David I: Ambitious Ascension

Title:
David I: Ambitious Ascension
Type: Oil
Dimensions: Width/Height (in inches) 48/60
Year: 2007

This painting is the first of a three-paneled mural, a triptych, about the life of King David; one panel for each of the three Hebrew letters (DVD) of his name. The details of David’s life are outlined in great detail over the course of roughly half the book of Samuel I, the entire book of Samuel II, and a small portion of Kings I. This painting covers the time period between David’s covert anointment by Samuel while still an unknown sheppard boy, the youngest of Jesse’s eight sons, up until his public coronation by the people of Israel making him King of all Judea and Israel.

Despite being anointed by Samuel as a lad, at which point the spirit of God simultaneously enters him and departs Saul, the road to David’s popular coronation and acceptance by the United Hebrew Tribes (UHT) was paved by a long and arduous battle fought against near impossible odds. In order for David to wrest the Kingdom from Saul, who God “regretted” anointing in the first place (just like he “regretted” creating the antediluvian world in Genesis), David has four major obstacles to overcome. He has to sequentially compete with and/or battle against a) his seven siblings, b) Goliath, c) Saul, and finally d) Ish-Boshet, Saul’s son and successor.

It is evident from the text that David’s remarkable ascension is accomplished only because he possesses amazing natural and learned abilities that are rarely if ever bundled into a single individual. The only possible explanation according to Tanach is that he is filled with the spirit of God. He is extremely good-looking, charming, charismatic, and loveable. His name which means “beloved” in Hebrew reflects these traits. He is very strong, swift and agile. He has an instinctual knowledge of rudimentary Newtonian Physics as it applies to the battle field. He is a poet, a talented singer, a song writer and musician who masterfully plays the harp, a popular musical instrument.

His greatest attribute which not only allowed him to claim the throne but maintain it for forty years is his hyper acute political acumen. Wise beyond his years, he instinctually knows how to patiently and incrementally aggrandize power, and to look at long, not short term goals avoiding hasty mistakes. He knows how to cultivate people and manipulate public popularity. He is a skilled actor and calculating orator shifting alliances on a dime in order to survive and win. He is the ultimate and unbeatable Teflon politician. He effortlessly plays with the deepest emotions of every person he meets with natural skill and élan. Aspiring politicians would be well served placing the books of Samuel I and II on the top of their reading lists ahead of Machiavelli’s The Prince, Sun Tzu’s The Art of War, and Aristotle’s The Art of Rhetoric.

David’s life story really begins when Saul finds disfavor in the eyes of God by not killing the King of Amalek. After Samuel finishes the job off himself, God tells Samuel to go find a King amongst the sons of Jesse. In Beth Lechem, Jesse parades each of his sons in front of Samuel in descending chronological birth order. The first and eldest son presented, is good-looking and thus promising, however God tells Samuel that he shouldn’t judge a book by its cover.

After Samuel rejects the first seven sons, Jesse brings out David, the youngest, who is busy minding the sheep (A proto-Cinderfella tale). David is “good looking, ruddy in appearance and has very nice eyes”. Most likely it was a combination of his looks and mannerisms which immediately impressed Samuel, whereupon he anointed him King of Israel on the spot.

David is illustrated in this painting as the proud figure standing on top of three decapitated corpses (explained below) being anointed by Saul, the central figure wearing a blue mantle who is pouring oil on David’s head (anointing him) from the Horn of “the anointed one” ( “Messiah” in Hebrew) . Samuel’s other hand is resting on Saul’s crown on the right side of the painting. The symbolism is that Samuel is transferring the spirit of God, and simultaneously the monarchy from Saul to David. Hence Saul’s face, spirit and countenance are dark, bereft of the spirit of God, and filled with an evil spirit. Written in Hebrew on the black spear Saul is grasping are the words “And the spirit of God departed from Saul, and an evil spirit emanating from God came to him”.

Thus, David’s first step in his journey is realized when he is selected for anointment out of all his brothers by Samuel in this beauty pageant by outshining them all with the indefinable “it” factor. It is however his next sibling rivalry victory in the Valley of Elah (God in Hebrew) that is the most crucial, permanently setting him apart and above his older jealous siblings spectacularly thrusting him into the public arena.

