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.

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.

" 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.

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.

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.

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 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.

He therefore voted for the middle of the Loggia dei Lanzi, where the David would be under cover."

Gallieno, an embroiderer, and David Ghirlandajo, the painter, suggested a new placenamely, where the lion or Marzocco stood on the Piazza.

" Where the masters of Florence placed it, under the direction of its maker, Michelangelo's great white David stood for more than three centuries uncovered, open to all injuries of frost and rain, and to the violence of citizens, until, for the better preservation of this masterpiece of modern art, it was removed in 1873 to a hall of the Accademia delle Belle Arti.

III In the David Michelangelo first displayed that quality of terribilità, of spirit-quailing, awe-inspiring force, for which he afterwards became so famous.

Having acknowledged that the head of David is too massive and the extremities too largely formed for ideal beauty, hypercriticism can hardly find fault with the modelling and execution of each part.

It has often been remarked that David's head is modelled upon the type of Donatello's S. George at Orsanmichele.

The Florentine envoys to France had already written in June 1501 from Lyons, saying that Pierre de Rohan, Maréchal de Gié, who stood high in favour at the court of Louis XII., greatly desired a copy of the bronze David by Donatello in the courtyard of the Palazzo Vecchio.

Soderini, therefore, decided to comply with the Marshal's request, and on the 12th of August 1502 Michelangelo undertook to model a David of two cubits and a quarter within six months.

A long letter from the envoy, Francesco Pandolfini, in September 1505, shows that Robertet's mind had been sounded on the subject; and we gather from a minute of the Signory, dated November 6, 1508, that at last the bronze David, weighing about 800 pounds, had been "packed in the name of God" and sent to Signa on its way to Leghorn.

We possess, however, a fine pen-and-ink drawing by the hand of Michelangelo, which may well have been a design for this second David.

We see here what Michelangelo's conception of an ideal David would have been when working under conditions more favourable than the damaged block afforded.

Considering the exquisite elaboration given to the Pietà of the Vatican, the Madonna at Bruges, the Bacchus and the David, the Moses and parts of the Medicean monuments, I incline to think that, with time enough at his disposal, he would have carried out these rounds in all their details.

Michelangelo, although he made the David and the Sistine, had also to make money.

"The most eminent of the sacred poets are, the Author of the book of Job, David and Isaiah."Ib., p. 418.

SEE Jordan, David Starr. KINCK, HANS E. A young people.

SEE Adams, Carrie B. LAWRENCE, DAVID.

David Lawrence (A); 23May57; R192277.