David ( Michelangelo ) - wikipedia David ( Michelangelo ) David Artist Michelangelo Year 1501 -- 04 Medium Marble statue Location Galleria dell'Accademia, Florence, Italy David is a masterpiece of Renaissance sculpture created in marble between 1501 and 1504 by Michelangelo. David is a 5.17 - metre ( 17.0 ft ) marble statue of a standing male nude. The statue represents the Biblical hero David, a favoured subject in the art of Florence. David was originally commissioned as one of a series of statues of prophets to be positioned along the roofline of the east end of Florence Cathedral, but was instead placed in a public square, outside the Palazzo Vecchio, the seat of civic government in Florence, in the Piazza della Signoria where it was unveiled on September 8, 1504. 3D 3D Model Because of the nature of the hero it represented, the statue soon came to symbolize the defence of civil liberties embodied in the Republic of Florence, an independent city - state threatened on all sides by more powerful rival states and by the hegemony of the Medici family. The eyes of David, with a warning glare, were turned towards Rome. The statue was moved to the Galleria dell'Accademia, Florence, in 1873, and later replaced at the original location by a replica. Contents 1 History 1.1 Commission 1.2 Placement 1.3 Later history 2 Interpretation 3 Conservation 3.1 Replicas 4 See also 5 References 6 Bibliography 7 External links History Commission David, modelling of the marble. The history of the statue begins before Michelangelo 's work on it from 1501 to 1504. Prior to Michelangelo 's involvement, the Overseers of the Office of Works of Florence Cathedral, consisting mostly of members of the influential woolen cloth guild, the Arte della Lana, had plans to commission a series of twelve large Old Testament sculptures for the buttresses of the cathedral. In 1410 Donatello made the first of the statues, a figure of Joshua in terracotta. A figure of Hercules, also in terracotta, was commissioned from the Florentine sculptor Agostino di Duccio in 1463 and was made perhaps under Donatello 's direction. Eager to continue their project, in 1464, the Operai contracted Agostino to create a sculpture of David. A block of marble was provided from a quarry in Carrara, a town in the Apuan Alps in northern Tuscany. Agostino only got as far as beginning to shape the legs, feet and the torso, roughing out some drapery and probably gouging a hole between the legs. His association with the project ceased, for reasons unknown, with the death of Donatello in 1466, and ten years later Antonio Rossellino was commissioned to take up where Agostino had left off. Rossellino 's contract was terminated soon thereafter, and the block of marble remained neglected for 26 years, all the while exposed to the elements in the yard of the cathedral workshop. This was of great concern to the Opera authorities, as such a large piece of marble not only was costly but represented a large amount of labour and difficulty in its transportation to Florence. 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 Operai 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 the block of stone, which they called The Giant, `` raised on its feet '' so that a master experienced in this kind of work might examine it and express an opinion. Though Leonardo da Vinci and others were consulted, it was Michelangelo, only 26 years old, who convinced the Operai that he deserved the commission. On 16 August 1501, Michelangelo was given the official contract to undertake this challenging new task. He began carving the statue early in the morning on 13 September, a month after he was awarded the contract. He would work on the massive statue for more than two years. Placement A replica of David now stands outside the Palazzo Vecchio. On 25 January 1504, when the sculpture was nearing completion, Florentine authorities had to acknowledge there would be little possibility of raising the more than six - ton statue to the roof of the cathedral. They convened a committee of 30 Florentine citizens that comprised many artists, including Leonardo da Vinci and Sandro Botticelli, to decide on an appropriate site for David. While nine different locations for the statue were discussed, the majority of members seem to have been closely split between two sites. One group, led by Giuliano da Sangallo and supported by Leonardo and Piero di Cosimo, among others, believed that, due to the