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 facade 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