which the wind is bending, and the effort made by the Soldier to maintain it in its position is most admirably expressed. The figure of San Giovanni, wrapped in a linen cloth, is seen flying from the place; and the soldiers who appear in this picture, are all perfectly well delineated, with movements more natural and more appropriate than any that had ever been seen up to that time. All these varied and powerful attitudes, which it would be scarcely possible perhaps to present more effectually, may serve to show the great knowledge of art possessed by Ercole, and the earnest pains which he bestowed on his works.[1]
On the wall, opposite to that whereon he painted the Crucifixion, Ercole depicted the Death of the Virgin. Our Lady is surrounded by the Apostles, who stand in very beautiful attitudes, and among them are six figures, which are the portraits of persons, declared, by those acquainted with them, to be most animated likenesses. In the same work our artist painted his own portrait, with that of Domenico Garganelli. the owner of the chapel, who, when the whole was completed, for the love he bore to Ercole, and moved by the praises which he heard bestowed upon the work, presented to the master one thousand livres at Bologna. It is said that Ercole devoted twelve years to this work; seven to painting it in fresco, and five more to retouching it a secco. He executed other works, it is true, within that period: we know more particularly of one, the Predella of the High Altar of San Giovanni—in Monte namely, whereon he depicted three stories from the Passion of Christ.[2]
Ercole was somewhat eccentric in character, and it was his custom when he was at work to refuse every one, whether painters or others, permission to see his labours;
- ↑ ”After this animated description who,” inquires a Florentine commentator, “who shall say that Vasari was a malignant writer, anxious to conceal the merit of all artists, the Tuscans only excepted?” Certainly no one who reads his work with unprejudiced eyes, will accuse him of any such partiality; instances to the contrary appearing in every part.
- ↑ Some writers lament this Predella as lost; but Gualandi (note to Baruffaldi’s Life of Ercole Ferrarese) believes two of the three stories to have been sold to the king of Poland, in 1740, and to be now in the Royal Gallery of Dresden, See Lettere Pittoriche, vol. iv. p. 380. Milanese edition of 1822.
