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.
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