In equity, we acknowledge that Lodovico's record on the ledger of the Ghirlandajo brothers proves their willingness to take him as a prentice, and their payment to him of two florins in advance; but the same record does not disprove Condivi's statement, derived from his old master's reminiscences, to the effect that Domenico Ghirlandajo was in no way greatly serviceable to him as an instructor.
The fault, in all probability, did not lie with Ghirlandajo alone.
Michelangelo, as we shall have occasions in plenty to observe, was difficult to live with; frank in speech to the point of rudeness, ready with criticism, incapable of governing his temper, and at no time apt to work harmoniously with fellow-craftsmen.

His extraordinary force and originality of genius made themselves felt, undoubtedly, at the very outset of his career; and Ghirlandajo may be excused if, without being positively jealous of the young eagle settled in his homely nest, he failed to do the utmost for this gifted and rough-natured child of promise.

Beethoven's discontent with Haydn as a teacher offers a parallel; and sympathetic students of psychology will perceive that Ghirlandajo and Haydn were almost superfluous in the training of phenomenal natures like Michelangelo and Beethoven.
Vasari, passing from controversy to the gossip of the studio, has sketched a pleasant picture of the young Buonarroti in his master's employ.

"The artistic and personal qualities of Michelangelo developed so rapidly that Domenico was astounded by signs of power in him beyond the ordinary scope of youth.

He perceived, in short, that he not only surpassed the other students, of whom Ghirlandajo had a large number under his tuition, but also that he often competed on an equality with the master.