accusing Domenico of envy, and saying that he never rendered
Michelangelo assistance."--Here Vasari, out of breath with
indignation, appeals to the record of Lodovico's contract with the
Ghirlandajo brothers. "These minutes," he goes on to say, "I copied
from the ledger, in order to show that everything I formerly
published, or which will be published at the present time, is truth.
Nor am I acquainted with any one who had greater familiarity with
Michelangelo than I had, or who served him more faithfully in friendly
offices; nor do I believe that a single man could exhibit a larger
number of letters written with his own hand, or evincing greater
personal affection, than I can."

This contention between Condivi and Vasari, our two contemporary
authorities upon the facts of Michelangelo's life, may not seem to be
a matter of great moment for his biographer after the lapse of four
centuries. Yet the first steps in the art-career of so exceptional a
genius possess peculiar interest. It is not insignificant to
ascertain, so far as now is possible, what Michelangelo owed to his
teachers. In equity, we acknowledge that Lodovico's record on the
ledger of the Ghirlandajo brothers proves their willingness to take
him as a prentice, and their payment to him of two florins in advance;
but the same record does not disprove Condivi's statement, derived
from his old master's reminiscences, to the effect that Domenico
Ghirlandajo was in no way greatly serviceable to him as an instructor.
The fault, in all probability, did not lie with Ghirlandajo alone.
Michelangelo, as we shall have occasions in plenty to observe, was
difficult to live with; frank in speech to the point of rudeness,
ready with criticism, incapable of governing his temper, and at no
time apt to work harmoniously with fellow-craftsmen. His extraordinary
force and originality of genius made themselves felt, undoubtedly, at