The gallery where the David-Apollo is being displayed is small, appropriate for the diminutive piece. The museum visitors, a small crowd of retirees, are all pressed closely around the ropes, murmuring to one another about the details of the work, an unfinished statue by Michelangelo. It is mid-morning on a Friday and I seem to be the only visitor playing hooky from a day job. I circle the crowd and statue slowly.
Three tiny gray-haired women are asking the guard for directions. He sends them to the other side of the rotunda and they set off. They each have walkers they wield with such speed and intensity that I imagine them moving down the great hall in fighter jet formation, scattering anyone in their way.
I ask the guard if photographs are permitted and he says that they are. I pull out my camera and manage just a couple of close up shots before I notice that the whole crowd has backed away and begun pulling out their cameras too. A silent agreement and suddenly we can each get a shot that gives the illusion that we spent the morning alone with the statue.
Now an elementary school group comes in with a museum tour guide. The children press closely around the ropes, murmuring to one another. The retirees and I remain ringed around them as the lecture begins. The guide talks about history. About who Michelangelo was and why he was important. He talks about the evidence that the statue represents David and the evidence that the statue represents Apollo.
The guide finishes and the children’s art teacher takes over. Now the names and labels don’t matter. He has them touch the floor and tells them that the material Michelangelo used was similarly hard and cold and yet with the statue he managed to convey the warmth and softness of the human form. He has them stand in the serpentine pose of the statue and feel how their muscles respond. He tells them to trace in the air with their hands the sinewy graceful lines of the statue. He asks them to inhabit the art. No matter its name.





















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