Question: Who was Michelangelo's first teacher?
About the article "Sistine Chapel ceiling", section "Stylistic analysis and artistic legacy".

Candidate passages:
Lazzaro Calamechi (born 1530) was an Italian painter and sculptor.
He was born in Carrara and was one of those who sculpted statues for Michelangelo's funeral in Florence. 
To the single bay of Michelangelo's Greek Cross, Maderno added a further three bays.
He made the dimensions slightly different to Michelangelo's bay, thus defining where the two architectural works meet.
Maderno also tilted the axis of the nave slightly.
This was not by accident, as suggested by his critics.
An ancient Egyptian obelisk had been erected in the square outside, but had not been quite aligned with Michelangelo's building, so Maderno compensated, in order that it should, at least, align with the Basilica's façade.
The nave has huge paired pilasters, in keeping with Michelangelo's work.
The size of the interior is so "stupendously large" that it is hard to get a sense of scale within the building.
The four cherubs who flutter against the first piers of the nave, carrying between them two holy water basins, appear of quite normal cherubic size, until approached.
Then it becomes apparent that each one is over 2 metres high and that real children cannot reach the basins unless they scramble up the marble draperies.
The aisles each have two smaller chapels and a larger rectangular chapel, the Chapel of the Sacrament and the Choir Chapel.
These are lavishly decorated with marble, stucco, gilt, sculpture and mosaic.
Remarkably, there are very few paintings, although some, such as Raphael's "Sistine Madonna" have been reproduced in mosaic.
The most precious painting is a small icon of the Madonna, removed from the old basilica.
Maderno's last work at St. Peter's was to design a crypt-like space or "Confessio" under the dome, where the cardinals and other privileged persons could descend in order to be nearer to the burial place of the apostle.
Its marble steps are remnants of the old basilica and around its balustrade are 95 bronze lamps. 
Bernard's first son, Otse, was born.
The painter was commissioned with frescoes for the chapel of Cairo's Cathédrale de la Vierge and looked for inspiration in Michelangelo's oeuvre.
His sister Madeleine, terminally ill with tuberculosis, moved to Cairo where she died on November 19. 
Giacomo Barozzi was born at Vignola, near Modena (Emilia-Romagna).
He began his career as architect in Bologna, supporting himself by painting and making perspective templates for inlay craftsmen.
He made a first trip to Rome in 1536 to make measured drawings of Roman temples, with a thought to publish an illustrated Vitruvius.
Then François I called him to Fontainebleau, where he spent the years 1541–1543.
Here he probably met his fellow Bolognese, the architect Sebastiano Serlio and the painter Primaticcio.
After his return to Italy, he designed the Palazzo Bocchi in Bologna.
Later he moved to Rome.
Here he worked for Pope Julius III and, after the latter's death, he was taken up by the papal family of the Farnese and worked with Michelangelo, who deeply influenced his style (see Works section for details of his works in this period).
From 1564 Vignola carried on Michelangelo's work at St Peter's Basilica, and constructed the two subordinate domes according to Michelangelo's plans.
Giacomo Barozzi died in Rome in 1573.
In 1973 his remains were reburied in the Pantheon, Rome. 
Masaccio's application of scientific perspective, unified lighting, use of chiaroscuro and skill in rendering the figures naturalistically established new traditions in Renaissance Florence that some scholars credit with helping to found the new Renaissance style.
The young Michelangelo was one of the many artists who received his artistic training by copying Masaccio's work in the chapel.
The chapel was also the site of an assault on Michelangelo by rival sculptor Pietro Torrigiano, who resented Michelangelo's critical remarks about his draughtsmanship.
He punched the artist so severely that he "crushed his nose like a biscuit" (according to Benvenuto Cellini) which deformed Michelangelo's face into that of a boxer's.