Ercole Grandi, called by Vasari, in his life, Ercole da Ferrara, became an abler designer than his master Costa, and is greatly preferred to him by the historian. Such too I believe to have been the public opinion from the period when Grandi was employed with Costa at Bologna, in preference to whom he was invited to different places to paint alone. But his affection for his master, and his own modesty, led him to reject every advantageous offer; so that when Costa went to Mantua, he would have followed, had he been permitted so to do. Lorenzo, however, could no longer brook a disciple who already surpassed him; owing to which, and the necessity of completing the painting he had begun in the Garganelli chapel at St. Peter's, he left Grandi in his stead at Bologna. Ercole there produced a work which Albano pronounced equal to Mantegna, to Pietro Perugino, or any artist who professed the modern antique style; nor perhaps did any boast a touch altogether so soft, harmonious, and refined. He painted to advance the art, and spared neither time nor expense to attain his object, employing seven years on his fresco histories at St. Peter's; and five more in retouching them when dry. This was only at occasional intervals, employing himself at the same period in other works, sometimes at, and sometimes out of Bologna. He would even have continued to render his work more perfect, had it not been for the jealousy of some artists in the city, who nightly robbed him of his designs and cartoons, which so greatly incensed him that he abandoned his labours, and Bologna itself. Such is the account of Baruffaldi, and it agrees with the invidious character of certain artists of that period, drawn by Vasari, who in this respect also drew down upon himself the indignation of Malvasia.