Because of Saul’s reactive depression to Samuel’s rejection, when people in Saul’s court hear that David plays the Harp (not having any knowledge of his secretive anointment), they invite him to musically assuage Saul’s bleeding soul. In this painting David with a ruddy face, is wearing a Harp as armor, and its emanating musical notes travel to Saul’s ears soothing him. When Saul first lays eyes on David, he, like everyone else, is immediately enamored by him, and appoints him his personal armor carrier.

In the meantime, David’s brothers are enlisted in Saul’s army. Jesse sends David as a messenger boy to carry food and supplies to his brothers in the battlefield where he witnesses Goliath, the giant Philistine, taunting the Israelites, challenging any one of them to one- on- one combat. If the Israelite defeats him, the Philistines will serve them; if he wins, Israel will serve the Philistines. When David’s oldest brother sees David sniffing around, having already humiliatingly lost Samuel’s anointment , he get’s very angry with him because he knows what he is up to, and asks him sarcastically “who’s minding the sheep?” David makes like he doesn’t know what he’s talking about.

David, against his brother’s will, publicly offers to fight Goliath. Saul, concerned about David’s welfare, warns him against this, but David insists. To protect him, Saul gives him a coat of arms and a helmet. After donning them David realizes that because the armor is too cumbersome and heavy, it will work against him, and he insists on fighting without it; his sole ammunition consisting of a bag of five smooth rocks and a slingshot. These simple weapons are portrayed in this painting slung over his green belt.

He assures Saul that he can beat Goliath, because as a sheppard boy he single- handedly fought bears and lions that made off with his sheep, by grabbing them by their beards and killing them. In light of this experience, defeating Goliath would be a piece of cake. Wrestling with these fierce animals was probably his greatest training for fighting not only Goliath but all future military opponents.

It is obvious that David overcame these animals not merely because of his brute strength, but also because of his agility, and ability to figure out and exploit their weaknesses. This is precisely how he approached Goliath. The text goes into excruciating detail not only about Goliath’s height, but also about the weight of his over-sized armor, his helmet, his spear, sword and javelin. Hence, big and strong he may have been, but his agility was severely compromised.

David intuitively grasped this physical concept as he had grasped how to overcome slow bears and lions with tuggable beards by out-foxing and out-maneuvering them. He instinctively knew by looking at Goliath that his center of gravity was misplaced, and that it wouldn’t take much to bring this tilted Eiffel tower down to the ground, and set him completely off balance physically and psychologically. Therefore, he was confident and fearless. He then calculated that throwing a rock at the center of his forehead would do the trick, and it did. According to the text the rock embedded itself deeply into his forehead, demonstrating that David thrust it via his slingshot with great strength, velocity, and precision. The slingshot, a surprisingly sophisticated little tool, vitally provides an exponentially amplified applied physical force which can not be accomplished by mere hand throwing.

This stone was not enough to kill him, so as Goliath is falling down, David immediately rushes towards him, not waiting for him to get up, grabs Goliath’s sword and decapitates him.

Illustrated in this painting is David holding up his trophy, Goliath’s decapitated head (strung to two other trophy heads, to be described below). Illustrated is a blue rock embedded in Goliath’s forehead. David is standing on three be-headed corpses. The supine, bottom-most, and the chronologically first of three beheaded corpses to fall before David, is the giant Goliath. The two other prone decapitated corpses will be identified and discussed below. Goliath’s head in this painting combines the physical characteristics of a Bear and a Lion; an imaginary Liobear, which David imagined him to be. Goliath taunted David that after he killed him, the birds of the sky and the animals of the field would feast on his dead body. David replied ditto to you. Not only that, I will vanquish you without a sword demonstrating God’s greatness. This attitude demonstrated early on in David’s career his outstanding political, patriotic and self-deprecating characteristics. Illustrated on the lower right of the painting are birds feeding on Goliath’s corpse and the two others.

