The Renaissance period in art history is marked by the revitalization of classical approaches to rationalizing one's surroundings and gaining an understanding of the world through the observation of nature and the laws that define it. Artists in this period went from lifeless, symbolic pieces to pushing the limits to achieve realistic, anatomically correct figures. Two works that exemplify the commitment to the study of the human form are Nanni Di Banco's Santi Quattro Coronati and Michelangelo's David. Although both are pieces of marble, Di Banco's series of statues in a niche makes use of relative positioning, posture and accentuation of fabric to create a novel dialogue between the figures. On the other hand, Michelangelo imbues his freestanding nude statue with an intense gaze, a defined physique, and large-scale tense muscles to create an expression of cautious anxiety on the heroic figure as David mentally prepares for his battle with Goliath. Using different techniques, both Florentine artists create marble masterpieces that imitate the human form and represent the pride and values ​​of civic duty in Florence. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay The Four Crowned Saints are a series of marble statues placed in a semicircle inside a niche of the Or San Michele. These men are Christian sculptors who were executed for refusing King Diocletian's request for a statue of a pagan deity. Choosing the Bank in this formation creates a natural atmosphere for a serious conversation, possibly about the consequences of holding your beliefs. Inspired by Roman art, the four main figures are adorned with toga-like robes that fold and drape over them. The robe of the figure left of center mimics the effect of natural clothing as it appears to pull as the man's knee juts forward as he assumes a relaxed, contrasted position. With each statue having distinct facial features, Di Banco creates four men who stand by their faith. Michelangelo's David is a freestanding, bare marble, 17' x 6.5' interpretation of the biblical character King David. Unlike previous depictions of King David victorious after battle, Michelangelo chooses to depict the fighter in the midst of mental preparation before striking. Instead of striking a triumphant pose, David strikes a dynamic yet balanced, contrasting pose that exudes tension. Michelangelo makes the muscles of the defined figure ripple and flex as David raises his rock up to his chest in nervous anticipation. The statue's gaze does not seem to meet the viewer, rather David seems to focus on an invisible presence of Goliath approaching. David exudes psychological distress as his muscles are tense and his grips are tight despite his relaxed body language. Michelangelo made the statue 17 feet tall, expecting it to be displayed from the top of the Duomo. Dominating instead in the public square, the large statue showcases an athletic beauty of ideal anatomical proportions, except for the large hands that reinforce the figure's strength. Both artists draw inspiration from classical elements for their marble works. Di Banco's study of Roman portraits gives way to the individual personalities and appearance of each saint, and Michelangelo borrows the practice of male nudity and the powerful positions of rulers. Both works also symbolize qualities of Florentine civic pride. The Four Saints,.