while caravaggio saw himself in the headless goliath, the young gian lorenzo bernini gave his featureso the heroic david. bernini took the immediacy he found in caravaggio's paintings and recreated it in marble with phenomenal and unprecedented virtuosity. the sculptors of the renaissance had often treated the david theme. donatello's david is serenely elegant. michelangelo's is contained... perfect... full of potential. but bernini's david moves... turns aggressively to confront the observer. true to the spirit of the baroque, this david is meant to be experienced. the viewpoint in this case, of course, is that of goliath. it's said that the cardinal maffeo barberini held a mirror to bernini's face so the young prodigy could use his own expression of intense concentration for the david. when the cardinal became pope urban viii, he said to the artist, "it is your good luck to see maffeo barberini pope, "but we are even luckier, "for the cavaliere bernini lives at the time of our pontificate." there is scarcely a corner of rome that was not graced by bernini's touch... from the small wi