The killing of Goliath is the defining feature of David’s early life putting him head and shoulders over his seven soldier brothers who are depicted in the painting, all metaphorically smaller relative to him, holding spears and shields and are arranged around him, such that David towers above them, forming the peak of an imaginary brotherly pyramid. Written on their shields are individual Hebrew letters which spell out “The sons of Jesse”. They are anthropomorphized sheep, because at this point they are like the flock of Sheep that David herded. They are weak, lack his courage and will now follow him. Thus, David jumps over his first major hurdle by becoming the leader of his family unit, despite being the last born.

Saul’s son, Jonathan, from the moment he lays eyes on David in his father’s court immediately becomes his best friend forever (BFF), and presents him with his bow, sword, mantle and a covenant of undying fidelity. In this painting, Jonathan is portrayed to Saul’s right behind his throne looking on at David with great admiration. David has now secured an ally and a reliable fifth column within the house of Saul.

Because of David’s remarkable victory over Goliath, Saul appoints him over many soldiers and sends him out on many military missions. He is successful in all of them. One day when Saul and David return from war, flocks of swooning women come out to greet David the rock star barely being able to contain themselves, singing “Saul killed thousands but David killed tens of thousands”.

This arouses Saul’s jealousy, and he begins to despise the boy wonder that he welcomed into his home, and will henceforth never stop plotting his murder. Multiple times, he sees David playing the harp, and starts throwing a spear at him. Saul is seen to the right of the painting sitting on his throne wielding a spear which is being held back by Jonathan who stands behind him, who loves David, and will always protect him. Saul’s throne is saddled by two black howling wolves. The wolves are totems for his Benjamite tribe. Their howling mirrors the inner pain of Saul’s tortured soul. Their blackness represents the darkness of his embittered spirit.

Saul now has to make good on the promise of whosoever kills Goliath will marry his daughter. Saul ups the ante for these nuptials demanding that David must in addition battle the Philistines and return with a trophy of one hundred Philistine foreskins, an impossible feat that will surely get him killed. David not only meets this ante, he raises him a hundred foreskins, returning from battle with not one but two hundred foreskins. He claims his bride, Saul’s daughter, Michal, who loves him as does every woman. She is illustrated in the painting behind and to the left of Saul extending her arm out to David with lustful desire like a teen age girl about to faint at a Rock concert.

It’s official. David is now by marriage part of the royal family, and is technically a Prince (in-law). Saul is surreptitiously plotting David’s murder while publicly offering his daughter to him in marriage, and inviting him over for dinner every night. David is publicly proclaiming his humility, by saying “who am I to marry the King’s daughter?” Both Saul and David say the exact opposite of what they mean. The difference is that David is far more convincing.

The seeds are now firmly planted for David to usurp Saul. He is married to his daughter Michal. His son Jonathan, next in line for the throne, pledges fidelity to David, not to his own father. What now follows are a series of plots and intrigues where Saul repeatedly tries to kill David (to prevent his almost certain usurpation) forcing him out of his house without a weapon or food turning him into a fugitive. In two separate instances both Jonathan and Michal become aware of Saul’s intent to murder David, and save his life.

David on the run goes to Noveh, a city of Priests, and convinces one of the priests, despite his suspicions, to give him Goliath’s sword which was stored there, as well as bread. David accomplishes this by convincingly lying to him that he is on a secret mission from Saul. Having food in his belly, and armed with a sword, he then tries to seek refuge with Achish of Gath, King of the Philistines, Goliath’s home city.

It seems highly improbable that David would enter such enemy territory until one realizes that this is probably the last place in the world that Saul would look for him. David is immediately recognized by the natives, and is justifiably fearful that Achish will kill him for being the Goliath slayer. Therefore, in an instant, David very wisely and convincingly plays the role of a mad man, scratching and pawing at the gates, and drooling like a hyena. The ploy works stunningly. He gets kicked out unharmed, because Achish has no use for “yet another madman”. The words “yet another “imply that there were other mad men scurrying about, and that perhaps David knew this, which was the intuitive basis for this ruse.

On the run again, David then escapes to Addulam, where his own family and a band of the disinherited and dispossessed join the young Robin Hood, forming a scruffy rag tag army of four hundred men. He assumes his first leadership position to this nascent kernel of his future vast kingdom.

