History does not record whether the art committee of the Florentine County Council eventually did add to the rather meagre remuneration mentioned in the contract. We have ample evidence, however, that the representatives of the citizens did not shirk their critical duties. Vasari tells of a certain Gonfaloniere, who essayed to justify the opinion that the nose of the David was too big. Angelo listened for a while, and then ascended the scaffolding under which his critic was standing. Taking a chisel in the one hand and a few pinches of marble-dust in the other, the sculptor began to tap lightly around the doubtful spot. From time to time he let fall a little of the dust, but of course did not alter the nose. “Look at it now,” cried Angelo to the Gonfaloniere below. “You have given it life,” replied his victim, rubbing the dust out of his eyes. [Illustration: MICHAEL ANGELO MONUMENT OF LORENZO Medici Chapel, Florence] [Illustration: MICHAEL ANGELO “THE PIETA” St. Peter’s, Rome] On January 25, 1503, a solemn conclave of artists resident in Florence met in the Opera del Duomo to decide where the great figure should be placed. Piero di Cosimo—readers of Romola will remember him—Cosimo Rosselli, Botticelli, then a man of sixty-six, Filippino Lippi, and Da Vinci were among those present. Francesco Monciatto, a wood-carver, began by advancing the proposition that the statue should be put up before the Duomo, the site proposed for the original work in fact. Cosimo Rosselli and Botticelli supported the proposal. Giuliano di San Gallo then suggested the Loggia dei Lanzi as an alternative on the ground that the marble had been softened by exposure and might not last. The “Second Herald” objected to this, fearing that ceremonies in the Loggia would be interfered with, and his remarks called Leonardi da Vinci to his feet. Finally Piero di Cosimo, a man of the soundest common sense in spite of his reputation for freakishness, with the aid of Salvestro, a jeweller, and Filippino Lippi, carried the proposal that the choice should be left to the sculptor himself on the ground that “he would know better how it should be.” Angelo’s decision was for the steps at the entrance of the Palazzo Vecchio. The curious may see it in position in the portrait of Francesco Ferruccio, the Florentine general, in which Cosimo used the square in front of the Palace as a background. The work is numbered 895 in the National Gallery collection.