was killed in battle at Imola in 1501, and
Tullio Lombardi, the son of Pietro, was employed to make his tomb. "I
doubt," says M. de Vogue, "whether, apart from the work of Donatello,
the early Renaissance produced anything more beautiful." Guidarello
the knight is represented in marble, a life-size figure, lying on his
back, his body encased in armour, his helmet on his head, his visor
raised, his gloved hands crossed over his sword which lies along his
body. He seems, weary of fighting at last, to be sleeping, but the
sweet expression upon the tired face makes us think rather of a monk
than a soldier. In truth he was a knight of the olden time.

We leave the room in which he sleeps for ever in his marble,
reluctantly, and, passing Sala V., which is full of late pictures of
no interest, come to Sala VI. where there are several delightful early
Italian works. One would not certainly expect to find in Ravenna a
picture of the most exquisite school in Tuscany, the school of Siena.
Yet here is a delightful Madonna and Child with S. Peter and S.
Barbara (No. 191) by Matteo di Giovanni (1435-1495); and a
fourteenth-century Annunciation (No. 176) from Tuscany. In the
Crucifixion (No. 225) we seem to have an early Venetian work, and
another Crucifixion (No. 181) might almost be from the hand of Lorenzo
Monaco. It is probable that we see a work of Antonio da Fabriano in
the S. Peter Damiano (No. 188), and certainly an Umbrian work in the
S. Francis receiving the Stigmata (216). But the most remarkable
Umbrian picture here is the Christ with the Cross between two angels
(No. 202), the work of Niccolo da Foligno. A few early works by the
mediocre masters of the Romagnuol school (Nos. 174, 171, 172, 182) are
to be seen here also.

Sala VI. is entirely devoted to an immense number of pictures in the
Byzantine manner, of considerable interest and much beauty, but not
yet to be discussed.

We leave the Accademia for the Museo close by. The building in which
the collections are housed is the old Camaldulensian monastery of
Classe built in 1515 by the monks of S. Apollinare in Classe, and
since S. Romuald, the founder of the order, was a Ravennese one may
think the monastery might have been left in the hands of the monks.
Even as it is it has considerably more interest for us than the
collections gathered within it. The beautiful seventeenth-century
cloisters, the old convent church of S. Romualdo in the baroque style
of 1630, and