indefatigably when once he began. It is said that when he was making
his "David" he never removed his clothing the whole time he was
employed upon the work, but dropped down when too exhausted to work
more, and slept wherever he fell.

His first flight from the workshop of Ghirlandajo was to the gardens
of the great Florentine prince, Lorenzo de' Medici, who had sent to
Ghirlandajo for two of his best pupils. He wished them to come to his
gardens and study the beautiful Greek statues which ornamented
them. The choice fell to Angelo and Granacci. Probably those statues
in Lorenzo's garden were the first glimpses of really great art that
Michael Angelo ever had. Certain it is that he was overwhelmed with
happiness when he was given permission to copy what he would, and at
once he fell to work with his chisel. His first work in that garden
was upon the head of an old faun; and Lorenzo, walking by, curious to
know to what use the lad was putting his opportunity, made a
criticism:

"You have made your faun old," he said, "yet you have left all the
teeth; at such an age, generally the teeth are wanting."

Angelo had nothing to say and the prince walked on, but when next he
came that way, he found that Angelo had broken off two of the faun's
teeth; and this recognition of his criticism pleased Lorenzo so much
that he invited Angelo to live with him. At first his father
objected. He felt himself to be an aristocrat, and sculpture and
painting were indeed low occupations for his son, who he had resolved
should be nothing less than a silk merchant. Nevertheless, the
prince's command, united with the son's pleading, compelled the father
to give up his cherished dream of making a merchant of him, and Angelo