e Fratelli Alinari, Florence_)

[Image #7]

SAINT MATTHEW

THE COURT OF THE ACADEMY, FLORENCE
(_By permission of the Fratelli Alinari, Florence_)

In August of the same year, 1501, Michael Angelo began the colossal statue
of David, that used to stand in the Piazza and is now in the Academy at
Florence. The first contract for this work, signed between Michael Angelo,
the Arte della Lana, and the Opera del Duomo, is dated August 16, 1501. It
states "That the worthy master, Michael Angelo, son of Lodovico Bonarroti,
citizen of Florence, has been chosen to fashion, complete, and perfectly
finish the male statue, already rough hewn and called the giant, of nine
cubits in height,(77) now existing in the workshop of the Cathedral, badly
blocked out afore-time by Master Agostino,(78) of Florence. The work shall
be completed within the term of the next ensuing two years, dating from
September, at a salary of six golden florins(79) per month; and whatever
is needful for the accomplishment of this task, as workmen, wood, &c.,
which he may require, shall be supplied him by the said Operai; and when
the said statue is finished, the Consuls and Operai, who shall be in
office, shall estimate whether he deserve a larger recompense, and this
shall be left to their consciences." Michael Angelo began to work in a
wooden shed, erected for that purpose near the Cathedral, on Monday
morning, September 13, 1501, and the "David" is said to be almost entirely
finished in a note, dated January 25, 1503,(80) when a solemn council of
the most important artists, then resident in Florence, met at the Opera
del Duomo to consider where the statue should be placed. What an original
way of deciding aesthetic questions! They came to the admirable conclusion
that the choice of the site should be left to Michael Angelo. Amongst
those who spoke at the meeting were Francesco Monciatto, a wood carver,
who suggested that the statue should be erected in front of the Duomo,
where the block was originally meant to be set up; he was supported by the
painters Cosimo Rosselli and Sandro Botticelli. Giuliano da San Gallo
proposed to place it under the Loggia dei Lanzi, because "the imperfection
of the marble, which is softened by exposure to the air, renders the
durability of the statue doubtful." Messer Angelo de Lorenzo Manfidi
(second herald) objected because it would