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. Michael Angelo's desire to become an artist was violently opposed by his father and his uncles, for they desired him to be a silk and woollen merchant, and sustain the commercial reputation of the family. But so determined was he that finally his father yielded, and in 1488 placed him in the studio of Ghirlandajo. Here the boy of thirteen worked with great diligence; he learned how to prepare colors and to lay the groundwork of frescoes, and he was set to copy drawings. Very soon he wearied of this, and began to make original designs after his own ideas. At one time he corrected a drawing of his master's: when he saw this, sixty years later, he said, "I almost think that I knew more of art in my youth than I do in my old age." When Michael Angelo went to Ghirlandajo, that master was employed on the restoration of the choir of Santa Maria Novella, so that the boy came at once into the midst of important work. One day he drew a picture of the scaffolding and all that belonged to it, with the painters at work thereon: when his master saw it he exclaimed, "He already understands more than I do myself." 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. The art treasures which Lorenzo gave for the use of the students were arranged in the gardens of San Marco, and here, under the instruction of the old Bertoldo, Angelo forgot painting in his enthusiasm for sculpture. He first copied the face of a faun; but he changed it somewhat, and opened the mouth so that the teeth could be seen. When Lorenzo visited the garden he praised the work, but said, "You have made your faun so old, and yet you have left him all his teeth; you should have known that at such an advanced age there are generally some wanting." The next time he came there was a gap in the teeth, and so well done that he was delighted. This work is now in the Uffizi Gallery.