David and his gang then escape to Moab, his ancestral country on his father’s side, seeking an ally even though they are avowed enemies of Israel. Again this is an area that Saul would most likely avoid. The charming David is of course welcomed, and stays there until the Prophet Gad tells him to get back to Judah (gently reminding him that he is really not a Moabite). In the meantime Saul finds out that the priests of Noveh helped David, despite not knowing that they were doing anything wrong, and kills them all , with the exception of Achimelech, the soul survivor who escapes with the Priestly Ephod, the oracle.

This vindictive behavior by Saul sharply contrasts with David’s highly tuned political acumen. Killing Priests does not gain popularity points. It has the reverse effect. It aids and abets usurpations and coups. Achimelech switches sides, and now joins David critically giving him to access the Ephod which is instrumental in successfully guiding his military exploits.

David then escapes to Keilah, where he independently fights and kills Philistines with God’s permission. When Saul hears that David is hiding in Keilah, he thinks he has him trapped since it is a city with gates and bars.

At this point David asks the Ephod (oracle) several critical existential questions. His first question is “Will the men of Keilla deliver me into his (Saul’s) hands, and will Saul come down as your servant has heard? Oh God of Israel, answer your servant!” The Ephod (God) answers with a single word, “Yered” (“he will come down”). Then David asks the Ephod another question “will the men of Keilah deliver me and my men to Saul?” And the Ephod /God answers with another single word, “Yasgeru”- They will deliver you. David takes the Ephod’s advice and then escapes to the desert of Zif, once again frustrating Saul’s plans.

Portrayed in this painting is David wearing his Harp as a shield. Musical notes are emanating from the harp wafting over to Saul and calming him down. I have fused his harp with the Ephod, the oracle. The Ephod, as described in the Torah, is attached to the breastplate worn by the Priest. During David’s era, as opposed to earlier times, it is used as a magical portal to access the mind of God wherein, one can actually query the Ephod, and God replies.

In an attempt to comprehend the mysterious function of the Ephod, in this painting, I have written out (painted) the letters EPYD in pictographic Proto-Sinatic Hebrew swirling in David’s heavenly torso. The word’s four letters are inscribed on two lines written from right to left. The first letter Aleph (A) is a picture of a bull which symbolizes God (the god of ancient Canaanites, later any generic god)). The second letter Peh (P) which means mouth is symbolized by a single upper lip. I have put two red Pehs together forming the shape of a mouth. The third letter is Vav (Y). This letter is pictographically virtually identical to a Kuf (K). Both letters are derived from Sumerian, and symbolize a man (Phallus). The fourth letter Daled (D) or Delet means door, and is also inherited from the Sumerian. It was originally used to symbolize a woman (triangular door which leads into a woman) or generalized to mean any door (a triangular door leading into a tent).

Hence let us now retranslate the word EPYD into idiopictographic Proto-Sinaitic Hebrew: Bull (god, A), mouth (P), man (V), and door (D) i.e. God (A) speaks (P) to man (V) through this door /portal (D).

If we read EPYD from left to right as it is read in Greek we get DyPe, which may sound something like DelPhi, as in oracle of Delphi. Coincidence? Related? Perhaps. The Greek letter Delta (a triangle) is directly derived from the Hebrew Daled. The Greek letter Pi is derived from Peh.

The two separate word answers of the Ephod in this painting are written atop the bottom most emanating musical notes on either side of David. Each letter sits on top of a musical note prong implying that God’s voice was musically conveyed.

Back to the story: Saul pursues David into the desert of Zif and thence to Ein Gedi. Here Saul rounds up three thousand men to kill David. When they are all in dark caves, David sees Saul, but Saul does not see David. David has the opportunity to kill Saul but instead silently and surreptitiously tears off a part of his skirt which he later shows off to Saul, demonstrating his mercy by not killing him. David also instructs his men, that neither he nor they should ever kill Saul, the anointed (Messiah) of the Lord.

