On the wall opposite to this one the same man painted the Passing of Our Lady, who is surrounded by the Apostles in very beautiful attitudes, among whom are six figures portrayed so well from life, that those who knew them declare that these are most vivid likenesses. In the same work he also made his own portrait, and that of Domenico Garganelli, the owner of the chapel, who, when it was finished, moved by the love that he bore to Ercole and by the praises that he heard given to the work, bestowed upon him a thousand lire in Bolognese currency. It is said that Ercole spent twelve years in labouring at this work; seven in executing it in fresco, and five in retouching it on the dry. It is true, indeed, that during this time he painted some other works; and in particular, so far as is known, the predella of the high-altar of S. Giovanni in Monte, in which he wrought three scenes of the Passion of Christ.

THE ISRAELITES GATHERING MANNA
(After the panel by Ercole Ferrarese. London: National Gallery, 1217)
Mansell
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Ercole was eccentric in character, particularly in his custom of refusing to let any man, whether painter or not, see him at work; wherefore he was greatly hated in Bologna by the painters of that city, who have ever borne an envious hatred to the strangers who have been summoned to work there; nay, they sometimes show the same among themselves out of rivalry with each other, although this may be said to be the particular vice of the professors of these our arts in every place. Certain Bolognese painters, then, having come to an agreement one day with a carpenter, shut themselves up by his help in the church, close to the chapel where Ercole was working; and when night came, breaking into it by force, they did not content themselves with seeing the work, which should have sufficed them, but carried off all his cartoons, sketches, and designs, and every other thing of value that was there. At this Ercole fell into such disdain that when the work was finished he departed from Bologna, without stopping another day there, taking with him Duca Tagliapietra, a sculptor of much renown, who carved the very beautiful foliage in marble which is in the parapet in front of the chapel wherein Ercole painted the said work, and who afterwards made all the stone windows of the Ducal Palace at Ferrara, which are most beautiful. Ercole, therefore, weary at length of living away from home, remained ever after in company with this man in Ferrara, and made many works in that city.

Ercole had an extraordinary love of wine, and his frequent drunkenness did much to shorten his life, which he had enjoyed without any accident up to the age of forty, when he was smitten one day by apoplexy, which made an end of him in a short time.

He left a pupil, the painter Guido Bolognese, who, in 1491, as may be seen from the place where he put his name, under the portico of S. Pietro at Bologna, painted a Crucifixion in fresco, with the Maries, the Thieves, horses, and other passing good figures. And desiring very greatly to become esteemed in that city, as his master had been, he studied so zealously and subjected himself to so many hardships that he died at the age of thirty-five. If Guido had set himself to learn his art in his childhood, and not, as he did, at the age of eighteen, he would not only have equalled his master without difficulty, but would even have surpassed him by a great measure. In our book there are drawings by the hands of Ercole and Guido, very well wrought, and executed with grace and in a good manner.