After examining proportional adjustments in the David, including what he takes to be the “non-functional asymmetry” of Goliath’s helmet, Munman concludes that the work was meant to be seen dal sotto in su, elevated on a pedestal six feet from the floor. From the low position, the viewer can make direct eye-contact with the figure’s face, whose reflective gaze now comes into sight. “These changes, together with the shaded delicacy and sense of communication of the face, alter David’s boyish bearing to a more mature air of grace.”
