Famous European Artists

by Sarah Knowles Bolton

Lodovico at last saw that a lad so absorbed in art would probably be a failure in silk and wool, and placed him in the studio of Ghirlandaio, with the promise of his receiving six gold florins the first year, eight the second, and ten the third.

Granacci, who was nineteen, and Michael Angelo now worked happily together. The master had undertaken to paint the choir of the Church of Santa Maria Novella, and thus the boys were brought into important work.

One day, when the painters were absent, Michael Angelo drew the scaffolding, with all who worked on it, so perfectly that Ghirlandaio exclaimed, when he saw it: "This youth understands more than I do myself." He also corrected one of the master's drawings, the draped form of a woman. Sixty years afterwards, when this sketch was shown to Michael Angelo, he said, "I almost think that I knew more art in my youth than I do in my old age."

The young artist now painted his first picture, a plate of Martin Schöngauer's of Germany, representing St. Anthony tormented by devils. One pulls his hair, one his garments, one seizes the book hanging from his girdle, one snatches a stick from his hand, while others pinch, and tease, and roll over him. Claws, scales, horns, and the like, all help to make up these monsters. Michael Angelo went to the fish-market, and carefully studied the eyes and scales of the fish, with their colors, and painted such a picture that it was mistaken for the original.

After a year spent with Ghirlandaio, the master seems to have become envious, and the three-years' contract was mutually broken, through a fortunate opening for Michael Angelo. Cosmo de' Medici, "Pater Patriæ," had collected ancient and modern sculptures and paintings, and these art treasures were enriched by his grandson, Lorenzo the Magnificent, who opened them to students, with prizes for the best work. He founded an academy and placed it under the charge of Bertoldo, the favorite disciple of Donatello.

Lorenzo made himself the idol of the people by his generosity, consideration, and unquestioned ability to lead. He arranged public festivities, and wrote verses to be sung by girls as they danced in the public square, in the month of May. All the young people knew and loved him.

On one of these festive occasions, when the triumphal procession of Paulus Æmilius was being represented, Granacci found an opportunity of winning Lorenzo's favor, and thereby gained access to the art treasures. At once he thought of his friend, and Michael Angelo was soon studying the marbles and pictures of the great Medici.

The boy of fifteen quickly made friends with the stone-masons, and, getting from them a piece of marble, began to copy the antique masque of a faun. However, his work was not like the original, but the mouth was open so that the teeth were visible. When Lorenzo came among the pupils he observed the masque and praised it, but said to the boy, "You have made your faun so old, and yet you have left him all his teeth; you should have known that at such an advanced age there are generally some wanting."

At once Michael Angelo broke out a tooth, filling the gum as though it had dropped out. When Lorenzo came again he was delighted, and told the boy to send for his father. Lodovico came reluctantly, for he was not yet reconciled to the choice of "art and poverty" which his son had made.