Accademia.

Home of Michelangelo's David. Enormous. As you have learned it is proportionally off, such as it's slightly larger hands and head. This is true to fact, very visible in it's true form. David used to be placed on a higher platform, so from a viewer looking upward the distortions become proportionate, but since platform has been cut down the proportions become more disfigured. The attention to detail is mind boggling, from the pulsing veins in his hands to the dips of his ribcage. (I snuck some pics from my camera phone) 

Cupid and Venus, by Jacopo Carucci, inspired from Michelangelo's cartoon, was my most favorite piece of the Galleria dell'Accademia. It's a story of:

"Michelangelo was a love poet and a friend of the patron, so we should expect the symbolism to be subtle, ambiguous and complex. Venus and Cupid kiss. Venus points to her heart wit her left hand, and her right, possible to an altar to Venus decorated with masks, Cupid's bow, a pile of arrows, a bowl of roses and a statuette of a wounded man. Perhaps she is not pointing but rather stealing one of Cupid's arrows, which may explain why she glances slyly back at them. The other arrows spill from his quiver, heads down, possibly wounding Venus' thigh. 

The figures are so cleverly interlocked that it is not clear who is deceiving whom, or the nature of the love represented. This may be a version of the story of Venus disarming Cupid, a frequent subject in this period. Or it may be the episode recounted in Ovid's Metamorphosis, when as Venus kisses Cupid she is unwittingly wounded by one of his arrows and falls in love with Adonis. " --royalcollection.org.uk