This is a detail of Donatello’s bronze David in the Bargello Museum in Florence, likely produced in the 1440s, though no really firm date exists for its creation. The art historian Laurie Schneider once suggested that this diminutive and sensuous bronze (click here for the full information) was an expression of the sculptor’s homosexuality. That it’s a pretty boy nobody can deny. I took this image, rather mischievously, thinking of her thesis. It’s the part of the body that most conveys the work’s cheeky sensuality. In the same room of the Bargello stands an earlier David, also by Donatello. It could hardly be more different. Made of marble, of an older David as a young man, it is also twice as tall as the diminutive bronze. While soft of features, indicating David’s youth, it is monumental and heroic in scale and pose. Both statues, however, share the same moment in David’s famous act: they stand victorious with Goliath’s head at their feet.