imperfections in the marble, the sculpture should be placed under the roof of the Loggia dei Lanzi on Piazza della Signoria ; the other group thought it should stand at the entrance to the Palazzo della Signoria, the city 's town hall ( now known as Palazzo Vecchio ). Another opinion, supported by Botticelli, was that the sculpture should be situated on or near the cathedral. In June 1504, David was installed next to the entrance to the Palazzo Vecchio, replacing Donatello 's bronze sculpture of Judith and Holofernes, which embodied a comparable theme of heroic resistance. It took four days to move the statue the half mile from Michelangelo 's workshop into the Piazza della Signoria. Later that summer the sling and tree - stump support were gilded, and the figure was given a gilded loin - garland. Later history David Galleria dell'Accademia. In 1873, the statue of David was removed from the piazza, to protect it from damage, and displayed in the Accademia Gallery, Florence, where it attracted many visitors. A replica was placed in the Piazza della Signoria in 1910. In 1991, a mentally disturbed artist named Piero Cannata attacked the statue with a hammer he had concealed beneath his jacket ; in the process of damaging the toes of the left foot, he was restrained. On 12 November 2010, a fiberglass replica of the David was installed on the roofline of Florence Cathedral, for one day only. Photographs of the installation reveal the statue the way the Operai who commissioned the work originally expected it to be seen. In 2010, a dispute over the ownership of David 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 municipality claim. In the mid 1800s, small cracks were noticed on the left leg on David which can possibly be attributed to an uneven sinking of the ground under the massive statue. David 's eyes look towards Rome. Interpretation This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. ( September 2016 ) Close - up of David. The pose of Michelangelo 's David is unlike that of earlier Renaissance depictions of David. The bronze statues by Donatello and Verrocchio represented the hero standing victorious over the head of Goliath, and the painter Andrea del Castagno had shown the boy in mid-swing, even as Goliath 's head rested between his feet, but no earlier Florentine artist had omitted the giant altogether. According to Helen Gardner and other scholars, David is depicted before his battle with Goliath. Instead of being shown victorious over a foe much larger than he, David looks tense and ready for combat. The statue appears to show David after he has made the decision to fight Goliath but before the battle has actually taken place, a moment between conscious choice and action. 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 a rock. The twist of his body effectively conveys to the viewer the feeling that he is in motion, an impression heightened with contrapposto. The statue is a Renaissance interpretation of a common ancient Greek theme of the standing heroic male nude. In the High Renaissance, contrapposto poses were thought of as a distinctive feature of antique sculpture. This is typified in David, as the figure stands with one leg holding its full weight and the other leg forward. This classic pose causes the figure 's hips and shoulders to rest at opposing angles, giving a slight s - curve to the entire torso. The contrapposto is emphasised by the turn of the head to the left, and by the contrasting positions of the arms. Michelangelo 's David has become one of the most recognized works of Renaissance sculpture, a symbol of strength and youthful beauty. David 's right hand. Just the colossal size of the statue impressed Michelangelo 's contemporaries. Vasari described it as `` certainly a miracle that of Michelangelo, to restore to life one who was dead, '' 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 have ever existed. '' The proportions of the David are atypical of Michelangelo 's work ; the figure has an unusually large head and hands ( particularly apparent in the right hand ). The small size of the genitals, though, is in line with his other works and with Renaissance conventions in general, perhaps referencing the ancient Greek ideal of pre-pubescent male nudity. These enlargements may be due to the fact that the statue was originally intended to be placed on the cathedral roofline, where the important parts of the sculpture may have been accentuated in order to be visible from below. 