ms in such a way that it did not
touch the wood, little by little, by means of compound pulleys and
windlasses and ten pairs of oxen, it was drawn as far as the Piazza.
Great assistance was rendered by two thick, semi-cylindrical beams,
which were fixed lengthways along the foot of the scaffolding, in the
manner of a base, and rested on other similar beams smeared with soap,
which were withdrawn and replaced by workmen in succession, according
as the structure moved forward; and with these ingenious contrivances
the giant was conveyed safely and without much labour to the Piazza.
The charge of all this was given to Baccio d'Agnolo and the elder
Antonio da San Gallo, the architects to the Office of Works, who
afterwards with other beams and a double system of compound pulleys
set the statue securely on its base.

It would not be easy to describe the concourse and multitude that for
two days occupied the whole Piazza, flocking to see the giant as soon
as it was uncovered; and various judgments and opinions were heard
from all kinds of men, every one censuring the work and the master.
There were also attached round the base many verses, both Latin and
Tuscan, in which it was pleasing to see the wit, the ingenious
conceits, and the sharp sayings of the writers; but they overstepped
all decent limits with their evil-speaking and their biting and
satirical compositions, and Duke Alessandro, considering that, the
work being a public one, the indignity was his, was forced to put in
prison some who went so far as to attach sonnets openly and without
scruple to the statue; which proceeding soon stopped the mouths of the
critics.

When Baccio examined his work in position, it seemed to him that the
open air was little favourable to it, making the muscles appear too
delicate. Having therefore caused a new enclosure of planks to be made
around it, he attacked it again with his chisels, and, strengthening
the muscles in many places, gave the figures stronger relief than they
had before. Finally, the work was uncovered for good; and by everyone
able to judge it has always been held to be not only a triumph over
difficulties, but also very well studied, with every part carefully
considered, and the figure of Cacus excellently adapted to its
position. It is true that the David of Michelagnolo, which is beside
Baccio's Hercules, takes away not a little of its glory, being the
most beautiful colossal figure that has ever been made; for