David speaks with heart warming poignancy and respect to Saul. His sincerity is convincing and real. David has nothing to gain by killing him. If anything that would turn the people against him, and prevent him from ever ascending the throne. He would much rather cease being a fugitive, and patiently wait for Saul’s natural or unnatural death. Jonathan, Saul’s successor already promised him that he would serve him as King.

In this painting David is holding up with his left hand (right side of the painting) the torn portion of Saul’s skirt. Outlined on this torn garment is the map of ancient Israel which symbolizes David’s usurpation (ripping) of the monarchy (away from Saul). The geographic locations of all the tribes are detailed on the map along with the names of the Israelite enemies who will later become David’s vassals. In the painting, note Saul’s ripped skirt from whence the map was torn overlying his right leg.

Saul praises David for being a better human being then him, and for sparing his life. He then concedes that the monarchy is rightfully David’s. When the time comes he makes David promise to spare his seed. David promises. In the future he breaks it as soon as it is politically expedient to do so. Saul then promises to no longer pursue David. This promise is instantaneously broken. Saul pursues David to the desert of Zif where David once again hides, again bringing three thousand men to finish David off.

Once more David has the opportunity to kill Saul when he finds him in a deep sleep. David will not kill him despite the goading of his men. Once again David takes the high road and politically wise one of not killing him. He takes his spear and water pitcher from near him, and brandishes them in front of Saul proving again that he bears him no ill will. Saul again praises David, tearfully calling him “my son”, and makes more false promises about not pursuing him.

David realizes that he must now disappear before his luck runs out, because Saul will never stop pursuing him. Therefore he reenters Philistine country where Saul will surely not tread. He re-approaches Achish of Gath immediately ingratiating himself with his arch enemy. Not only that, he sweet talks Achish into giving him the city Ziklag (for nothing in return), which henceforth becomes David’s possession forever. In order for David to completely ingratiate himself with Achish, he goes on a raid annihilating every person in a town composed of Amalekites, Geshurites and Gizrites. When Achish asks him where he performed his raid, and whence his booty comes from, David convincingly prevaricates that he raided Southern Judah, a common enemy which both he and Achish share. Achish answers “he has made his people Israel utterly abhor him, therefore he will serve me eternally”. David has now proven his Philistine loyalty, and with his charm deflated Achish’s fear of inviting in a fifth column. Achish is convinced that David has switched sides.

At this moment in time this ruse is absolutely necessary in order for David to survive because he thus avoids Saul’s wrath and army. David at this point has not yet decided if it is to his advantage to eventually turn on the Philistines when the time is ripe, or actually join with them (temporarily or permanently) to fight Saul, when they later go out to war . Only the circumstances that will dictate David’s survival, and simultaneously promote his ascent to power will determine what his next move will be, who he will side with, and who he will choose to lead. This will become manifest below.

In the meantime Saul fears the Philistines, and continues to unsuccessfully fight them. He pleads with God for assistance but receives no answer, “neither by dreams by Urim or by Prophets”.

Saul has no choice but to seek out a woman who divines by ghosts in Ein Dor. After Samuel dies, Saul banished people like her from practicing their crafts at the threat of death. Because he banned them only after Samuel’s death it is possible that these practices may have been considered part of normative Judaism which were sanctioned by Samuel.

Saul, disguised so as not to frighten her, which he does when she recognizes him, asks her “to divine unto me by a ghost, and bring up whoever I want!” She conjures up the grouchy ghost of Samuel from the depths who is not happy to be disturbed.

In this painting, the enchantress (The woman-lord of Ghosts) from Ein Dor is illustrated in a purple dress with her arms elevated in the act of raising the ghost of Samuel. The dead spirit of Samuel and the living Samuel (who is anointing David in a different space-time continuum) are fused into one being. Misty purple white smoked flames ascend beneath Samuel and the enchantress, providing a visually ethereal aura to this awakening and rising of the dead. The surrounding musical notes also give the impression that she is raising the ghost of death like a Maestro conducting a symphonic Requiem.

Saul bitterly complains to Samuel that God has abandoned him, and that he desperately needs his advice. Samuel chastises him; “God is doing as he said. He tore the monarchy from you and gave it to David because you did not execute the fierce wrath of God on Amalek” Not only that “tomorrow you, your sons and Israel will be given into the hands of the Philistines”.

