t and signed in one of the arches in the fifth century.[1]

[Footnote 1: According to Rasponi the chapel was dedicated originally
to S. Andrea and is to be identified with the Monasterium di S.
Andrea, which was not built by S. Peter Chrysologus (429-_c_. 449),
but by Peter II. (494-_c_. 519). Cf. Rasponi, _Note Marginali al Liber
Pontificalis di Agnello Ravennate_ (Atti e Memorie della R. Dep. di
Stor. Pat. per la Romagna, iii. 27), Bologna, 1909-1910.]

Of this great man Agnellus records: "He was beautiful in appearance,
lovely in aspect; before him there was no bishop like him in wisdom,
nor any other after him." He was a native of Imola, then called Forum
Cornelii, and was ordained deacon by the bishop of that city, one
Cornelius, of whom he always speaks with affection and gratitude. When
the bishop of Ravenna died, it is said the clergy of the cathedral,
then just built or building, with the people, chose a successor, and
besought the bishop of Imola to go to Rome to obtain the confirmation
of the pope. Cornelius took with him his deacon Peter, and the pope,
who had been commanded so to do by the Prince of the Apostles in a
dream, refused to ratify the election already made, but proposed Peter
the deacon as the bishop chosen by S. Peter himself. Peter was there
and then consecrated bishop, was conducted to Ravenna, and received
with acclamation. He is said to have found a certain amount of
paganism still remaining in his diocese, and to have completely
extirpated it. He often preached before the Augusta Galla Placidia and
her son Valentinian III., and he was perhaps the first archbishop of
the see, Ravenna till his time having been suffragan to Milan. He
seems to have died about 450 in Imola. Among his many buildings, which
included the monastery of S. Andrea at Classis, is the little chapel
now dedicated in his honour in the _Arcivescovado_ of Ravenna. It is
perhaps the only one of his works which remains. The little square
chamber, out of which the sanctuary opens, is upheld by four arches,
which are covered, as is the vaulting, with most precious mosaics,
still of the fifth century, though they have been and are still being
much restored. On the angles of the vaulting, on a gold ground, we see
four glorious white angels holding aloft in their upraised hands the
symbol of Our Lord. Between them are the mighty signs of the Four
Evangelists, the angel, the lion, the ox, and the eagle. In the key,
as it were, of t