Amongst his new friends was Francesco Granacci, a pupil of Domenico Ghirlandajo, who often lent him drawings to copy, and took him to his master's _bottega_ whenever any work was going forward from which he might learn. "So powerfully," says Condivi, "did these sights move Michelangelo, that he altogether abandoned letters; so that his father, who held art in contempt, often beat him severely for it." But it soon became apparent that blows and persuasion were equally unavailing, and Messer Lodovico finally gave up the hopeless struggle, apprenticing his thirteen-year-old son on April 1st, 1488, to Domenico and David Ghirlandajo, reputed the best painters of the time in Florence. Although a mere child, Michelangelo was evidently already able to make himself useful in the studio, for instead of paying a certain sum for his apprenticeship, as was usually the case, it was stipulated that he should receive twenty-four florins, about £8 12_s._, during the three years of its duration. Michelangelo's first picture was a strikingly faithful copy of Martin Schongauer's famous _Temptation of St. Antony_, which he painted with a realistic force considered wonderful for a child of his age. A number of anecdotes illustrative of the precocity of the boy's genius, are related by Condivi and by Vasari. "Michelangelo," says the latter, "grew in power and character so rapidly that Domenico was astonished seeing him do things quite extraordinary in a youth, for he not only surpassed the other students, but often equalled the work done by his master. It happened that Domenico was working in the great chapel of Santa Maria Novella, and one day when he was out Michelangelo set himself to draw from nature the scaffolding, the tables with all the materials of the art, and some of the young men at work. Presently Domenico returned, and saw Michelangelo's drawing. He was astonished, saying 'this boy knows more than I do;' and he was stupefied by this style and new realism; 'a gift from heaven to a child of such tender years.'" Michelangelo derived very little advantage from his apprenticeship to Domenico Ghirlandajo, who was actually jealous of his pupil and gave him little or no assistance in his studies. He may have picked up some practical knowledge, however, transferring cartoons for his master in the church of Santa Maria Novella, painting draperies and ornaments, mixing colours for fresco painting, and generally fulfilling the rather menial duties which fell to the lot of an artist's apprentice in those days. The boy had no fixed plan or method of study, but devoted himself principally to drawing, in which he soon acquired a boldness and security of line never attained by his master, whose faulty cartoons Michelangelo often had the courage to correct.