Two Davids in the Bible

Two Davids in the Bible

Today's Bible teaching at Founded in Truth Fellowship explores the fascinating topic of how King David is presented in different parts of the Bible, drawing a parallel to the diverse artistic portrayals of David during the Renaissance period. The speaker, potentially Matthew Vander Els, begins by highlighting the human tendency to experience bittersweet feelings, similar to parents missing their children even after enjoying a moment of quiet. He then welcomes everyone and establishes the church's focus on unity in Yeshua and their appreciation for the entire Bible, including the Torah.

To provide context for understanding the different portrayals of David, the teaching delves into the Renaissance, a transformative era in Europe that began in Italy around the 14th century. This period marked a significant shift as humanity emerged from the Middle Ages, often referred to as the Dark Ages, which lasted from approximately 500 A.D. to the 1300s and was characterized by hardship and primitive conditions. The Renaissance brought about a resurgence of new ideas, creativity, and a flourishing of art and education. This era saw the rise of humanism, emphasizing the potential for human improvement and growth. Notably, the Renaissance witnessed a renewed interest in classical Greek and Roman art, including depictions of the human form, which had been largely absent for centuries.

The speaker emphasizes the profound impact of the Renaissance, highlighting the emergence of brilliant minds like Leonardo da Vinci, Galileo, Copernicus, William Shakespeare, Donatello, Raphael, and Michelangelo. This period also spurred significant inventions such as the printing press, eyeglasses, the telescope, the microscope, the steam engine, and the pencil. A pivotal development was the inspiration it provided to figures like William Tyndale, who fought to translate the Bible into English, making it accessible to a wider audience and challenging the church's exclusive control over the scriptures. Tyndale's tenacity, even in the face of being burned at the stake for his efforts, exemplifies the spirit of this awakening era.

The birthplace of the Renaissance was Florence, a wealthy Italian city that attracted artists, inventors, and politicians. The Medici family, who ruled Florence for over 60 years, were crucial patrons of this movement, commissioning numerous artworks and supporting artists like Donatello. Although Florence was technically a republic, the Medici's wealth and influence allowed them to effectively control the city. Cosimo de Medici commissioned Donatello to create two statues of David. The first, a modest marble statue, was placed at the town hall as David was a symbol of Florence. The second, a bronze statue, was placed in the center of Cosimo's palace plaza, which also served as the bank's headquarters, making it a prominent public display.

Donatello's bronze David was revolutionary for being the first nude sculpture since antiquity. This depiction showed a young, almost androgynous David, unclothed except for a hat and boots, holding Goliath's sword with Goliath's severed head under his foot. The helmet of Goliath featured Eros riding a chariot, and a feather touched David's thigh in a way that some found suggestive. This statue was controversial, seen by some as a symbol of power, greed, arrogance, and political domination by the Medici, essentially using the symbol of Florence for their own propaganda.

Later, Michelangelo created his famous statue of David, a colossal 13-foot tall marble sculpture with an enlarged right hand. Unlike Donatello's David, Michelangelo's depicts David not after defeating Goliath but as he stands fearlessly facing the giant, sling over his shoulder, ready to fight. Initially intended for the top of the Florence cathedral, it was eventually placed