While engaged on this piece, which, beside the figure of the saint, contained many strange forms and diabolical monstrosities, Michelangelo coloured no particular without going first to Nature and comparing her truth with his fancies.

Thus he used to frequent the fish-market, and study the shape and hues of fishes' fins, the colour of their eyes, and so forth in the case of every part belonging to them; all of which details he reproduced with the utmost diligence in his painting." Whether this transcript from Schoengauer was made as early as Condivi reports may, as I have said, be reasonably doubted.

The anecdote is interesting, however, as showing in what a naturalistic spirit Michelangelo began to work.

The unlimited mastery which he acquired over form, and which certainly seduced him at the close of his career into a stylistic mannerism, was based in the first instance upon profound and patient interrogation of reality.
IV Lodovico perceived at length that it was useless to oppose his son's natural bent.

Accordingly, he sent him into Ghirlandajo's workshop.