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| Donald Friend David with the Head of Goliath 1946 drawing National Gallery of Victoria, Melbourne |
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| Antonin Mercié David with the Head of Goliath 1872 bronze statuette Philadelphia Museum of Art |
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| Jacques Chéreau after Domenico Fetti David with the Head of Goliath ca. 1730 etching and engraving Metropolitan Museum of Art, New York |
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| Pietro Rotari after Antonio Balestra David with the Head of Goliath ca. 1725 etching Philadelphia Museum of Art |
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| Paul Troger David with the Head of Goliath ca. 1720 etching National Gallery of Art, Washington DC |
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| Anonymous Mosaicist David with the Head of Goliath 18th century glass bead mosaic Kunsthistorisches Museum, Vienna |
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| Anonymous Dutch Sculptor David with the Head of Goliath ca. 1690-1700 ivory relief Victoria & Albert Museum, London |
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| Francis van Bossuit David with the Head of Goliath ca. 1675-90 ivory relief Victoria & Albert Museum, London |
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| Carlo Maratti David offering the Head of Goliath to King Saul ca. 1670-80 drawing National Gallery of Art, Washington DC |
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| Marco Sanmartino David with the Head of Goliath ca. 1660 etching Philadelphia Museum of Art |
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| Giovanni Benedetto Castiglione David with the Head of Goliath ca. 1655 monotype National Gallery of Art, Washington DC |
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| Anonymous German Sculptor David with the Head of Goliath ca. 1650 colored wax relief Detroit Institute of Arts |
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| Ferrante Rosatti David with the Head of Goliath 1649 etching Philadelphia Museum of Art |
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| Giulio Carpioni David with the Head of Goliath ca. 1645 etching Philadelphia Museum of Art |
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| Jan van den Hoecke Triumph of Saul (including David with Head of Goliath) ca. 1635 oil on panel (sketch) Victoria & Albert Museum, London |
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| Andrea Vaccaro David with the Head of Goliath ca. 1635 oil on canvas Los Angeles County Museum of Art |
from In the House of Wax
We enter, adjust to the gloom,
to the lighting that plays
on the painted, staring faces.
to the lighting that plays
on the painted, staring faces.
We think to ourselves, murmur
to the one standing beside us:
"How compellingly strange
these people are, and yet familiar
to the world we left behind us,
the street and the household . . ."
These are the people whose names
we learned, whose lives we studied,
whose thoughts we have become.
Each lighted stage with its play
of the lost and the violent –
comedians and stuntmen,
heroes transfixed in purpose.
We pause, to read once more,
in deliberate, bald summation,
what art, wax, and history
have made of the dead:
something more than a mirror,
less than a telling likeness;
an ideality slick with blood.
– John Haines (1996)