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. It is possible that the David was conceived as a political statue before Michelangelo began to work on it. Certainly David the giant - killer had long been seen as a political figure in Florence, and images of the Biblical hero already carried political implications there. Donatello 's bronze David, made for the Medici family, perhaps c. 1440, had been appropriated by the Signoria in 1494, when the Medici were exiled from Florence, and the statue was installed in the courtyard of the Palazzo della Signoria, where it stood for the Republican government of the city. By placing Michelangelo 's statue in the same general location, the Florentine authorities ensured that David would be seen as a political parallel as well as an artistic response to that earlier work. These 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. Commentators have noted the presence on David 's penis of his foreskin, which is at odds with the Judaic practice of circumcision, but is consistent with the conventions of Renaissance art. Conservation During World War II, David was entombed in brick to protect it from damage from airborne bombs. Detail of David 's damaged left foot, caused by exposure to the elements and in 1991 when a deranged man hit it with a concealed hammer. In 1991, the foot of the statue was damaged by a man with a hammer. The samples obtained from that incident allowed scientists to determine that the marble used was obtained from the Fantiscritti quarries in Miseglia, the central of three small valleys in Carrara. The marble in question contains many microscopic holes that cause it to deteriorate faster than other marbles. Because of the marble 's degradation, from 2003 to 2004 the statue was given its first major cleaning since 1843. Some experts opposed the use of water to clean the statue, fearing further deterioration. Under the direction of Franca Falleti, senior restorers Monica Eichmann and Cinzia Parnigoni undertook the job of restoring the statue. In 2008, plans were proposed to insulate the statue from the vibration of tourists ' footsteps at Florence 's Galleria dell'Accademia, to prevent damage to the marble. Replicas Main article : Replicas of Michelangelo 's David Approximate heights of various notable statues : 1. Spring Temple Buddha 153 m ( incl. 25 m pedestal and 20 m throne ) 2. Statue of Liberty 93 m ( incl. 47 m pedestal ) 3. The Motherland Calls 91 m ( excl. pedestal ) 4. Christ the Redeemer 38 m ( incl. 8 m pedestal ) 5. Statue of David 5.17 m ( excl. 2.5 m pedestal ) David has stood on display at Florence 's Galleria dell'Accademia since 1873. In addition to the full - sized replica occupying the spot of the original in front of the Palazzo Vecchio, a bronze version overlooks Florence from the Piazzale Michelangelo. The plaster cast of David at the Victoria and Albert Museum has a detachable plaster fig leaf which is displayed nearby. Legend claims that the fig leaf was created in response to Queen Victoria 's shock upon first viewing the statue 's nudity, and was hung on the figure prior to royal visits, using two strategically placed hooks. In 2010, the Italian government began a campaign to solidify its claim to the iconic marble statue. David has been endlessly reproduced, in plaster and imitation marble fibreglass, signifying an attempt to lend an atmosphere of culture even in some unlikely settings such as beach resorts, gambling casinos and model railroads. See also List of works by Michelangelo List of statues by height References Notes Jump up ^ The height of the David was recorded incorrectly and the mistake proliferated through many art history publications. The accurate height was only determined in 1998 -- 99 when a team from Stanford University went to Florence to try out a project on digitally imaging large 3D objects by photographing sculptures by Michelangelo and found that the sculpture was taller than any of the sources had indicated. See ( 1 ) and ( 2 ). Citations Jump up ^ See, for example, Donatello 's 2 versions of David ; Verrocchio 's bronze David ; Domenico Ghirlandaio 's painting of David ; and Bartolomeo Bellano 's bronze David. Jump up ^ This theory was first proposed by Saul Levine `` The Location of Michelangelo 's David : The Meeting of January 25, 1504, The Art Bulletin 56 ( 1974 ) : 31 -- 49. See also J. Huston McCulloch, David : A New Perspective, ( 2007 ) accessed 13 - 02 - 2010 Jump up ^ The genesis of David was discussed in Seymour 1967 and in Coonin 2014. Jump up ^ Charles Seymour, Jr. `` Homo Magnus et Albus : the Quattrocento Background for Michelangelo 's David of 1501 -- 04, '' Stil und Überlieferung in der Kunst des Abendlandes, Berlin, 1967, II, 96 -- 105. Jump up ^ Seymour, 100 -- 101. Jump up ^ Giovanni Gaye, Carteggio inedito d'artisti del sec. XIV, XV, XVI, Florence : 1839 -- 40, 2 : 454 and Charles Seymour, Michelangelo 's David : A Search for Identity, Pittsburgh : Pittsburgh University Press, 1967, 134 -- 137, doc. 34. Jump up ^ Gaetano Milanesi, Le lettere di Michelangelo Buonarroti pubblicati coi ricordi ed i contratti artistici, Florence, 1875, 620 -- 623 : ``... the Consuls of the Arte della Lana and the Lords Overseers being met Overseers, 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 braccia in height, already blocked out in marble by Maestro Agostino grande, 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 next ensuing, with a salary and payment together in joint assembly within the hall of the said of six broad florins of gold in gold for every month. And for all other works that shall be required about the said building ( edificium ) the said Overseers bind themselves to supply and provide both men and scaffolding from their office and all else that may be necessary. When the said work and the said male figure of marble shall be finished, then the Consuls and Overseers who shall at that time be in authority shall judge whether it merits a higher reward, being guided therein by the dictates of their own consciences. '' Jump up ^ The statue has not been weighed, but an estimate of its weight was circulated in 2004, when the statue was cleaned. See a CBS news report of 8 March 2004. Jump up ^ The minutes of the meeting were published in Giovanni Gaye, Carteggio inedito d'artisti del sec. XIV, XV, XVI, Florence, 1839 -- 40, 2 : 454 -- 463. For an English translation of the document, see Seymour, Michelangelo 's David, 140 -- 155 and for an analysis, see Saul Levine, `` The Location of Michelangelo 's David : The Meeting of January 25, 1504, Art Bulletin 56 ( 1974 ) : 31 -- 49 ; N. Randolph Parks, `` The Placement of Michelangelo 's David : A Review of the Documents, '' Art Bulletin, 57 ( 1975 ) 560 -- 570 ; and Rona Goffen, Renaissance Rivals : Michelangelo, Leonardo, Raphael, Titian, New Haven, 2002, 123 -- 127. Jump up ^ Goffen ( 2002 ), p. 130. Jump up ^ Coonin, 2014, pp. 90 - 94. Jump up ^ Coonin, 2014. ^ Jump up to : `` 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. `` Michelangelo 's David Is Damaged '', New York Times, 1991 - 09 - 15. Retrieved on 2008 - 05 - 23. Jump up ^ Rossella Lorenzi, Art lovers go nuts over dishy David, ABC Science, Monday, 21 November 2005 Jump up ^ `` Michelangelo 's David as It Was Meant to Be Seen : Discovery News ''. news.discovery.com. Retrieved 24 July 2014. Jump up ^ Povoledo, Elisabetta ( 31 August 2010 ). `` Who Owns Michelangelo 's ' David ' ? ''. The New York Times. Retrieved 1 September 2010. Jump up ^ Pisa, Nick ( 16 August 2010 ). `` Florence vs Italy : Michelangelo 's David at centre of ownership row ''. The Daily Telegraph ( London ). Retrieved 1 September 2010. Jump up ^ A., Borri ( 2006 ). `` Diagnostic analysis of the lesions and stability of Michelangelo 's David ''. Journal of Cultural Heritage. 7 : 273 -- 285. doi : 10.1016 / j. culher. 2006.06. 004 -- via ScienceDirect. Jump up ^ `` File : Andrea del castagno, scudo di david con la testa di golia, 1450 - 55 circa, 02. JPG - Wikimedia Commons ''. commons.wikimedia.org. Retrieved 24 July 2014. Jump up ^ Helen Gardner, Fred S. Kleiner, Christin J. MamiyaIt, Gardner 's Art Through the Ages retrieved February 17, 2009 Jump up ^ Howard Hibbard, Michelangelo, New York : Harper & Row, 1974, 59 -- 61 ; Anthony Hughes, Michelangelo, London : Phaidon, 1997, 74. Jump up ^ `` David Sculpture, Michelango 's David, Michelangelo Gallery ''. Jump up ^ Giorgio Vasari, Le vite de ' più eccellenti pittori, scultori e architettori nelle redazioni del 1550 e 1568, ed. Rosanna Bettarini and Paola Barocchi, Florence, 1966 -- 87, 6 : 21. Jump up ^ Levine, 45 -- 46. Jump up ^ Butterfield, Andrew ( 1995 ). `` New Evidence for the Iconography of David in Quattrocento Florence ''. I Tatti Studies. 8 : 115 -- 133. Jump up ^ Strauss, RM ; Marzo - Ortega, H ( 2002 ). `` Michelangelo and medicine ''. JR Soc Med. 95 : 514 -- 5. doi : 10.1258 / jrsm. 95.10. 