The cultural and philosophical atmosphere of the Renaissance is perhaps most evident in its sculpture; the philosophy of humanism gave impetus to the restoration and subsequent emulation of the conceptions of beauty and perfection characteristic of Greco-Roman antiquity. Influenced by individualist principles, early Renaissance sculpture was characterized by a greater and more meticulous understanding of the human body. Donatello's David brought a renaissance of the standing nude to Italian culture, sparking an appreciation for perfect human anatomy that is palpable throughout the rest of the Renaissance and still evident in the artistic context of the Western culture that follows. The particularity of the bronze statue compared to those of the previous Middle Ages is of an archetypal Renaissance nature; David's pose is casual and his expression thoughtful, neither of which seems to match the narrative chapter; the biblical hero's soft body and lack of pronounced muscular development are often interpreted as unusually effeminate. While the statue's nakedness can be explained in biblical anthology terms, as David is said to have refused to wear armor during his battle with Goliath, the accessories with which he is dressed seem contextually nonsensical: a laurel on his hat indicates that David was a poet, and the hat on his head is of a bizarre Renaissance design. Perhaps most controversially, the statue's presence has been interpreted as homosexual in nature; while homosexuality was common in classical antiquity, during the Renaissance such “sodomy” was illicit and deemed pagan in nature. Donatello's exhibition here is, truly, a coalescence of Christian narrative with both the glory of ancient artists and the contempt... middle of paper... cities and courts. This association with academia was partly believable due to the intrinsic nature of the motif itself: the ends of the columns resemble those of a cartouche, and the architects applied this comparison to the letter. The final style, the Doric column, was the most masculine and also the least detailed of the triad. They were used for buildings that had a simpler design to create a more geometric and less ornate look. However, while each column was commonly connoted with a certain application and impression, the use of each style was not set in stone: each type of column could be used as the architect or patron liked, depending on what they wanted or than they could. afford. Suffice it to say that such details in architecture were often only relevant to those of high class society during the Renaissance, as only the rich had money to worry about such things..