While this is transpiring, Amalekites raid Ziklag, and take David’s wives and children hostage. The seriousness of this situation calls for asking the Ephod’s advice. David asks the Ephod “Shall I pursue after this troop and overtake them?” The Ephod answers “Pursue for you will overtake them and save them”. In this painting these words are written in Hebrew surrounding David’s shoulders. Each individual letter is written atop a musical note prong. David takes the Ephod’s advice. He pursues, gets his wives and children back along with a whole lot of booty. He demonstrates his magnanimity by defying some of his men, and dividing the spoils even amongst those who were too cowardly to join the raid. This can only engender more loyalty and encourage the enlistment of even more troops. His troops swell to six hundred.

The juxtaposition of accessing God via the medium of ghosts or oracles seems quite magical. This is inconsistent since the Torah prohibits the practice of magic and witchcraft. Either these practices did not fall under these headings, or their prohibition was ignored. They also seem to have been practiced during a very brief segment of Jewish History.

Tragically, Samuel’s Prophesy of doom comes true. When Saul realizes that he is hopelessly losing the battle against the Philistines who are in hot pursuit, he falls on his own sword so as not to give them the pleasure of killing him. Three of Saul’s sons, including Jonathan, have already fallen in this battle. When the Philistines find Saul’s body they cut off his head (this seems to be the universal military custom). They place his stripped armor in the house of Ashtoreth and then nail his and his sons’ bodies to the house of Beth Shan (a news announcement before the advent of the printing press).

Shortly thereafter, an Amalekite boy (utterly inconsistent, since Samuel was supposed to have killed the last Amalekite; sparing a single Amalekite was the sin for which Saul was deposed) comes to David providing more details about Saul’s final moments. He informs him that upon Saul’s request, after falling on his own sword, and not expiring soon enough, that he provided the final blow to Saul putting him out of his misery. He then removed Saul’s crown and bracelet which he now presents to David.

David waxes furious that this Amalekite killed the Messiah of the Lord, and so orders his immediate execution. David then gives an elegiac heart rending eulogy for Saul and Jonathan that could make a stone cry.

It is obvious that Saul was going to die without the Amelekite’s help who actually provided merciful euthanasia. However, if David had not reacted the way he did, had he not killed him, how would it have appeared to the people that this boy, hand delivered Saul’s crown and bracelet (his kingdom) to him? It would have looked as though David conspired with this boy to kill Saul.

This is completely believable because David is living under Achish in Philistine country. Furthermore, David requested to be party to this Philistine battle in pursuing Saul. Had the Philistine soldiers not insisted to Achish that they did not want David in their army because they didn’t trust him (boy were they right), seeing that he killed Goliath and tens of thousands of other Philistines, David would have been fighting against the Israelites on the Philistine side. Had he not killed this Amalekite boy, the Israelites would never again have let David into their midst, never mind accepting him as a King. Again, David’s natural survival and political instincts come to the fore. Killing innocent people who obstructed his political path (or his lust; stay tuned for David III) did not necessarily interfere with his moral compass.

Saul is dead. David’s position is now secured. He goes to Hevron and is anointed King of Judah. Half the kingdom now belongs to him; only one more half to go.

In this painting the second head dangling underneath Goliath’s, is King Saul’s. Despite the fact that David did not personally kill him, which he went to great lengths to prove, and to avoid, the Philistines who David befriended pursued Saul, and were not stopped by him, but could have been. Therefore, despite the beautiful eulogy, David was indirectly responsible for Saul’s death. In truth, David can hardly be blamed; after all, Saul desperately tried to directly kill him. Hence in this painting, Saul’s decapitated corpse, lays prone on top of Goliath’s, serving as just another corporeal step upon which David climbs, on the way to the throne, as well as more fodder for the ravens.

Upon Saul’s death, Avner, his commanding Captain anoints Ish- Boshet, Saul’s son, as puppet King of Israel. In Hebrew Ish-Boshet means man of shame. Over the next several years the Houses of Saul and David battle each other. The former grows weaker while the latter waxes stronger. David grows more confident and retrieves his wife Michal from the weakened Ish- Boshet, and from hands of her grieving loving husband who Saul betrothed her to after David went into hiding.

