Then Giovanni Piffero--that is, the father of Benvenuto Cellini--brought the discussion back to the courtyard of the palace.

He thought that in the Loggia the statue would be only partly seen, and that it would run risks of injury from scoundrels.

Giovanni delle Corniole, the incomparable gem-cutter, who has left us the best portrait of Savonarola, voted with the two San Galli, "because he hears the stone is soft." Piero di Cosimo, the painter, and teacher of Andrea del Sarto, wound up the speeches with a strong recommendation that the choice of the exact spot should be left to Michelangelo Buonarroti.
This was eventually decided on, and he elected to have his David set up in the place preferred by the chief herald--that is to say, upon the steps of the Palazzo Vecchio, on the right side of the entrance.
The next thing was to get the mighty mass of sculptured marble safely moved from the Duomo to the Palazzo.

On the 1st of April, Simone del Pollajuolo, called Il Cronaca, was commissioned to make the necessary preparations; but later on, upon the 30th, we find Antonio da San Gallo, Baccio d'Agnolo, Bernardo della Ciecha, and Michelangelo associated with him in the work of transportation.

An enclosure of stout beams and planks was made and placed on movable rollers.