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It was then too that he met the agreeable and convivial Rustici, of whom I have said something in the chapter on the Baptistery, and quickly became something of a blood for by this time, the second decade of the sixteenth century, the simplicity of the early artists had given place to dashing sophistication and the great period was nearly over.
Vasari speaks of Benedetto Cianfanini, Gabbriele Rustici, and Fra Paolo Pistojese; Padre Marchese mentions two monks, Fra Andrea and Fra Agostino. Of these, the two first never became proficient, and have left no works behind them. Fra Andrea seems to have been more a journeyman than scholar, being employed to prepare the panels and lay on the gilding.
Among those who studied the arts of design in that garden, the following all became very excellent masters; Michelagnolo, the son of Lodovico Buonarroti; Giovan Francesco Rustici; Torrigiano Torrigiani; Francesco Granacci; Niccolò, the son of Jacopo Soggi; Lorenzo di Credi, and Giuliano Bugiardini; and, among the foreigners, Baccio da Montelupo, Andrea Contucci of Monte Sansovino, and others, of whom mention will be made in the proper places.
And in statuary, he proved his worth in the three figures of bronze that are over the door of S. Giovanni, on the side towards the north, executed by Giovan Francesco Rustici, but contrived with the advice of Leonardo; which are the most beautiful pieces of casting, the best designed, and the most perfect that have as yet been seen in modern days.
Like Leonardo and Rustici, Andrea accepted, in 1518, an invitation from Francis I to visit Paris and once there began to paint for that royal patron. But although his wife did not love him, she wanted him back, and in the midst of his success he returned, taking with him a large sum of money from Francis with which to buy for the king works of art in Italy.
Similar to that is another that he painted after some time in a large picture in oils, with a garland of Cherubim that form a diadem around the head of Our Lady. The Medici family having then returned to Florence, Rustici made himself known to Cardinal Giovanni as the protégé of his father Lorenzo, and was received with much lovingness.
IV. SED ... ARBITRARENTUR: these words are almost exactly repeated in Tusc. 1, 89 and 101. RUSTICI: cf. Arch. 24 nostri illi fortes viri sed rustici ac milites; also above, 24. OMNINO: see n. on 9. NUM IGITUR etc.: cf. 33 nisi forte et seq. CONSTANS: cf. n. on 33. NE ... QUIDEM: see n. on 27.
III. At the commencement of the fifteenth century, a little band of men lived in Rome: some were Apostolic Secretaries; all were famous for their abilities; five were scholars endowed with sterling talents, Antonio Lusco Cincio de Rustici, Leonardo Bruni, and two others from Florence, Bracciolini, and Dominici, afterwards Cardinal Archbishop of Ragusa.
Rustici drew very well, as may be seen, besides our own book, from the book of drawings of the very reverend Don Vincenzio Borghini.
But to return to his works: Giovan Francesco made a most beautiful Crucifix of wood, as large as life, for sending to France, but it was left with Niccolò Buoni, together with other things in low-relief and drawings, which are now in his possession, at the time when Rustici resolved to leave Florence, believing that it was no place for him and thinking by a change of country to obtain a change of fortune.
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