I
Michelangelo returned to Florence in the spring of 1501. Condivi says that domestic affairs compelled him to leave Rome, and the correspondence with his father makes this not improbable. He brought a heightened reputation back to his native city. The Bacchus and the Madonna della Febbre had placed him in advance of any sculptor of his time. Indeed, in these first years of the sixteenth century he may be said to have been the only Tuscan sculptor of commanding eminence. Ghiberti, Della Quercia, Brunelleschi, Donatello, all had joined the majority before his birth. The second group of distinguished craftsmen—Verocchio, Luca della Robbia, Rossellino, Da Maiano, Civitali, Desiderio da Settignano—expired at the commencement of the century. It seemed as though a gap in the ranks of plastic artists had purposely been made for the entrance of a predominant and tyrannous personality. Jacopo Tatti, called Sansovino, was the only man who might have disputed the place of preeminence with Michelangelo, and Sansovino chose Venice for the theatre of his life-labours. In these circumstances, it is not singular that commissions speedily began to overtax the busy sculptor's power of execution. I do not mean to assert that the Italians, in the year 1501, were conscious of Michelangelo's unrivalled qualities, or sensitive to the corresponding limitations which rendered these qualities eventually baneful to the evolution of the arts; but they could not help feeling that in this young man of twenty-six they possessed a first-rate craftsman, and one who had no peer among contemporaries.
The first order of this year came from the Cardinal Francesco Piccolomini, who was afterwards elected Pope in 1503, and who died after reigning three weeks with the title of Pius III. He wished to decorate the Piccolomini Chapel in the Duomo of Siena with fifteen statues of male saints. A contract was signed on June 5, by which Michelangelo agreed to complete these figures within the space of three years. One of them, a S. Francis, had been already begun by Piero Torrigiano; and this, we have some reason to believe, was finished by the master's hand. Accounts differ about his share in the remaining fourteen statues; but the matter is of no great moment, seeing that the style of the work is conventional, and the scale of the figures disagreeably squat and dumpy. It seems almost impossible that these ecclesiastical and tame pieces should have been produced at the same time as the David by the same hand. Neither Vasari nor Condivi speaks about them, although it is certain that Michelangelo was held bound to his contract during several years. Upon the death of Pius III., he renewed it with the Pope's heirs, Jacopo and Andrea Piccolomini, by a deed dated September 15, 1504; and in 1537 Anton Maria Piccolomini, to whom the inheritance succeeded, considered himself Michelangelo's creditor for the sum of a hundred crowns, which had been paid beforehand for work not finished by the sculptor.
A far more important commission was intrusted to Michelangelo in August of the same year, 1501. Condivi, after mentioning his return to Florence, tells the history of the colossal David in these words: "Here he stayed some time, and made the statue which stands in front of the great door of the Palace of the Signory, and is called the Giant by all people. It came about in this way. The Board of Works at S. Maria del Fiore owned a piece of marble nine cubits in height, which had been brought from Carrara some hundred years before by a sculptor insufficiently acquainted with his art. This was evident, inasmuch as, wishing to convey it more conveniently and with less labour, he had it blocked out in the quarry, but in such a manner that neither he nor any one else was capable of extracting a statue from the block, either of the same size, or even on a much smaller scale. The marble being, then, useless for any good purpose, Andrea del Monte San Savino thought that he might get possession of it from the Board, and begged them to make him a present of it, promising that he would add certain pieces of stone and carve a statue from it. Before they made up their minds to give it, they sent for Michelangelo; then, after explaining the wishes and the views of Andrea, and considering his own opinion that it would be possible to extract a good thing from the block, they finally offered it to him. Michelangelo accepted, added no pieces, and got the statue out so exactly, that, as any one may see, in the top of the head and at the base some vestiges of the rough surface of the marble still remain. He did the same in other works, as, for instance, in the Contemplative Life upon the tomb of Julius; indeed, it is a sign left by masters on their work, proving them to be absolute in their art. But in the David it was much more remarkable, for this reason, that the difficulty of the task was not overcome by adding pieces; and also he had to contend with an ill-shaped marble. As he used to say himself, it is impossible, or at least extraordinarily difficult in statuary to set right the faults of the blocking out. He received for this work 400 ducats, and carried it out in eighteen months."
The sculptor who had spoiled this block of marble is called "Maestro Simone" by Vasari; but the abundant documents in our possession, by aid of which we are enabled to trace the whole history of Michelangelo's David with minuteness, show that Vasari was misinformed. The real culprit was Agostino di Antonio di Duccio, or Guccio, who had succeeded with another colossal statue for the Duomo. He is honourably known in the history of Tuscan sculpture by his reliefs upon the façade of the Duomo at Modena, describing episodes in the life of S. Gemignano, by the romantically charming reliefs in marble, with terracotta settings, on the Oratory of S. Bernardino at Perugia, and by a large amount of excellent surface-work in stone upon the chapels of S. Francesco at Rimini. We gather from one of the contracts with Agostino that the marble was originally blocked out for some prophet. But Michelangelo resolved to make a David; and two wax models, now preserved in the Museo Buonarroti, neither of which corresponds exactly with the statue as it exists, show that he felt able to extract a colossal figure in various attitudes from the damaged block. In the first contract signed between the Consuls of the Arte della Lana, the Operai del Duomo, and the sculptor, dated August 16, 1501, the terms are thus settled: "That the worthy master Michelangelo, son of Lodovico Buonarroti, citizen of Florence, has been chosen to fashion, complete, and finish to perfection that male statue called the Giant, of nine cubits in height, now existing in the workshop of the cathedral, blocked out aforetime by Master Agostino of Florence, and badly blocked; and that the work shall be completed within the term of the next ensuing two years, dating from September, at a salary of six golden florins per month; and that what is needful for the accomplishment of this task, as workmen, timbers, &c., which he may require, shall be supplied him by the Operai; and when the 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."
II
Michelangelo began to work on Monday morning, September 13, in a wooden shed erected for the purpose, not far from the cathedral. On the 28th of February 1502, the statue, which is now called for the first time "the Giant, or David," was brought so far forward that the judges declared it to be half finished, and decided that the sculptor should be paid in all 400 golden florins, including the stipulated salary. He seems to have laboured assiduously during the next two years, for by a minute of the 25th of January 1504 the David is said to be almost entirely finished. On this date a solemn council of the most important artists resident in Florence was convened at the Opera del Duomo to consider where it should be placed.
We possess full minutes of this meeting, and they are so curious that I shall not hesitate to give a somewhat detailed account of the proceedings. Messer Francesco Filarete, the chief herald of the Signory, and himself an architect of some pretensions, opened the discussion in a short speech to this effect: "I have turned over in my mind those suggestions which my judgment could afford me. You have two places where the statue may be set up: the first, that where the Judith stands; the second, in the middle of the courtyard where the David is. The first might be selected, because the Judith is an omen of evil, and no fit object where it stands, we having the cross and lily for our ensign; besides, it is not proper that the woman should kill the male; and, above all, this statue was erected under an evil constellation, since you have gone continually from bad to worse since then. Pisa has been lost too. The David of the courtyard is imperfect in the right leg; and so I should counsel you to put the Giant in one of these places, but I give the preference myself to that of the Judith." The herald, it will be perceived, took for granted that Michelangelo's David would be erected in the immediate neighbourhood of the Palazzo Vecchio. The next speaker, Francesco Monciatto,