Avner, the real power behind Ish-Boshet’s throne, pulling all the strings, feels slighted over a minor political squabble with Ish_Boshet, and now readies to cross-over to David’s side. He offers to make David King of Israel. David accepts. Just before the official transaction can take place, behind David’s back, Yoav, David’s General, kills Avner, in a vendetta for having killed his brother, Asahel.

Not only does this put a real crimper on David’s plans, but it’s much worse. Everyone knew that Avner was practically the real King of Israel. People could only assume that if David’s top General murdered Avner, this would obviously represent a hostile takeover by David, which the people of Israel were unwilling to accept. Damage control was now sorely needed. David does what he does best. He publicly laments the passing of Avner, “a great man”, with the utmost pathos and sincerity. He wails loudly at his funeral and fasts. The people lap it up, and are convinced that David is innocent, which he is.

When Ish-Boshet hears of Avner’s death, he knows his goose is cooked, and that his puppet’s strings have just been severed. He becomes frantic. Shortly thereafter two of his captains, Banah and Rechab, kill and decapitate him in his sleep. Wanting to please David, they bring Ish-Boshet’s head to him (This beats DNA evidence).

David not only does not condone this behavior, he has them executed proving once again he is no King (Messiah) killer, which would make him very unpopular. Had David not killed them, he would have appeared to be their collaborator.

David’s execution of Ish-Boshet’s murderers thoroughly endeared him to the people of Israel. All the tribes come to him in Hevron and say “we are your bones and flesh”. All the elders of Israel came to Hevron and make a covenant with him anointing him King over all of Israel. This turns out to be a great decision on their part since David is the only person who can protect them from the Philistines. At the ripe old age of thirty David’s ascension is now complete. Samuel’s prophecy is realized.

In this painting, the beheaded head of Ish-Boshet is the third dangling head beneath Saul’s which is beneath Goliath’s which is being held up by David. It is Ish- Boshet’s decapitated corpse in this painting that is the top most corpse upon which David is standing victorious, elevating both arms like the winner of a Boxing match. Ish-Boshet is the last dead man to fall out of David’s way en-route to the throne. He now is King of all twelve tribes (The UHT). Again, David did not directly kill Ish-Boshet, but it is fair to say that because he connived to usurp him, that he deserves indirect credit. Thus all three trophy heads, and their three decapitated corpses rest squarely in David’s hands, and beneath his proud feet, respectively.

In this painting to the left of the three dangling decapitated heads, falling physically and metaphorically down to the ground from top to bottom, are the helmet of Goliath, the crown of Saul, and the crown of Ish-Boshet, respectively. The name of the owners of each of these head coverings is written on each of them in Hebrew. Musical notes from the Shofar of Messiah (the anointed one), and from David’s harp ascend the heavens and the mountains announcing his kingship. No small feat for the scruffy sheppard boy who defied all the odds. Goliath’s large sword in the left of the painting which David appropriated is firmly planted into the ground after piercing all three decapitated shishcabobbed corpses unifying and aligning his trophies.

If you look at the painting’s upper background you will see that it is bisected in the middle. The right side of the painting’s sky reflects a turbulent darkening sunset. This depicts the setting sun over Saul’s kingdom. Samuel’s face is also bisected in half; on Saul’s side (right) it is dark and blackened, reflecting Saul’s darkened sun- setting mood. The left side of the painting’s sky illustrates a rising sun, the dawn of a new placid day, the ascension of David’s kingdom. The mountains reflect the glow of the sun as does the left side of Samuel’s face.

The first letter of David’s name, Daled (D), is written in sunny yellow Modern Hebrew on his skirt. Inside the letter Daled, David’s name is written in proto-Sinaitic pictographic Hebrew. From right to left or left to write it consists of the following three idiopictographs; door (D, woman), phallus (V, man), door (D, woman) i.e. man with two women, one on each side, i.e. man loved x 2 (doubly), i.e. beloved( as opposed to just plain loved x 1) i.e. David.