Professor Francesco Fabi-Altini (1830-1906) trained at the Academies of Belle Arti and San Luca, where he studied under the celebrated Neo-Classicist Tadolini. He perfected his art under Tenerani, working in his studio as an apprentice. He swiftly established his own reputation and studio, eventually becoming an Associate of the Academies of Ferrara, Perugia and Bologna. His first renowned work was the Cupid and Mercury of 1850, which was acquired by the Empress of Austria.
Working from Rome, Altini nevertheless exhibited internationally with great acclaim. He exhibited his Galatea at the Grosvenor Gallery, London in May 1880, and its success resulted in an engraving being reproduced with an article in The Art Journal of the following year (op. cit.). The author praised the talent of this top ranking Roman sculptor and further noted: "Signor Altini is at present engaged upon a statue of 'David', which will probably be exhibited in London this season". In fact, Altini included a marble 'David' in the 1881 Royal Academy show (no. 1441).
A marble Galatea by Altini dated 1884 was sold in these Rooms in 1990 (27 September 1990, Lot 148), and the present marble also post dates the original London exhibit. It is likely that both these English exhibits were received with such success that Altini was then commissioned to executed a further version, however in the case of the David, the difference of only one year could indicate that the piece was sent to England in 1881, but then received finishing touches from Altini the following year.
A product of his maturity the David reveals an assured mastery of subject, medium and technique. Altini has at this stage in his career looked back to the greatest master of the art of marble: Michelangelo. Both in facial type and physique the parallels to Michelangelo's David are close, and the greater undulation of stance echoes that of Michelangelo's Dying Slave. Altini's figure however belongs firmly in the 19th century, and has shed any Classical Antique reference. Rather than an abstracted hero and personification of strength and victory, his David is linked to a real world and to its history. He is more youthful, his armour is styled with loving detail to antique Eastern types, the empty sling has fallen in a soft heap at his feet, and smooth pebbles lie on it. Moreover, David is not yet king, and this is made clear by the shepherd's fleecy cloak which he ties back on after the battle and despite his gargantuan victory. Altini has thus created an image rich in detail and historical evocation combined with a splendid image of the male nude. Equally admirable is the technique which has produced a variety of textures from the block of marble, such as the patterned armour, the woolly sheepskin, the tousled hair and the smoothness of the flesh and stone pebbles.