[Footnote 2:  This is now in the Accademia, No 40]

[Footnote 3:  The first of these is in the Accademia (No. 10), as I suppose are the two other undescribed pictures]

[Footnote 4:  Is this a Marriage of S. Catherine in S. Girolamo in Ravenna?]

[Footnote 5:  Now in the Accademia, No 13.]

[Footnote 6:  Of these I know nothing]

[Footnote 7:  Now in the canonica of S. Croce in Ravenna]

To-day in Ravenna there remain the three works described by Vasari, one in the ex-church S. Romualdo di Classe, the other, as I think, once in the Hospital of S. Catherine and now in S. Girolamo, and another at S. Croce.  In the Accademia there are nine of his works, of which the S. Niccolo Presepio (No. 10) and the S. Agata Crucifixion (No. 13) are the better.  A S. Sebastian (No. 12) and a S. Catherine (No. 11) should also be noticed.  By his brother and assistant, Bernardino, there is one picture in the Accademia, the Agony in the Garden (No. 194).

Another master of the Romagnuol school, Marco Palmezzano, the pupil of Melozza da Forli, a contemporary of Rondinelli, who influenced him to some small extent, is represented in the Accademia by two works in Sala II., the Nativity and the Presentation of the Blessed Virgin (Nos. 189 and 190); in the Vescovado there is a Madonna and Child with four saints from his hand.  Vasari says nothing of him, but only mentions his name, yet he has a good deal to tell us of perhaps a lesser man, Luca Longhi (1507-1580), who was born in Ravenna.

“Maestro Luca de’ Longhi of Ravenna,” he says, “a man of studious habits and quiet reserved character, has painted many beautiful pictures in oil, with numerous portraits from the life in his native city and its neighbourhood.  Among other productions of Longhi are two sufficiently graceful little pictures which the reverend Don Antonio da Pisa, then abbot of the monastery, caused him to paint no long time since for the monks of Classe; many other works have also been executed by this painter.  It is certain that Luca Longhi, being studious, diligent, and of admirable judgment as he is, would have become an excellent master had he not always confined himself to Ravenna where he still remains with his family; his works are accomplished with much patience and study; and of this I can bear testimony since I know the progress which he made during the time of my stay in Ravenna both in the practise and comprehension of art.  Nor will I omit to mention that a daughter of his, called Barbara, still but a little child, draws very well and has begun to paint also in a very good manner and with much grace.”