What is the rationale behind the gaming capitals engagement strategy? a. the human need for technology b. the human need for socialization c. the human need for validation d. the human need for learning? Game Devolepment

perhaps donatello’s landmark work – and one of the greatest sculptural works of the early renaissance – was his bronze statue of david.  this work signals the return of the sculpture in the round figure, and because it was the first such work like this in over a thousand years, it is one of the most important works in the history of western art.

david is shown at a triumphal moment within the biblical storyline of his battle with the philistine, goliath.  according to the account, after david struck goliath with the stone from his slingshot, he cut off his head with goliath’s sword.  here, we see the aftermath of this event as david stands in a contemplative pose with one foot atop his enemy’s severed head.  david wears nothing but boots and a shepherd’s hat with laurel leaves on top of it, which may allude to his victory or to his role as a poet and musician.

before donatello’s work, david was typically depicted as a king, given his status in the old testament.  here, however, we have a stark change in the way david is depicted.  not only is he shown in the, but he’s also a youth.  in middle ages, nudity was not used in art except in certain moral contexts, such as the depiction of adam and eve, or the sending of souls off to the underworld.  in the classical world, was often used in a different, majestic context, such as with figures who were gods, heroes, or athletes.  here, donatello seems to be calling to mind the type of heroic nudity of antiquity, since david is depicted at triumphal point in the biblical narrative of his victory over goliath.

as for david’s youthfulness, donatello has gone back to the early life of the biblical david to depict him, rather than to his later life as a king.  it seems that donatello is trying to associate david’s youth with an innocent and virtuous life.  david looks young here – so young, in fact, that his muscles have barely developed enough to hold the large sword – that his victory over his foe is all the more improbable.  could david’s victory have been gained without divine intervention?   donatello’s work seems to imply that the answer is “no” – the victory was god’s rather than man’s.

in any case, donatello’s david is a classic work of renaissance sculpture, given its judaeo-christian subject matter modeled on a classical sculptural type.  it was revolutionary for its day – so much so that it did not get copied right away.  the idea of the life-sized sculpture-in-the-round evidently took some time to sink in and become an acceptable statue type

the bayeux tapestry (uk: /baɪˈjɜː, beɪ-/, us: /ˈbeɪjuː, ˈbaɪ-/; french: tapisserie de bayeux [tapisʁi də bajø] or la telle du conquest; latin: tapete baiocense) is an embroidered cloth nearly 70 metres (230 ft) long and 50 centimetres (20 in) tall,[1][2][3] which depicts the events leading up to the norman conquest of england concerning william, duke of normandy, and harold, earl of wessex, later king of england, and culminating in the battle of hastings. it is thought to date to the 11th century, within a few years after the battle. it tells the story from the point of view of the conquering normans, but is now agreed to have been made in england.

according to sylvette lemagnen, conservator of the tapestry, in her 2005 book la tapisserie de bayeux:

the bayeux tapestry is one of the supreme achievements of the norman romanesque its survival almost intact over nine centuries is little short of miraculous its exceptional length, the harmony and freshness of its colours, its exquisite workmanship, and the genius of its guiding spirit combine to make it endlessly fascinating.[4]

the cloth consists of some seventy scenes, many with latin tituli, embroidered on linen with coloured woollen yarns. it is likely that it was commissioned by bishop odo, william's half-brother, and made in england—not bayeux—in the 1070s. in 1729 the hanging was rediscovered by scholars at a time when it was being displayed annually in bayeux cathedral. the tapestry is now exhibited at the musée de la tapisserie de bayeux in bayeux, normandy, france (49.2744°n 0.7003°w).

the designs on the bayeux tapestry are embroidered rather than woven, so that it is not technically a tapestry.[5] nevertheless, it has always been referred to as a tapestry until recent years when the name "bayeux embroidery" has gained ground among certain art historians. it can be seen as a rare example of secular romanesque art. tapestries adorned both churches and wealthy houses in medieval western europe, though at 0.5 by 68.38 metres (1.6 by 224.3 ft, and apparently incomplete) the bayeux tapestry is exceptionally large. only the figures and decoration are embroidered, on a background left plain, which shows the subject very clearly and was necessary to cover large areas.

on 18 january 2018, french president emmanuel macron announced that the bayeux tapestry would be loaned to britain for public display. it is expected to be exhibited at the british museum in london, but not before 2020. it will be the first time that it has left france in 950 years.[6]

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