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 Assumption over the altar is by a master, perhaps Gaspare Sacch' of Imola, of the sixteenth century. Of the same period is the massive 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.