Michael Angelo was descended from the noble family of Canosa. From his earliest infancy, he discovered a passion for drawing and sculpture. It is said that his nurse was the wife of a poor sculptor, or as some say, a mason. His father, Lodovico Simone Buonarotti, intended him for one of the learned professions, and placed him in a grammar school at Florence. Here young Angelo soon manifested the greatest fondness for drawing, and became quite intimate with the students in painting. The decided bent of his genius induced his parents, against their wishes, to place him at the age of fourteen under the instruction of Domenico Ghirlandaio. He made such rapid progress, that he soon not only surpassed all his fellow disciples, but even his instructor, so that he was able to correct Domenico’s drawing. While pursuing his studies under Ghirlandaio, he was accustomed to visit the gardens of the Grand Duke, (Lorenzo the Magnificent) to study the antique. One day, when he was about fifteen years of age, he found a piece of marble in the garden, and carved it into the mask of a satyr, borrowing the design from an antique fragment. Lorenzo, on seeing the work, was struck with its excellence, and jestingly told the young Angelo that he had made a mistake in giving a full set of teeth to an old man. This hint was not lost; the next day it was found that the artist had broken one of the teeth from the upper jaw, and drilled a hole in the gum to represent the cavity left by the lost tooth. The first work executed by Michael Angelo, on his return to Florence from Bologna, where he had fled on account of the disturbances in the former city, was a Sleeping Cupid, in marble, which considerably enhanced his reputation; but so great was the prejudice in favor of the antique, that by the advice of a friend, Michael Angelo sent his statue to Rome, to undergo the process of burial, in order to give it the appearance of a work of ancient art, before it should be submitted to public inspection. This fraud, like many of a similar kind at this time practiced, succeeded completely; and the Cupid was eagerly purchased by the Cardinal St. Giorgio, for 200 ducats. It was not long before the Cardinal was told that a trick had been played upon him, and he sent a person to Florence, in order to ascertain, if possible the truth of the charge. The latter repaired to the studios of the different artists in that city, on the pretence of seeing their productions. On visiting the _atelier_ of Michael Angelo, he requested to see a specimen of his work; but not having anything finished at the time, he carelessly took up a pen, and made a sketch of a hand. The Cardinal’s messenger, struck by the freedom and grandeur of the style, inquired what was the last work he had executed. The artist, without consideration, answered at the moment, it was a Sleeping Cupid; and so minutely described the supposed antique statue, that there remained no doubt whose work it was. The