by the Signory and other magistrates.  He therefore proposed that the arch facing the Palazzo (where Donatello’s Judith is now) should be chosen.”  The three succeeding speakers, people of no great importance, gave their votes in favour of the chief herald’s resolution.  Others followed San Gallo, among whom was the illustrious Lionardo da Vinci.  He thought the statue could be placed under the middle arch of the Loggia without hindrance to ceremonies of state.  Salvestro, a jeweller, and Filippino Lippi, the painter, were of opinion that the neighbourhood of the Palazzo should be adopted, but that the precise spot should be left to the sculptor’s choice.  Gallieno, an embroiderer, and David Ghirlandajo, the painter, suggested a new place—­namely, where the lion or Marzocco stood on the Piazza.  Antonio da San Gallo, the architect, and Michelangelo, the goldsmith, father of Baccio Bandinelli, supported Giuliano da San Gallo’s motion.  Then Giovanni Piffero—­that is, the father of Benvenuto Cellini—­brought the discussion back to the courtyard of the palace.  He thought that in the Loggia the statue would be only partly seen, and that it would run risks of injury from scoundrels.  Giovanni delle Corniole, the incomparable gem-cutter, who has left us the best portrait of Savonarola, voted with the two San Galli, “because he hears the stone is soft.”  Piero di Cosimo, the painter, and teacher of Andrea del Sarto, wound up the speeches with a strong recommendation that the choice of the exact spot should be left to Michelangelo Buonarroti.  This was eventually decided on, and he elected to have his David set up in the place preferred by the chief herald—­that is to say, upon the steps of the Palazzo Vecchio, on the right side of the entrance.

The next thing was to get the mighty mass of sculptured marble safely moved from the Duomo to the Palazzo.  On the 1st of April, Simone del Pollajuolo, called Il Cronaca, was commissioned to make the necessary preparations; but later on, upon the 30th, we find Antonio da San Gallo, Baccio d’Agnolo, Bernardo della Ciecha, and Michelangelo associated with him in the work of transportation.  An enclosure of stout beams and planks was made and placed on movable rollers.  In the middle of this the statue hung suspended, with a certain liberty of swaying to the shocks and lurches of the vehicle.  More than forty men were employed upon the windlasses which drew it slowly forward.  In a contemporary record we possess a full account of the transit:  “On the 14th of May 1504, the marble Giant was taken from the Opera.  It came out at 24 o’clock, and they broke the wall above the gateway enough to let it pass.  That night some stones were thrown at the Colossus with intent to harm it.  Watch had to be kept at night; and it made way very slowly, bound as it was upright, suspended in the air with enormous beams and intricate machinery of ropes.  It took four days to reach the Piazza, arriving on the 18th at the hour of 12.  More than forty men were employed to make it go; and there were fourteen rollers joined beneath it, which were changed from hand to hand.  Afterwards, they worked until the 8th of June 1504 to place it on the platform (ringhiero) where the Judith used to stand.  The Judith was removed and set upon the ground within the palace.  The said Giant was the work of Michelangelo Buonarroti.”