of praise, such as the stories of the Cross and some
of S. Augustine. In these are innumerable portraits of distinguished
persons of that city; and, to tell the truth, this was one of the best
works that Maestro Amico ever executed with colours in fresco.

In S. Jacopo, at Bologna, he painted at the altar of S. Niccola some
stories of the latter Saint, and below these a frieze with views in
perspective, which deserve to be extolled. When the Emperor Charles V
visited Bologna, Amico made a triumphal arch, for which Alfonso Lombardi
executed statues in relief, at the gate of the Palace. And it is no
marvel that the work of Amico revealed skill of hand rather than any
other quality, for it is said that, like the eccentric and extraordinary
person that he was, he went through all Italy drawing and copying every
work of painting or relief, whether good or bad, on which account he
became something of an adept in invention; and when he found anything
likely to be useful to him, he laid his hands upon it eagerly, and then
destroyed it, so that no one else might make use of it. The result of
all this striving was that he acquired the strange, mad manner that we
know.

Finally, having reached the age of seventy, what with his art and the
eccentricity of his life, he became raving mad, at which Messer
Francesco Guicciardini, a noble Florentine, and a most trustworthy
writer of the history of his own times, who was then Governor of
Bologna, found no small amusement, as did the whole city. Some people,
however, believe that there was some method mixed with this madness of
his, because, having sold some property for a small price while he was
mad and in very great straits, he asked for it back again when he
regained his sanity, and recovered it under certain conditions, since he
had sold it, so he said, when he was mad. I do not swear, indeed, that
this is true, for it may have been otherwise; but I do say that I have
often heard the story told.

[Illustration: THE ADORATION

(_After the panel by =Amico of Bologna [Amico Aspertini]=. Bologna:
Pinacoteca, 297_)

_Alinari_]

Amico also gave his attention to sculpture, and executed to the best
of his ability, in marble, a Dead Christ with Nicodemus supporting
Him. This work, which he treated in the manner seen in his pictures, is
on the right within the entrance of the Church of S. Petronio. He used
to paint with both hands at the same time, holding in one the brush with
the bri