In the chapel of Garganelli Ercole painted, on one side, the Death of the Virgin, and on the other the Crucifixion of Christ; nor did he produce in such a variety any one head like another. He also added a novelty in his draperies, a knowledge of foreshortening, an expression of passionate grief, "such," says Vasari, "as can scarcely be conceived." The soldiers "are finely executed, with the most natural and appropriate action that any figures up to that time had displayed." Many years ago, when this chapel was taken down, as much as possible of Ercole's painting was preserved, and placed in the wall of the Tanara palace, where it may still be seen. It is indeed his masterpiece, and one of the most excellent that appeared in Italy during his times, in which the artist seemed to have revived the example of Isocrates, who devoted so many years to the polish of his celebrated panegyric. There is little else of his remaining at Bologna; but at S. Paolo in Ferrara is a genuine altar-piece, and nothing more in public. Some other of his works are preserved in the church of Porto in Ravenna, and some pictures in the public palace at Cesena. He has some specimens in foreign galleries; two of his pictures are at Dresden, a few others at Rome and Florence; though frequently his name has been usurped by that of another painter, Ercole not having enjoyed the celebrity which he deserved. Thus his picture of the Woman taken in Adultery, used to be pointed out in the Pitti palace for a work of Mantegna. For the rest, his paintings are extremely rare, as he did not survive beyond his fortieth year, during which period he painted with the caution of a modest scholar, more than with the freedom of a master.