Upon the Torre del Ponte of old were set two great reliefs; on high the Madonna and Child and beneath the Lion of S. Mark. The Madonna and Child, a mediocre work, remains, but when Venice was turned out of Ravenna the Lion was taken down and behind it were carved the papal arms. Both Madonna and Lion would seem to have been the work of Marino di Marco Ceprini.

Another work undertaken and achieved by the Venetians was the enlargement and the adornment of the Piazza Maggiore. There in 1483, when their work was finished, they raised two columns which still stand before the Palazzo del Comune. They stand upon circular bases in three tiers, sculptured in relief by Pietro Lombardi with the signs of the Zodiac and other symbols and ornaments. The capitals of both the columns are beautiful. Upon the northern column of old stood a statue of S. Apollinaris, the true patron of the city, while upon the southern column stood the Lion of S. Mark. But when in 1509 Ravenna came into the hands of Julius II. the Lion was removed and in 1640 the statue of S. Apollinaris from the northern column took its place, while there, where of old S. Apollinaris had stood, a statue of S.

Vitalis was set as we see to-day. The Palazzo del Comune was entirely reconstructed in 1681, while the Palazzo Governativo was built in 1696 by the Cardinal Legate Frances...o...b..rberini and the Orologio Pubblico, originally dating from 1483, was transformed, as we see it, in 1785 Of the Portico Antico I have already spoken.[1]

[Footnote 1: See _supra_, p. 192.]

One of the most interesting and accessible fifteenth-century houses in Ravenna is to be found in the Albergo del Cappello, with its fine original windows in the Via Rattazzi, not far from S. Domenico; it may stand as an example of many other old houses in the Via Arcivescovado, but I must especially name that beautiful Venetian house in the Via Ponte Marino--it is No. 15--the Casa Graziani with its lovely balcony, the Casa Baldim (Via Mazzini, 31) with its double loggia in the _cortile_, the Casa Fabbri next door (No. 33), the Casa Zirardini (Via Belle Arti, No. i), the Casa Baromo (Via Romolo Gessi, Nos. 6 and 16), and the Casa Ghigi with its lovely door and portico (No. 7 of the same street).

[Ill.u.s.tration: THE CLOISTER OF S. GIOVANNI EVANGELISTA]

Undoubtedly the greatest monument which the sixteenth century has left us in Ravenna is the church of S. Maria in Porto. This was built by the Canons Regular of the Lateran, the most ancient community of canons still extant, in the year 1553, when for about fifty years they had been compelled to abandon the church of S. Maria in Porto fuori outside the city, in the marsh. They not only furnished their new church, but to a considerable extent built it, out of the materials of S. Lorenzo in Cesarea, which they thus destroyed.

[Ill.u.s.tration: Colour Plate PORTA SERRATA]

S. Maria in Porto as we see it has suffered from restoration, and the facade is a work of the eighteenth century, but the church itself remains a n.o.ble sixteenth-century building divided within into three naves by huge pilasters and columns and covered at the crossing with a great octagonal cupola. There is, however, little that is very precious to be seen, a few fine marbles and the beautiful marble relief of the Madonna in prayer in the transept, called the Madonna Greca, a Byzantine work probably brought to Ravenna, according to Dr.

Ricci, at the time of the crusades. It was originally in S. Maria in Porto fuori. The n.o.ble choir should also be noticed and the beautiful ciborio.

Close by the church is the Monastero of the Canons, within which there remains the lovely cloister which should be compared with those at S.

Vitale and S. Giovanni Evangelista of the same period. This of S.

Maria in Porto, however, is the finest, having doubled storied logge.

Above all the exquisite Loggia del Giardino should not be missed. It was built in 1508, and looks on to a piece of the sixth-century wall of Ravenna.

Not far away in the Via Girotto Guaccimanni near the Hotel Byron is the church of S. Maria delle Croci, founded in the tenth century, but entirely rebuilt in the sixteenth. The rose in terracotta of the facade is a work of this time, as is the exquisite baldacchino over the high altar within, upheld by two pilasters and two columns of Greek marble. The picture, too, of the a.s.sumption over the altar is by a master, perhaps Gaspare Sacch' of Imola, of the sixteenth century.

