Question: On whom did Operai award the commission?
About the article "David (Michelangelo)", section "Commission".

Candidate passages:
After Cosimo's triumphant return to Florence, rather than scrapping the project, in May 1436 the Medici regime hired Uccello to replace the Gaddi and Pesello fresco.
Hugh Hudson suggests that it would have been too risky for the Medici to cancel the Albizzi project, so they instead shrewdly modified it to fit their interests.
There is, of course, some weakness to attributing the commissioning and re-commissioning of the monument to Albizzi or Medici intrigues, as only two (maybe three) of the eight "operai" on July 13, 1433 were members of the Albizzi faction and only one was a Medici when it was resumed on May 18, 1436; yet the influences of both factions doubtlessly did not require blood relation.
Around this time, documents attest to multiple repairs of a nearby window, opening the possibility that the original fresco had experienced water damage, and would have needed to be restored in any case.
Others have suggested that the recommissioning was part of the "refurbishing" of the cathedral associated with its rededication as Santa Maria del Fiore by Pope Eugene IV in March 1436.
Yet, Borsi concludes that "undoubtedly under pressure from the Medici" the "operai" discarded their plans for a straightforward restoration of the Gaddi fresco and opted for a completely new monument. 
In July 1273 Nicola Pisano was commissioned by the Operai di San Jacopo of Pistoia to make the altar of San Jacopo in the cathedral of San Zeno.
He worked on it together with his son Giovanni.
The chapel of San Jacopo was demolished in 1786.
The Holy Water stoup with its three female figures was probably sculpted at the same time.
Giovanni Pisano would later make his first pulpit in the same cathedral.
His last major commission was the Great Fountain at Perugia (1277–1278).
The fountain with three superposed basins was designed by Fra Bevignate and Boninsegna.
The fountain certainly shows the delicate hand of Nicolò Pisano, but most sculpting was executed by his son Giovanni Pisano and his assistants.
By its richness in details and by its iconography, this last work shows a rapprochement to French Gothic art. 
The history of the statue begins before Michelangelo's work on it from 1501 to 1504.
Prior to Michelangelo's involvement, the Overseers of the Office of Works of Florence Cathedral, consisting mostly of members of the influential woolen cloth guild, the Arte della Lana, had plans to commission a series of twelve large Old Testament sculptures for the buttresses of the cathedral of Santa Maria Del Fiore.
In 1410 Donatello made the first of the statues, a figure of Joshua in terracotta.
A figure of Hercules, also in terracotta, was commissioned from the Florentine sculptor Agostino di Duccio in 1463 and was made perhaps under Donatello's direction.
Eager to continue their project, in 1464, the "Operai" contracted Agostino to create a sculpture of David.
A block of marble was provided, from a quarry in Carrara, a town in the Apuan Alps in northern Tuscany.
Agostino only got as far as beginning to shape the legs, feet and the torso, roughing out some drapery and probably gouging a hole between the legs.
His association with the project ceased, for reasons unknown, with the death of Donatello in 1466, and ten years later Antonio Rossellino was commissioned to take up where Agostino had left off.
Rossellino's contract was terminated soon thereafter, and the block of marble remained neglected for twenty-five years, all the while exposed to the elements in the yard of the cathedral workshop.
This was of great concern to the "Opera" authorities, as such a large piece of marble not only was costly but also represented a large amount of labour and difficulty in its transportation to Florence.
In 1500, an inventory of the cathedral workshops described the piece as "a certain figure of marble called David, badly blocked out and supine."
A year later, documents showed that the "Operai" were determined to find an artist who could take this large piece of marble and turn it into a finished work of art.
They ordered the block of stone, which they called "The Giant", "raised on its feet" so that a master experienced in this kind of work might examine it and express an opinion.
Though Leonardo da Vinci and others were consulted, it was Michelangelo, only twenty-six years old, who convinced the "Operai" that he deserved the commission.
On 16 August 1501, Michelangelo was given the official contract to undertake this challenging new task.
He began carving the statue early in the morning on 13 September, a month after he was awarded the contract.
He would work on the massive statue for more than two years.
Paolo Romeo STL JCD (born 20 February 1938) is the current Cardinal Archbishop of Palermo.
He was appointed by Pope Benedict XVI on 19 December 2006.
Romeo was the fifth of nine children.
After primary school he entered the seminary and began studying Theology.
His bishop sent him to Rome in 1959 to complete his academic studies and he achieved the licentiate in theology at the Gregorian University and a doctorate in canon law at the Pontifical Lateran University.
He was ordained on 18 March 1961 at the chapel of the Episcopal Seminary of Acireale, he was incardinated in the Diocese of Acireale.
Continued his studies at the university and did pastoral ministry as assistant to the Scouts Group "Roma IX" in "Collegio San Giuseppe in Piazza di Spagna" and diocesan assistant of the association "Silenziosi Operai della Croce". 
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Annual Islamophobia Awards.
The Annual Islamophobia Awards were awards given annually from 2003 to 2006 by the Islamic Human Rights Commission to politicians and journalists whom the Commission judged to have expressed the most Islamophobic opinions in the course of the past year.
An overall award was given to the 'Islamophobe of the Year'.
In 2006 the Islamophobe of the year award was given to Condoleezza Rice.
The Islamaphobia awards will return in February 2014