From a huge block of marble that has been abandoned decades earlier by another sculptor, Michelangelo takes on the challenge of living up to Donatello and other precursors who had sculpted the same heroic figure. The David, portrayed in the Bible as a young shepherd who slew the giant Goliath and went on to become a valiant and just Hebrew king, is a fit symbol of courage and civic duty to guard the city of Florence.
Michelangelo is a painter, sculptor, and architect. In this era, all three forms of art are thought to be based on disegno, an artistic discipline built on knowledge of the male human form. Sculpture is considered the finest art form because it mimics divine creation: The sculptural image is found within the block of stone much as the human soul is found within the physical body.
The David is considered a masterpiece, an ideal male form combining heroic strength and human uncertainty. It is erected in 1504 in the public plaza of Florence, the Piazza della Signoria. In 1873, the original is moved to the Accademia delle Belle Arti, where it is better protected for posterity, and a copy of the work is erected in the plaza in 1882.
It’s been a while since I read this (one of my favorite books). I think the most fruitful parts are the (possibly half the book) footnotes. It’s based in archaeological finds and perception that doesn’t stay in dominant ruts. [For anyone who is interested, the author is a friend of a scholar and professor (and former inheritor of a print business) Mark Nanos, who has written much that is internally challenging along this line.]
Galatians re-imagined interprets the letter as an exhortation to stand with the powerless, yet not vanquished, rather than with the imperial worldview of the imperial conqueror, who is not lord supreme. The core of the Galatian controversy is that circumcision was less a body-marker of Jew or gentile, and more a signifier of political compliance or non-compliance with Roman civic obligations as proselytes sought Jewish identity to escape the demands of the imperial cult. The circumcision solution, according to Paul, who claims to be the voice of “proper” Judaism and law observance, is less an expression of faithful, theologically motivated Jewish Torah-obedience than of political realism. Hence, Paul presents foolish Galatians with another option, inclusion without circumcision, which fits into his fundamentally Jewish apocalyptic framework expecting an end-time pilgrimage of the nations to Jerusalem (Isa 2:2-3; Zeh 3:9).
This, That, and the Other 
😂😂
LikeLiked by 1 person
I remember something that happened in Australia in the 1960’s and found this
https://www.pbs.org/wgbh/cultureshock/flashpoints/visualarts/davidt.html
LikeLiked by 1 person
So it’s not ONLY in America.
LikeLiked by 1 person
Yes I am afraid so………SIXTY years ago Australia was a bit weird but we woke up to ourselves by the 70’s. I guess by the 2080’s the US will catch up
LikeLiked by 1 person
Or won’t exist as a nation then.
LikeLiked by 1 person
Probably
LikeLiked by 1 person
From a huge block of marble that has been abandoned decades earlier by another sculptor, Michelangelo takes on the challenge of living up to Donatello and other precursors who had sculpted the same heroic figure. The David, portrayed in the Bible as a young shepherd who slew the giant Goliath and went on to become a valiant and just Hebrew king, is a fit symbol of courage and civic duty to guard the city of Florence.
Michelangelo is a painter, sculptor, and architect. In this era, all three forms of art are thought to be based on disegno, an artistic discipline built on knowledge of the male human form. Sculpture is considered the finest art form because it mimics divine creation: The sculptural image is found within the block of stone much as the human soul is found within the physical body.
The David is considered a masterpiece, an ideal male form combining heroic strength and human uncertainty. It is erected in 1504 in the public plaza of Florence, the Piazza della Signoria. In 1873, the original is moved to the Accademia delle Belle Arti, where it is better protected for posterity, and a copy of the work is erected in the plaza in 1882.
~
LikeLiked by 2 people
Haha……
LikeLiked by 1 person
Very good! ❤
LikeLiked by 1 person
😎😜
LikeLiked by 1 person
Haha! Hits the right spot. 🙂
LikeLiked by 1 person
It’s been a while since I read this (one of my favorite books). I think the most fruitful parts are the (possibly half the book) footnotes. It’s based in archaeological finds and perception that doesn’t stay in dominant ruts. [For anyone who is interested, the author is a friend of a scholar and professor (and former inheritor of a print business) Mark Nanos, who has written much that is internally challenging along this line.]
https://books.google.com/books/about/Galatians_Re_Imagined.html?id=LSsXzgEACAAJ&source=kp_book_description
Galatians re-imagined interprets the letter as an exhortation to stand with the powerless, yet not vanquished, rather than with the imperial worldview of the imperial conqueror, who is not lord supreme. The core of the Galatian controversy is that circumcision was less a body-marker of Jew or gentile, and more a signifier of political compliance or non-compliance with Roman civic obligations as proselytes sought Jewish identity to escape the demands of the imperial cult. The circumcision solution, according to Paul, who claims to be the voice of “proper” Judaism and law observance, is less an expression of faithful, theologically motivated Jewish Torah-obedience than of political realism. Hence, Paul presents foolish Galatians with another option, inclusion without circumcision, which fits into his fundamentally Jewish apocalyptic framework expecting an end-time pilgrimage of the nations to Jerusalem (Isa 2:2-3; Zeh 3:9).
LikeLiked by 1 person