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I suggested that some credit might be given to Bramante, not to speak of Rosellino, Baldassare Peruzzi and the two San Gallo's. "Oh!" said my young lady, with a superb air of omniscience. "It was all Michael Angelo's design. The others only tinkered away at it afterwards." After receiving this brickbat I took my leave.
Antonio da San Gallo, the architect, and Michelangelo, the goldsmith, father of Baccio Bandinelli, supported Giuliano da San Gallo's motion. 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.
Michelangelo had come to Rome under San Gallo's influence, and Bramante had just succeeded in winning the commission to rebuild S. Peter's over his rival's head. It was important for him to break up San Gallo's party, among whom the sincere and uncompromising Michelangelo threatened to be very formidable.
It so happened that an intimate Florentine friend of Buonarroti, the Baldassare Balducci mentioned at the end of his letter to Lorenzo di Pierfrancesco, was employed in Gallo's house of business. It is probable, therefore, that this man formed the link of connection between the sculptor and his new patron.
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