[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.]