This refined bronze figure of David is influenced by the work of Florentine sculptors predominently working in the 17th century. The elegant classicism is reminiscent of the work of Domenico Pieratti (1600-1656). Compare the softened ephebic musculature and almost languid pose with Pieratti's seated St. John the Baptist in the Bargagli Petrucci collection, Florence, and his standing St. John the Baptist in the Bargello (Pratesi, op. cit., figs. 456 and 462); note also the similar wistful expressions with open mouths. The curling Baroque sheep's pelt nonetheless indicates that the bronze dates to later in the 17th century. Similar animal skin drapery can be seen in bronzes by Giovanni Battista Foggini (1652-1725), see his Mercury and Argo for example (Pratesi, op. cit. fig. 211). A parallel can also be drawn with French 17th century sculpture, François Girardon's Apollo, for example, has a similar contraposto pose (Bresc-Bautier et al, op. cit. no. 73). French sculpture was influential on Florentine sculpture around 1700, particularly in the work of artists such as Giuseppe Piamontini (1663-1744).
G. Pratesi (ed.), Repertorio della scultura Fiorentina del seicento e settecento, Milan, 1993, figs. 204, 211; G. Bresc-Bautier and G. Scherf (eds.), Cast in Bronze. French Sculpture from Renaissance to Revolution, exh. cat. Musée du Louvre, Paris, Metropolitan Museum of Art, New York, and Jean-Paul Getty Museum, Los Angeles, Paris 2008, pp. 278-279, no. 73