Title page and 59 engravings after mainly Venetian paintings published by Teodoro Viero, Venice, 1786. The majority of the plates are by Le Febvre, S. Maniago, A. Zucchi, and P. Monaco.

Like the Labours of Hercules, the tale of David and Goliath (Samuel 1:17) can be read as the force of Good over Evil. Paralleling Hercules and Cacus, it also reflects the triumph of an individual against a monster. Instead of raising a weapon, however, David raises his arms in prayer, and rather than highlighting the physical might of the hero, the body of David is dwarfed by that of the giant. The focus is instead on the strength of God – whose light breaking through the clouds is a focal point in the composition.