 6255: 6253: 6249: 6247: 6244: 6242: 6241: 6236: 6234: 6233: 6228: 6226: 6223: 6221: 6220: 6216: 6214: 6211: 6209: 6206: 6205: 6203: 6199: 6193: 6190: 6188: 6185: 6183: 6180: 6178: 6175: 6173: 6170: 6168: 6165: 6163: 6160: 6158: 6155: 6154: 6152: 6148: 6142: 6141: 6137: 6135: 6134: 6130: 6128: 6127: 6123: 6121: 6120: 6116: 6114: 6113: 6109: 6107: 6106: 6102: 6101: 6099: 6095: 6091: 6084: 6080: 6066: 6063: 6061: 6058: 6056: 6053: 6050: 6047: 6045: 6042: 6040: 6037: 6035: 6032: 6030: 6027: 6026: 6024: 6020: 6014: 6010: 6006: 6003: 6002: 6000: 5996: 5992: 5985: 5981: 5967: 5966: 5962: 5960: 5959: 5955: 5954: 5952: 5950: 5946: 5940: 5939: 5935: 5931: 5930: 5929:Prophet Jonah 5926: 5924: 5923: 5919: 5917: 5916: 5912: 5910: 5909: 5905: 5903: 5902: 5898: 5896: 5895: 5891: 5889: 5888: 5884: 5882: 5881: 5877: 5876: 5875: 5872: 5871: 5869: 5867: 5863: 5859: 5852: 5851: 5847: 5846: 5844: 5842: 5838: 5831: 5830: 5826: 5824: 5823: 5819: 5817: 5816: 5812: 5810: 5809: 5805: 5803: 5802: 5798: 5797: 5795: 5791: 5787: 5780: 5776: 5762: 5761: 5757: 5754: 5753: 5749: 5747: 5746: 5742: 5740: 5739: 5735: 5734: 5732: 5728: 5722: 5721: 5720:Crouching Boy 5717: 5715: 5714: 5710: 5706: 5705: 5701: 5699: 5698: 5694: 5692: 5691: 5687: 5685: 5684: 5680: 5678: 5677: 5673: 5671: 5670: 5666: 5665: 5663: 5661: 5660: 5656: 5655: 5653: 5649: 5643: 5642: 5638: 5636: 5635: 5631: 5629: 5628: 5624: 5622: 5621: 5617: 5615: 5614: 5610: 5608: 5607: 5606:Bearded Slave 5603: 5601: 5600: 5596: 5594: 5593: 5589: 5587: 5586: 5582: 5580: 5579: 5575: 5574: 5572: 5569: 5565: 5559: 5556: 5554: 5553: 5552:Saint Matthew 5549: 5547: 5546: 5542: 5540: 5539: 5535: 5531: 5527: 5523: 5519: 5516: 5515: 5514: 5510: 5508: 5507: 5503: 5501: 5500: 5496: 5495: 5493: 5489: 5483: 5482: 5478: 5475: 5474: 5470: 5468: 5467: 5463: 5460: 5459: 5455: 5454: 5452: 5448: 5440: 5439: 5435: 5433: 5432: 5428: 5426: 5425: 5421: 5420: 5419: 5415: 5414: 5412: 5408: 5402: 5401: 5397: 5395: 5394: 5390: 5388: 5387: 5383: 5380: 5379: 5375: 5374: 5372: 5362: 5358: 5351: 5347: 5340: 5337: 5335: 5334: 5333:List of works 5330: 5329: 5326: 5322: 5315: 5310: 5308: 5303: 5301: 5296: 5295: 5292: 5285: 5281: 5278: 5275: 5272: 5271: 5261: 5257: 5253: 5249: 5244: 5240: 5236: 5232: 5228: 5222: 5218: 5217: 5211: 5207: 5201: 5197: 5192: 5188: 5187: 5182: 5177: 5173: 5168: 5164: 5163: 5158: 5154: 5149: 5145: 5140: 5136: 5132: 5128: 5124: 5119: 5115: 5109: 5105: 5104: 5098: 5094: 5088: 5084: 5083: 5077: 5076: 5071: 5067: 5066: 5055: 5051: 5046: 5041: 5020: 5019: 5014: 5007: 4993: 4992: 4987: 4980: 4971: 4967: 4962: 4957: 4953: 4949: 4945: 4939: 4938: 4933: 4927: 4919: 4913: 4909: 4908: 4900: 4892: 4886: 4882: 4881: 4873: 4865: 4859: 4855: 4854: 4846: 4830: 4826: 4822: 4815: 4807: 4801: 4797: 4793: 4791: 4782: 4774: 4768: 4764: 4763: 4755: 4753: 4751: 4742: 4736: 4732: 4731: 4723: 4715: 4709: 4705: 4704: 4696: 4681: 4677: 4670: 4662: 4656: 4652: 4648: 4641: 4634: 4621: 4617: 4613: 4606: 4599:. p. 63. 