Of the same period is the ma.s.sive Porta Serrata at the north end of the Corso Garibaldi.

The best monument of later times left in Ravenna is the fine Palazzo Rasponi in Via S. Agnese (No. 2) built in or about 1700.

XIX

THE GALLERY AND THE MUSEUM

Ravenna isolated in her marsh and altogether, both geographically and politically, out of the Italian world that began to flower so wonderfully in Tuscany, then in Umbria, and later still in Venice in the fourteenth, fifteenth, and sixteenth centuries, is the last city in which to look for pictures. Nevertheless a few delightful pieces among much that is negligible are to be found in the Accademia delle Belle Arti in the Via Alfredo Baccarini. The collection was begun about 1827, and though what is to be seen there is never of the first importance it is certainly more than we had the right to expect.

The first two rooms upon the upper floor are devoted to the Romagnuol and Bolognese painters, the best of them here pupils or disciples of the one master Ravenna can boast, Niccolo Rondinelli.

We have seen Rondinelli's organ shutters in S. Domenico, here we have something better. This really fine pupil of Giovanni Bellini was born it seems in Ravenna in the middle of the fifteenth century. Vasari tells us that "there also flourished in Romagna an excellent painter called Rondinello.... Giovanni Bellini, whose disciple he had been, had availed himself to a considerable extent of his services in various works. But after Rondinello had left Giovanni Bellini he continued to practise his art and in such a manner that, being exceedingly diligent, he produced numerous works which are highly deserving of and have obtained considerable praise.... For the altar of S. Maria Maddalena in the cathedral of Ravenna this master painted a picture in oil, wherein he portrayed the figure of that saint only; but in the predella he executed three stories, the small figures of which are very gracefully depicted. In one of these is our Saviour Christ appearing to Mary Magdalen in the form of the gardener; another shows S. Peter leaving the ship and walking upon the waves of the sea, and between them is the Baptism of Christ. All these representations are executed in an exceedingly beautiful manner.[1] Rondinello likewise painted two pictures in the church of S. Giovanni Evangelista in the same city. One of these portrays the Consecration of the church by S. Giovanni[2] and the other exhibits three martyrs, S. Cancio, S.

Canciano, and S. Cancianilla, all very beautiful figures.[3] For the church of S. Apollinare also in Ravenna this master painted two pictures, each containing a single figure, S. Giovanni Battista and S.

Sebastiano, namely, both highly extolled.[4] There is a picture by the hand of Rondinello in the church of S. Spirito likewise; the subject, Our Lady between S. Jerome and the virgin martyr S. Catherine.[5] In S. Francesco, Rondinello painted two pictures, in one of which are S.

Catherine and S. Francesco; while in the other our artist depicted the Madonna accompanied by many figures, as well as by the apostle S.

James and by S. Francesco.[6] For the church of S. Domenico, Rondinello painted two pictures; one is to the left of the high altar and exhibits Our Lady with numerous figures; the other is on the f.a.gade of the church and is very beautiful.[7] In the church of S.

Niccolo, a monastery of Augustinians, this master painted a picture with S. Lorenzo and S. Francesco, a work which was most highly commended, in so much that it caused Rondinello to be held in the utmost esteem for the remainder of his life, not in Ravenna only, but in all Romagna.[8] The painter here in question lived to the age of sixty years, and was buried in S. Francesco at Ravenna."[9]

[Footnote 1: This picture would seem to be lost.]

[Footnote 2: This picture is now in the Brera at Milan, No. 452.]

[Footnote 3: This picture would seem to be lost. Milanesi says it was taken to Milan. _Vas_. v. 254, n. 2.]

[Footnote 4: There is a Sebastian by this master in the Duomo at Forli; the S. Giovanni panel seems to be lost.]

