o the end that it might not hit against the wood and break to pieces,
but might rather keep rocking gently; and they drew it with windlasses
over flat beams laid upon the ground, and then set it in place. On the
rope which held the figure suspended he made a slip-knot which was
very easy to undo but tightened as the weight increased, which is a
most beautiful and ingenious thing; and I have in my book a drawing of
it by his own hand--an admirable, secure, and strong contrivance for
suspending weights.

[Illustration: WAX MODELS FOR THE DAVID

(_After =Michelagnolo=. Florence: Museo Buonarroti_)

_Alinari_]

It happened at this time that Piero Soderini, having seen it in
place, was well pleased with it, but said to Michelagnolo, at a
moment when he was retouching it in certain parts, that it seemed to
him that the nose of the figure was too thick. Michelagnolo noticed
that the Gonfalonier was beneath the Giant, and that his point of view
prevented him from seeing it properly; but in order to satisfy him he
climbed upon the staging, which was against the shoulders, and quickly
took up a chisel in his left hand, with a little of the marble-dust
that lay upon the planks of the staging, and then, beginning to strike
lightly with the chisel, let fall the dust little by little, nor
changed the nose a whit from what it was before. Then, looking down at
the Gonfalonier, who stood watching him, he said, "Look at it now." "I
like it better," said the Gonfalonier, "you have given it life." And
so Michelagnolo came down, laughing to himself at having satisfied
that lord, for he had compassion on those who, in order to appear full
of knowledge, talk about things of which they know nothing.

When it was built up, and all was finished, he uncovered it, and it
cannot be denied that this work has carried off the palm from all
other statues, modern or ancient, Greek or Latin; and it may be said
that neither the Marforio at Rome, nor the Tiber and the Nile of the
Belvedere, nor the Giants of Monte Cavallo, are equal to it in any
respect, with such just proportion, beauty and excellence did
Michelagnolo finish it. For in it may be seen most beautiful contours
of legs, with attachments of limbs and slender outlines of flanks that
are divine; nor has there ever been seen a pose so easy, or any grace
to equal that in this work, or feet, hands and head so well in accord,
one member with another, in harmony, design, and excellence of
artis