Caravaggio as Goliath

Caravaggio

One of Caravaggio’s last works, David with the Head of Goliath, can be interpreted in many ways.

Firstly, it has been seen as a plea to the pope to pardon him (Caravaggio had murdered a man in 1606 in a brawl). Caravaggio’s self portrait is present here as the decapitated head of Goliath. David was modeled after his assistant, Francesco Boneri (aka Cecco del Caravaggio), and was known as the boy “who lay with [Caravaggio]” (Puglisi, C., “Caravaggio”).

At the time Caravaggio was a wanted man. There was a reward for anyone who could bring him back, dead or alive, to be tried for the young man he had killed. There is a clear analogy being depicted here. David/Boneri is the man that returns triumphantly with Goliath’s/Caravaggio’s head.

There also seems to be a sort of sexual intimacy between David and Goliath. David is not rejoicing, instead, he is rather pensive and forgiving. There is a sense of sorrow as he holds up the severed head. The intimate relationship between Boneri and Caravaggio is further emphasized by David’s sword. Placed between David’s legs in an upward direction, it seems sexually suggestive. It also mirrors the direction of David’s mournful gaze towards Goliath’s head.

Another way this painting has been interpreted is as a double self-portrait. It can be said that the assistant portrays a young Caravaggio while he is the mature adult, the present Caravaggio. He seems to say that the wild and careless life he had led as a young boy and adolescent essentially ruined his adult life and this portrait acts as a self reflection.

This painting can be seen as very much biographical. However, there can be a religious interpretation as well. This can be another composition depicting the triumph of good over evil. David is Christ while Goliath represents Satan.

David with the Head of Goliath (c. 1610)

-Melissa Gaballa