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Updated: May 18, 2025
Michelagnolo Buonarroti, having a niece who was a nun in S. Apollonia at Florence, had therefore executed an ornament for the high-altar of that church, and a design for the altar-piece; and Granacci painted there some scenes in oils with figures large and small, which gave much satisfaction to the nuns at that time, and also to the other painters.
His friends at home took the precaution of securing his effects, fearing that a decree for their confiscation might be issued. We possess a schedule of wine, wheat, and furniture found in his house, and handed over by the servant Caterina to his old friend Francesco Granacci for safe keeping.
Among those who studied the arts of design in that garden, the following all became very excellent masters; Michelagnolo, the son of Lodovico Buonarroti; Giovan Francesco Rustici; Torrigiano Torrigiani; Francesco Granacci; Niccolò, the son of Jacopo Soggi; Lorenzo di Credi, and Giuliano Bugiardini; and, among the foreigners, Baccio da Montelupo, Andrea Contucci of Monte Sansovino, and others, of whom mention will be made in the proper places.
In the nude figure of this boy he portrayed the painter Francesco Granacci, then a youth; and he also made portraits of the Chevalier, Messer Tommaso Soderini, Piero Guicciardini, father of Messer Francesco the historian, Piero del Pugliese, and the poet Luigi Pulci; likewise Antonio Pollaiuolo, and himself as a youth, as he then was, which he never did again throughout the whole of his life, so that it has not been possible to find a portrait of him at a more mature age.
Still, there is no reason to feel certain that we may not have here Michelangelo's first extant work in marble. "Michelangelo accordingly went home, and delivered the message of the Magnificent. His father, guessing probably what he was wanted for, could only be persuaded by the urgent prayers of Granacci and other friends to obey the summons.
This drawing is to-day in my possession, valued as a relic. I had it from Granacci to put it in my book of drawings with others given to me by Michael Angelo. In the year 1550, being in Rome, I, Giorgio, showed it to Michael Angelo, who recognised it and was pleased to see it again, saying modestly that he knew more of art as a child than now as an old man.
It happened one day that Granacci took him to the gardens of the Medici at San Marco. In this garden the Magnificent Lorenzo, father of Pope Leo, a man renowned for every excellence, had disposed many antique statues and decorative sculptures.
Granacci also executed many pictures, both square and round, which are dispersed among the houses of gentlemen in the city; and he made many cartoons for glass-windows, which were afterwards put into execution by the Frati Ingiesuati of Florence.
This excellence in the scholar roused the jealousy of the master, as well as of his other pupils, and it was a relief to Michael Angelo when, in answer to a request from Lorenzo de Medici, he and Francesco Granacci were named by Ghirlandajo as his two most promising scholars, and were then sent to the Academy which the duke had established.
Then there were the fun-loving Francesco Granacci, and the witty Rustici, as full of boyish pranks as they were of genius what could one old man do among so many? and now comes the impetuous Mariotto to add one more unruly member to his class.
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