ITALIAN GARDENS OF THE RENAISSANCE 
of S. Francesco, a sanctuary for which he cherished 
especial devotion. By his will, he left a sum of 
six hundred ducats for the decoration of the chapel 
and altar of Archbishop Liberius, whose ashes rest 
in this ancient basilica. But these last wishes were 
never obeyed, and after the death of his widow, 
twenty years later, the Franciscan friars obtained 
the Pope’s leave to divert to their own uses the 
money which he had bequeathed. 
Meanwhile Guidarello’s remains were laid in an 
early Christian sarcophagus, and by his wife’s pious 
care the tomb was enriched with his armorial 
bearings and adorned with an effigy of the dead 
knight in armour. Some Ravennese writers have 
described this statue as the work of a local sculptor, 
but there seems no reason to dispute the old 
tradition which assigns it to the Venetian, Tullio 
Lombardi. Not only does the marble bear a close 
relation to this gifted sculptor’s other works in 
Padua and Venice, but the tradition is confirmed by 
a contemporary chronicle—preserved in the library 
of S. Apollinare di Classe—where the writer ex¬ 
pressly states that this admirable statue was the 
work of Pietro Lombardi’s son. The artists of 
this family, to whom we owe the finest Renaissance 
sculpture in Venice, were often employed in Ravenna. 
Pietro himself executed the bas-reliefs on the columns 
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