Early artists considered the human body, that forked radish, that defenseless starfish, a poor vehicle for the expression of energy, compared to the muscle-rippling bull and the streamlined antelope. Once more it was the Greeks, by their idealization of man, who turned the human body into an incarnation of energy, to us the most satisfying of all, for although it can never attain the uninhibited physical flow of the animal, its movements concern us more closely. Through art we can relive them in our own bodies, and achieve thereby that enhanced vitality which all thinkers on art, from Goethe to Berenson, have recognized as one of the chief sources of aesthetic pleasure.
Seen by itself the David's body might be some unusually taut and vivid work of antiquity; it is only when we come to the head that we are aware of a spiritual force that the ancient world never knew. I suppose that this quality, which I may call heroic, is not a part of most people's idea of civilisation. It involves a contempt for convenience and a sacrifice of all those pleasures that contribute to what we call civilised life. It is the enemy of happiness. And yet we recognise that to despise material obstacles, and even to defy the blind forces of fate, is man's supreme achievement; and since, in the end, civilisation depends on man's extending his powers of mind and spirit to the utmost, we must reckon the emergence of Michelangelo as one of the great events in the history of western man.
Conventional nudes based on classical originals could bear no burden of thought or inner life without losing their formal completeness.