514. PMC 1279184. PMID 12356979. Jump up ^ Coonin, 2014, pp. 105 - 108. Jump up ^ Eric Scigliano. `` Inglorious Restorations. Destroying Old Masterpieces in Order to Save Them. '' Harper 's Magazine. August 2005, 61 -- 68. Jump up ^ `` Michelangelo 's David ' may crack ' ''. BBC News. 19 September 2008. Retrieved 19 September 2008. Jump up ^ `` David 's Fig Leaf ''. Victoria and Albert Museum. Retrieved 29 May 2007. Jump up ^ `` You need not travel to Florence to see Michelangelo 's David. You can see it well enough for educational purposes in reproduction, '' asserted E.B. Feldman in 1973 ( Feldman, `` The teacher as model critic '', Journal of Aesthetic Education, 1973 ). Jump up ^ That `` typical examples of kitsch include fridge magnets showing Michelangelo 's David. '' is reported even in the British Medical Journal ( J Launer, `` Medical kitsch '', BMJ, 2000 ) Bibliography External video Michelangelo 's David, Smarthistory Coonin, A. Victor, From Marble to Flesh : The Biography of Michelangelo 's David, Florence : The Florentine Press, 2014. ISBN 9788897696025. Goffen, Rona ( 2002 ). Renaissance Rivals : Michelangelo, Leonardo, Raphael, Titian. Yale University Press. Hall, James, Michelangelo and the Reinvention of the Human Body New York : Farrar, Straus and Giroux, 2005. Hartt, Frederick, Michelangelo : the complete sculpture, New York : Abrams Books, 1982. Hibbard, Howard. Michelangelo, New York : Harper & Row, 1974. Hirst Michael, `` Michelangelo In Florence : David In 1503 and Hercules In 1506, '' The Burlington Magazine, 142 ( 2000 ) : 487 -- 492. Hughes, Anthony, Michelangelo, London : Phaidon Press, 1997. Levine, Saul, `` The Location of Michelangelo 's David : The Meeting of January 25, 1504 '', The Art Bulletin, 56 ( 1974 ) : 31 -- 49. Natali, Antonio ; Michelangelo ( 2014 ). Michelangelo Inside and Outside the Uffizi. Florence : Maschietto. ISBN 978 - 88 - 6394 - 085 - 5. Pope - Hennessy, John, Italian High Renaissance and Baroque Sculpture. London : Phaidon, 1996. Seymour, Charles, Jr. Michelangelo 's David : a search for identity ( Mellon Studies in the Humanities ), Pittsburgh : University of Pittsburgh Press, 1967. Vasari, Giorgio, The Lives of the Artists ( Penguin Books ), `` Life of Michelangelo '', pp. 325 -- 442. External links Wikimedia Commons has media related to Michelangelo 's David. David : A New Perspective, J. Huston McCulloch Michelangelo Buonarroti : David, Art and the Bible The Digital Michelangelo Project, Stanford University Models of wax and clay used by Michelangelo in making his sculpture and paintings The Museums of Florence -- The David of Michelangelo Tourism in Florence Religious sites Basilicas Cathedral of Santa Maria del Fiore S Lorenzo Medici Chapel S Croce Baroncelli and Pazzi Chapels S Maria Novella Tornabuoni Chapel SS Annunziata S Marco S Miniato al Monte S Maria del Carmine Brancacci Chapel S Trinita Bartolini Salimbeni Chapel Sassetti Chapel S Spirito Churches Badia Fiorentina Battistero di San Giovanni S Mary of the Angels Certosa Orsanmichele Ognissanti Oratorio dei Vanchetoni Oratory of Gesù Pellegrino Oratory of S Thomas Aquinas San Frediano in Cestello S Gaetano S Giovannino degli Scolopi S Giovannino dei Cavalieri S Jacopo sopr'Arno S Salvatore al Vescovo S Ambrogio S Felicita Santa Maria Maddalena dei Pazzi S Maria Maggiore S Martino del Vescovo Ss Apostoli S Pancrazio S Salvi Ss Simone e Giuda S Stefano al Ponte Other Great Synagogue Museums, galleries and palaces Bargello Casa Buonarroti Casa Guidi Galleria dell'Accademia David Garden of Archimedes Loggia del Bigallo Loggia del Mercato Nuovo Loggia del Pesce Loggia Rucellai Museo dell'Opera del Duomo Museo Galileo Museo Nazionale Alinari della Fotografia Museo Nazionale di San Marco Museo di Storia Naturale di Firenze La Specola National Archaeological Museum Orsanmichele Ospedale degli Innocenti Palazzo dell'Arte dei Beccai Palazzo Davanzati Palazzo Gondi Palazzo Medici Riccardi Magi Chapel Palazzo Pitti Museo delle Porcellane Palazzo Vecchio Studiolo of Francesco I Palazzo Spini Feroni Stibbert Museum Uffizi Loggia dei Lanzi Vasari Corridor Towers ( Torri ) degli Amidei degli Alberti dei Della Bella dei Gianfigliazzi dei Mannelli dei Pulci Giotto 's Campanile Library Biblioteca Riccardiana at Palazzo Medici Riccardi British Institute of Florence Gabinetto Vieusseux ( Palazzo Strozzi ) Kunsthistorisches Institut Laurentian Library National Central Library Landmarks Fountain