[Footnote 5: This is now in the Accademia of Ravenna, No. 6.]

[Footnote 6: This would seem to have disappeared; but cf. Brera, 455.]

[Footnote 7: The first of these remains in S. Domenico, the other is, I think, now in the Accademia, No. 7.]

[Footnote 8: This picture, too, seems to be lost.]

[Footnote 9: Vasari (trs. Foster), vol. III. pp 382-384.]

In another place, Vasari tells us that the pupil who copied Giovanni Bellini most closely and did him most honour was "Rondinello of Ravenna, of whose aid the master availed himself much in all his works.... Rondinello painted his best work for the church of S.

Giovanni Battista in Ravenna. The church belongs to the Carmelite Friars and in the painting, besides a figure of Our Lady, Rondinello depicted that of S. Alberto, a brother of their order;[10] the head of the saint is extremely beautiful, and the whole work very highly commended."[11]

[Footnote 10: Now in the Accademia, unnumbered; it represents the Madonna between S. Alberto and S. Sebastian.]

[Footnote 11: Vasari (trs. Foster), vol. II. pp. 171-172.]

Of all the works thus named by Vasari as painted by Rondinelli in Ravenna only four remain, three in the Accademia and one in S.

Domenico. I have already spoken of the tempera pieces in S.

Domenico.[12] Of the three pieces in the Accademia, the Madonna and Child between S. Catherine and S. Jerome (No. 6) comes from S.

Spirito; the Madonna and Child between SS. Catherine, Mary Magdalen, John Baptist, and Thomas Aquinas comes from S. Domenico, and is, I am convinced, the picture spoken of by Vasari rather than the sixteenth-century work that still hangs there, which is, according to Dr. Ricci, perhaps the mediocre work of Ragazzini. The third picture by Rondinelli in the Accademia, the Madonna and Child between S.

Alberto and S. Sebastian, comes from the church of the Carmelites, S.

Giovanni Battista.

[Footnote 12: See _supra_, p. 246.]

Beside these three fine works of Rondinelli hangs the work of a man he strongly influenced, Francesco Zaganelli da Cotignola. When Vasari tells us that Rondinelli was buried in S. Francesco at Ravenna, he goes on to say that "after him came Francesco da Cotignola, who was also greatly esteemed in that city and painted numerous pictures there. On the high altar of the church which belongs to the Abbey of Cla.s.se, for example, there is one from his hand of tolerably large size, representing the Raising of Lazarus with many figures[1].

Opposite to this work in the year 1548 Giorgio Vasari painted another for Don Romualdo da Verona, the abbot of that place. This represents a Deposition of Christ from the Cross, and has also a large number of figures[2]. Francesco Cotignola painted a picture in S. Niccolo, likewise a very large one, the subject of which is the Birth of Christ, with two in S. Sebastiano exhibiting numerous figures[3]. For the hospital of S. Caterina, Francesco painted a picture of Our Lady, S. Caterina, and many other figures[4]; and in S. Agata, he painted a figure of our Saviour Christ on the Cross, the Madonna being at the foot thereof, with a considerable number of other figures; this work also has received commendation[5]. In the church of S. Apollinare in the same city are three pictures by this artist, one at the high altar with Our Lady, S. Giovanni Battista, S. Apollinare, S. Jerome, and other saints; in the second is also the Madonna with S. Peter and S.

Catherine[6]; and in the third and last is Jesus Christ bearing his Cross, but this Francesco could not finish having been overtaken by death before its completion[7]. Francesco coloured in a very pleasing manner, but had not such power of design as Rondinello; he was nevertheless held in great account by the people of Ravenna. It was his desire to be buried in S. Apollinare, where he had painted certain figures, as we have said, wishing that in the place where he had lived and laboured his remains might find their repose after his death."

[Footnote 1: This is in the ex-church of S. Romuald in Cla.s.se in the sacristy, now part of the Museo]

[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 Cla.s.se, 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 a.s.sistant, Bernardino, there is one picture in the Accademia, the Agony in the Garden (No. 194).