In the lower right corner of Michelangelo’s drawing from the British Museum, he wrote a brief instruction for his faithful but not outstanding pupil Antonio Mini: “Draw Antonio, draw Antonio. Draw and do not waste time” (ca. 1524). Judging by the unsuccessful attempt of Mini to copy Michelangelo’s sketch presented on the same sheet, he lacked practice and understanding of basics of the art of drawing. However, neither eight years spent in the house of Michelangelo, nor the careful guidance of his teacher made Antonio an artist. The distinction between the concepts of the general style of the workshop and professional personal authorship, key to the beginning of the 16th century, had a clear influence on the creative method of Michelangelo. Possessing a closed and conflicting character, considering sculpture his main vocation, he preferred individual work with drawings to the collective work of a workshop. His approach to organizing thework on painting did not presuppose the presence of pupils as well. In addition, Buonarroti sincerely despised the “mechanical’’ techniques that accompany the teaching of drawing, urged his colleagues to trust only their own eyes and implied innate talent. This position excluded for Michelangelo’s wards the opportunity to facilitate the mastering of drawing techniques. In this article, we will clarify what the goal of Michelangelo was when he devoted a lot of time to the education of young men and discuss his pedagogical methods. The study of drawings and student copies will shed light on the intimate exchange between the master and his pupils.