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David, who had been much beloved by Domenico, and who loved him equally, both living and dead, finished after his death, in company with his brother Benedetto, many works begun by Domenico, and in particular the altar-piece of the high-altar in S. Maria Novella, that is, the part at the back, which now faces the choir; and some pupils of the same Domenico finished the predella in little figures, Niccolaio painting with great diligence, below the figure of S. Stephen, a disputation of that Saint, while Francesco Granacci, Jacopo del Tedesco, and Benedetto executed the figures of S. Antonino, Archbishop of Florence, and S. Catharine of Siena.
Watching the artists, young Michael Angelo soon formed a lasting friendship with a boy of great talent a few years older than himself, by name Francesco Granacci. This boy was a pupil of Domenico Ghirlandajo, a very great painter. The more Michael Angelo saw Granacci and his work in the studio the more he longed for a chance to study painting.
After Giuliano had studied design for some time in the above-named garden, he worked, together with Buonarroti and Granacci, under Domenico Ghirlandajo, at the time when he was painting the chapel in S. Maria Novella.
Francesco Granacci, of whom we have already spoken, was one of those who were placed by the Magnificent Lorenzo de' Medici to learn in his garden; whence it happened that, recognizing, boy as he was, the great genius of Michelagnolo, and what extraordinary fruits he was likely to produce when full grown, he could never tear himself away from his side, and even strove with incredible attention and humility to be always following that great brain, insomuch that Michelagnolo was constrained to love him more than all his other friends, and to confide so much in him, that there was no one with whom he was more willing to confer touching his works or to share all that he knew of art at that time, than with Granacci.
Michael Angelo painted it on a panel of wood, Granacci lending him colours and brushes, in such a manner that not only did it raise the admiration of every one who saw it, but also envy, as some will have it, even in Domenico, the most famous painter of the day; as may be seen by what happened afterwards.
Indeed, he complained loudly that Lorenzo wanted to lead his son astray, abiding firmly by the principle that he would never permit a son of his to be a stonecutter. Vainly did Granacci explain the difference between a sculptor and a stone-cutter: all his arguments seemed thrown away.
He spent all his leisure time in drawing, and frequented the society of youths who were apprenticed to masters in painting and sculpture. Among these he contracted an intimate friendship with Francesco Granacci, at that time in the workshop of Domenico Ghirlandajo. Granacci used to lend him drawings by Ghirlandajo, and inspired him with the resolution to become a practical artist.
The usual "trial by his peers" was resorted to, Perugino, Granacci, and Ridolfo Ghirlandajo were called into council to value it according to its merits. On completing this picture the events we have related in the last chapter took place, Fra Bartolommeo returned from Venice with his enterprise renewed, and the convent partnership was commenced.
In answer to this despatch, news was sent to Giugni on the 20th that the Signory had signed a safe-conduct for Buonarroti. On the 22nd Granacci paid Sebastiano di Francesco, a stone-cutter, to whom Michelangelo was much attached, money for his journey to Venice.
Ambrogio Borgognone 1506. Below are the apostles and empty tomb; at each side, St. Ambrose and St. Augustine; behind them, St. Cosimo and St. Damian; the introduction of these saintly apothecaries stamps the picture as an ex-voto perhaps against the plague. It is very fine, expressive, and curious. F. Granacci. 1530. The Virgin, ascending in glory, presents her girdle to St.
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