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Updated: May 18, 2025
The laughter of the other boys came to their ears, and Lorenzo turned. "Thy faun is done; to-morrow will I speak with Poliziano of our new sculptor. What is Granacci saying over there? Come with me and listen." So, the prince's arm resting affectionately on the boy's shoulder, they crossed the garden to the noisy group. Life was gay then in Florence.
That evening, too, when I met you on the threshold with Granacci, and you left me by the shop of Pietro Osaio, and the other forenoon at S. Spirito, and to-day, it struck me as extremely strange, especially in the presence of Piloto and so many others.
Vasari is probably accurate in his statement here; for we shall see that Michelangelo, in his Ricordi, makes mention of five assistants, two of whom are proved by other documents to have been Granacci and Indaco. We also possess two letters from Granacci which show that Bugiardini, San Gallo, Angelo di Donnino, and Jacopo l'Indaco were engaged in July.
I was with your mother yesterday, and advised her, in the presence of Granacci and John the turner, to send for you home." While in Rome Michelangelo conferred with Clement about the sacristy and library at S. Lorenzo.
In Florence Granacci painted for Pier Francesco Borgherini a scene in oils on the head-board of a couch which stood in an apartment wherein Jacopo da Pontormo, Andrea del Sarto, and Francesco Ubertini had painted many stories from the life of Joseph, in Pier Francesco's house in Borgo Sant' Apostolo; and in this scene were little figures representing a story of the same Joseph, executed with extraordinary finish and with great charm and beauty of colouring, and a building in perspective, wherein he depicted Joseph ministering to Pharaoh, which could not be more beautiful in any part.
At the proper age Angelo was taken to Florence and placed in school; but he spent his time mostly in drawing, and having made the acquaintance of Francesco Granacci, at that time a pupil with Ghirlandajo, he borrowed from him designs and materials by which to carry on his beloved pursuits.
As the boy grew up Ridolfo frequented those public schools of art before spoken of, the Brancacci Chapel, and the study of the cartoons in the Papal Hall. Here he secured the friendship not only of Granacci and Pier di Cosimo, but of Raphael himself, with whom he visited Fra Bartolommeo in his convent.
This, however much he disliked it, was not enough to turn him back, but, on the contrary, made him more bold: he wished to begin to colour, and he borrowed a print from Granacci which represented the story of St. Antony when he was beaten by devils. The engraver was a certain Martino d’Olanda, a brave artist for that time.
By this work Granacci gained much experience, and afterwards he executed in the same manner as that altar-piece many pictures that are in the houses of citizens, and others which were sent abroad.
This work brought Mariotto praise and honour among craftsmen, but by no means as much profit as he hoped to gain from his patrons in return for his labours, since a dispute arose between him and those who had commissioned him to paint it. But Pietro Perugino, then an old man, Ridolfo Ghirlandajo, and Francesco Granacci valued it, and settled the price of the work by common consent.
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