4598: 4591: 4584: 4576: 4570: 4566: 4565: 4557: 4549: 4545: 4541: 4534: 4526: 4520: 4516: 4512: 4510: 4501: 4494: 4489: 4485: 4481: 4477: 4473: 4469: 4465: 4458: 4450: 4444: 4440: 4439: 4431: 4423: 4417: 4413: 4412: 4404: 4396: 4390: 4386: 4385: 4377: 4369: 4363: 4359: 4358: 4350: 4348: 4346: 4344: 4335: 4331: 4327: 4323: 4319: 4315: 4311: 4304: 4302: 4300: 4298: 4289: 4285: 4281: 4277: 4270: 4263: 4261: 4252: 4246: 4242: 4238: 4231: 4223: 4217: 4213: 4209: 4202: 4194: 4188: 4184: 4180: 4173: 4165: 4159: 4155: 4151: 4144: 4136: 4129: 4122: 4114: 4110: 4106: 4102: 4098: 4094: 4090: 4086: 4082: 4075: 4067: 4061: 4057: 4056: 4048: 4040: 4036: 4032: 4028: 4024: 4020: 4016: 4012: 4008: 4001: 3993: 3989: 3985: 3981: 3977: 3973: 3966: 3958: 3952: 3948: 3947: 3939: 3930: 3922: 3918: 3913: 3908: 3904: 3900: 3897:(10): 514–5. 3896: 3892: 3888: 3881: 3873: 3867: 3863: 3862: 3854: 3846: 3840: 3836: 3835: 3827: 3819: 3813: 3809: 3808: 3800: 3793: 3789: 3785: 3779: 3771: 3765: 3761: 3757: 3750: 3748: 3739: 3735: 3731: 3727: 3723: 3719: 3712: 3705: 3697: 3691: 3687: 3686: 3678: 3670: 3669: 3661: 3653: 3647: 3643: 3642: 3634: 3626: 3620: 3616: 3615: 3607: 3599: 3595: 3591: 3587: 3583: 3579: 3575: 3568: 3560: 3554: 3550: 3546: 3539: 3537: 3520: 3516: 3511: 3503: 3488: 3484: 3477: 3469: 3465: 3461: 3457: 3453: 3449: 3442: 3435: 3427: 3421: 3417: 3413: 3406: 3398: 3394: 3389: 3384: 3380: 3376: 3371: 3366: 3362: 3358: 3354: 3350: 3346: 3339: 3337: 3335: 3326: 3322: 3318: 3314: 3307: 3300: 3298: 3288: 3283: 3279: 3275: 3271: 3267: 3260: 3253: 3251: 3242: 3236: 3232: 3231: 3223: 3216: 3212: 3206: 3204: 3194: 3186: 3180: 3176: 3175: 3167: 3165: 3156: 3150: 3146: 3145: 3137: 3135: 3126: 3122: 3118: 3114: 3107: 3099: 3093: 3089: 3085: 3078: 3070: 3064: 3060: 3059: 3051: 3043: 3037: 3033: 3032: 3024: 3017: 3012: 3004: 2998: 2994: 2993: 2985: 2977: 2971: 2967: 2966: 2958: 2950: 2944: 2928: 2924: 2920: 2916: 2912: 2905: 2897: 2891: 2887: 2886: 2878: 2870: 2864: 2860: 2859: 2851: 2849: 2840: 2836: 2832: 2828: 2824: 2820: 2816: 2812: 2808: 2801: 2794: 2790: 2786: 2780: 2772: 2768: 2764: 2760: 2756: 2752: 2748: 2744: 2740: 2733: 2731: 2722: 2716: 2712: 2708: 2701: 2693: 2686: 2680: 2676: 2671: 2665: 2657: 2653: 2646: 2639: 2637: 2628: 2622: 2618: 2617: 2609: 2601: 2595: 2591: 2590: 2582: 2575: 2570: 2562: 2556: 2552: 2551: 2543: 2535: 2529: 2525: 2524: 2516: 2508: 2502: 2498: 2497: 2489: 2487: 2478: 2472: 2468: 2467: 2459: 2451: 2445: 2441: 2440: 2432: 2424: 2420: 2416: 2412: 2408: 2404: 2397: 2390: 2382: 2378: 2371: 2363: 2357: 2353: 2352: 2344: 2342: 2340: 2331: 2325: 2321: 2317: 2316: 2311: 2305: 2297: 2293: 2289: 2285: 2282:(1169): 490. 2281: 2277: 2273: 2266: 2264: 2255: 2249: 2245: 2244: 2236: 2234: 2225: 2219: 2215: 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