There are five pictures by Luca Longhi in the Accademia besides three portraits.  In Sala I. we have an early work painted at the age of twenty-two, the Marriage of S. Catherine (No. 14); a Madonna and Child with S. Benedict, S. Apollinaris, S. Barbara, and S. Paul (No. 23).  In Sala II. the Dead Christ between S. Bartholomew and Don Antonio da Pisa, abbot of the monastery of Classe (No. 17), and two pictures of the Adoration of the Shepherds (Nos. 15, 16).  Here, too, are the three portraits from his hand which represent Raffaele Rasponi (No. 22), Giovanni Arrigoni (No. 21), and Girolamo Rossi (No. 20).  By Luca’s son Francesco there is a feeble Crucifixion (No. 29) in Sala I.;[1] and happily in Sala II. three pictures by Barbara, Luca’s daughter, of whom Vasari speaks; a S. Catherine, which is really a portrait of the painter (No. 81), a Madonna and Child (No. 27), and a Judith (No. 28).[2]

[Footnote 1:  There is another work, an Annunciation, by Francesco Longhi in S. Croce.]

[Footnote 2:  Another work by Barbara Longhi, S. Peter visiting S. Agata in Prison, may be seen in S. Maria Maggiore.]

Only one picture by a Bolognese master is really worthy of much notice here; I mean the S. Romuald of Guercino (No. 33) in Sala I. In the floor of this first room there is set a fine mosaic from S. Apollinare in Classe which should be noted.

The third room in the Accademia, filled with various works of little merit of the sundry schools of Italy, may be neglected.  The fourth room, however, is devoted to the beautiful tomb of Guidarello Guidarelli, the very glorious work of Tullio Lombardi.  Of old this exquisite tomb stood in the Cappella Braccioforte at S. Francesco.  Guidarello of Ravenna 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