of Neptune Giotto 's Campanile Ponte Vecchio Monument to Dante Theatres Teatro Comunale Florence Teatro della Pergola Teatro Verdi Squares Squares of Florence Piazza del Duomo Piazza della Repubblica Piazza della Signoria Piazza Santa Croce Piazzale Michelangelo Streets Via Cavour Via de ' Tornabuoni Fort Belvedere Fortezza da Basso Gardens and parks Boboli Gardens Giardino Bardini Giardino dell'Iris Giardino delle rose Orto Botanico di Firenze Parco delle Cascine Villas Medici villas di Castello La Petraia di Careggi Medicea L'Ambrogiana del Poggio Imperiale Gamberaia I Tatti Il Gioiello La Pietra Rusciano Events and traditions Calcio Fiorentino Maggio Musicale Fiorentino Scoppio del carro Districts of Florence Trams in Florence Michelangelo List of works Key : * Attributed, † Lost Sculptures Florence, c. 1488 -- 1492 † Head of a Faun Madonna of the Stairs Battle of the Centaurs Crucifix Bologna, 1494 -- 1495 Additions to the Arca di San Domenico ( St Petronius, St Proclus, Angel ) Rome, 1496 -- 1500 † Sleeping Cupid Bacchus † Standing Cupid Pietà Florence, 1501 -- 1505 David Madonna of Bruges Additions to the Piccolomini Altarpiece ( Saints Peter, Paul, Pius and Gregory ) Pitti Tondo Taddei Tondo St. Matthew * Rothschild Bronzes Tomb of Pope Julius II, 1505 -- 1545 Moses Rebellious Slave Dying Slave Young Slave Bearded Slave Atlas Slave Awakening Slave The Genius of Victory Rachel Leah Florence, 1516 -- 1534 Christ Carrying the Cross Medici Chapel Giuliano de ' Medici Night Day Dusk Dawn Medici Madonna Apollo Crouching Boy Rome, 1534 -- 1564 Brutus Florentine Pietà * Palestrina Pietà Rondanini Pietà Paintings Panel paintings The Torment of Saint Anthony Manchester Madonna The Entombment Doni Tondo † Leda and the Swan Salone dei Cinquecento † Battle of Cascina Sistine Chapel Ceiling Separation of Light from Darkness The Creation of the Sun, Moon and Vegetation The Creation of Adam The Last Judgment Cappella Paolina The Martyrdom of St Peter The Conversion of Saul Architecture Florence New Sacristy and Laurentian Library in the Basilica of San Lorenzo Rome Piazza del Campidoglio Palazzo Farnese St. Peter 's Basilica San Giovanni dei Fiorentini Porta Pia Santa Maria degli Angeli e dei Martiri More Works on paper Study of a Kneeling Nude Girl for The Entombment Male Back With a Flag Epifania Milieu Cecchino dei Bracci Tommaso dei Cavalieri Vittoria Colonna Ascanio Condivi Gherardo Perini Sebastiano del Piombo Febo di Poggio Luigi del Riccio Related Art patronage of Julius II Casa Buonarroti Lives of the Most Excellent Painters, Sculptors, and Architects Michelangelo and the Medici Replicas of David Replicas of the Pietà Restoration of the Sistine Chapel frescoes The Titan : Story of Michelangelo ( 1950 documentary ) The Agony and the Ecstasy ( 1961 novel, 1965 film ) Coordinates : 43 ° 46 ′ 36.13 '' N 11 ° 15 ′ 34.02 '' E ﻿ / ﻿ 43.7767028 ° N 11.2594500 ° E ﻿ / 43.7767028 ; 11.2594500 GND : 4246818 - 8 BNF : cb12071178b ( data ) Jump up ^ `` Michelangelo 's David ''. Smarthistory at Khan Academy. Retrieved 18 March 2013. Retrieved from `` https://en.wikipedia.org/w/index.php?title=David_(Michelangelo)&oldid=834389172 '' Categories : 16th - century sculptures Collections of the Galleria dell'Accademia Culture in Florence Marble sculptures in Italy Outdoor sculptures in Florence Monuments and memorials in Florence Sculptures by Michelangelo Sculptures depicting David Vandalized works of art Tourist attractions in Florence Colossal statues Nude sculptures Hidden categories : Articles needing additional references from September 2016 All articles needing additional references Coordinates on Wikidata Wikipedia articles with GND identifiers Wikipedia articles with BNF identifiers Talk More Contents About Wikipedia Asturianu Azərbaycanca বাংলা Беларуская Български Bosanski Català Čeština Cymraeg Dansk Deutsch Eesti Ελληνικά Español Esperanto Euskara فارسی Français Galego 한국어 Հայերեն Hrvatski Bahasa Indonesia IsiZulu Íslenska Italiano עברית Basa Jawa ქართული Latina Latviešu Lëtzebuergesch Lietuvių Magyar Монгол Nederlands 日本 語 Norsk Polski Português Română Русский Scots Simple English Slovenčina کوردی Српски / srpski Srpskohrvatski / српскохрватски Suomi Svenska தமிழ் తెలుగు ไทย Türkçe Українська Tiếng Việt Winaray 粵語 中文 51 more Edit links This page was last edited on 5 April 2018, at 13 : 33. 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Question: when was the statue of david moved inside
Answer: 1873