David

Caravaggio

The figure of Caravaggio's "Saul" is sensual and a recognizably physical human being. He looks like a man one might see on the street rather than a Biblical prophet who has undergone a profound conversion. Although the focus of the painting is on the figure of Saul, this converted saint's changed inner life is only signified by the softly glowing light on his face, and the name of the painting. By locating Saul in 'reality,' and even suggesting that Saul might have been taken for an ordinary drunk lying in the street, Caravaggio reminds the viewer of the fact that the figures we read about in the Bible are not stick figures, with no human needs and fears or physicality. This is not sacrilegious on the part of the artist. It is a reminder that just as the Bible's truths is present in our ordinary, daily lives; the Bible is populated by recognizable human beings. Caravaggio is not saying that Saul must have been drunk, and not blessed with a divine visitation but the drunk one sees walking home from the bar may have some goodness within him, some small spiritual trace of the Biblical prophet, as Saul was a great sinner who became a great saint.

Question 2: Which of the Davids could Americans adopt as symbolic of the time in which we are currently living -- and why?

Bernini's "David" is a man of action, not a static ideal. Bernini demonstrates why the Biblical figure of David is a hero and a future king of consequence. Michelangelo's beautiful "David" clutches the sling half-heartedly, and seems to justify his reputation through his youth and physical gifts, not his activity or struggle. His muscles are strong, but for what purpose? Young people must not justify their future reputations through beauty -- or fine clothes, like Donatello's "David." Bernini's "David" is willing to take risks, and willing to act. He does not think of himself, or admire his musculature or clothes, he thinks only of exercising leadership and slaying Goliath. This is the man we require today in America, this David. Young people may act more like Donatello's "David," but art should show us what we aspire to become, and that is embodied in Bernini's "David."