Summary

Giorgio Vasari Lives of the Most Excellent Painters… (1850)

It thus happened, that as the Florentine citizen, Giovan-Francesco Rustici, acquitted himself very creditably in his youth, not only in design but in modelling in clay also, so by the Magnificent Lorenzo, who readily perceived his quickness of intellect and good parts, he was placed for the purposes of study with Andrea del Verrocchio, with whom, in like manner, had studied Leonardo da Vinci; the youth of the latter gave evidence, as will be remembered, of the rarest ability, and he was early endowed with extraordinary genius.
Source: Wikisource

Giorgio Vasari Lives of the Most Excellent Painters… (1850)

Fustici would also remark that an artist ought not lightly to permit the examination of his works before they are finished, by all who may come about him; nor should he be ready frequently, or without consideration, to change and alter at the suggestion of others.
Giovan-Francesco acquired much valuable knowledge from Leonardo, and, among other things, the method of delineating horses, in which he delighted so greatly that he copied these animals in clay, in wax, in full relief, and in half relief; at a word, in every manner that one can possibly imagine.
Source: Wikisource

Giorgio Vasari Lives of the Most Excellent Painters… (1850)

It is a remarkable fact, that almost all young men who studied their art in the Garden of the Medici, and were favoured by the Magnificent Lorenzo the Elder, became distinguished in their several vocations, a circumstance that cannot be attributed to any other cause than the extraordinary, or rather the infinite, judgment of that most noble person, the true Mecasnas and protector of all men of genius, and who, to the power of discriminating elevation of character and mind, added that of duly promoting and rewarding them.
Source: Wikisource

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