but we have not the name of the architect who designed the façade; for this _Gliemo_ was Guglielmo degli Adelardi, a nobleman, at whose expense the church was built. The architect of the circular part is said to have been a Ferrarese, of the name of Biagio Rosette, one of the early restorers of Italian architecture, who died in 1516, but I know not at what age, and I cannot find his name in Milizia. The remainder of the part beyond the transept was modernized in 1637, and the rest of the church between 1712 and 1735. The front is divided into three equal parts, each surmounted with a gable, and ornamented with horizontal ranges of pointed arches, and smaller arches also pointed, are disposed under the rake of the gable. In each gable there is a small wheel-window. The porch has a semicircular arch resting on columns. Whatever may be said for ranges of arches supported on columns, these single arches, with merely one slender column on each side, must be reprobated in every style of architecture. A small turret resting on a square base carried down to the ground, and crowned with a pinnacle, separates the gables, and a similar ornament seems to have been adopted at the extreme angles of the front, but the upper part of them has been destroyed. The flanks are ornamented, not with pointed, but with semicircular arches. There is, however, an ornament above the upper range, which exhibits the reversed arch, but it may have been an addition. This want of correspondence between the side and front, makes one suspect that they are not precisely of the same date, and the flank is probably the oldest, as the architecture corresponds with that of other edifices in Italy of the eleventh century, and the early part of the twelfth; the front I should think posterior to the dedication. The inside contains some good paintings, but nothing fine in architecture, and there are many fine pictures in the churches and palaces of the city, but nothing of first-rate excellence. The best are principally by Guercino and Garofalo. The general style of architecture is much superior to what I have lately seen north of the Po. The city does not boast any remarkable building, any more than any of the very fine paintings, but the palaces have an air of solidity and magnificence. The straight streets in the new parts of the town want houses, and there are too many traces of decay; yet, when an enumeration was made in 1784, Ferrara and its suburbs contained 31,253 inhabitants, which is far more than you would suppose from present appearances. As it seems to possess no advantages of situation either for commerce or habitation, we may wonder that it should contain so many, but in the time of its glory, in the thirteenth century, under the family of Este, at first as chief magistrates, and afterwards as hereditary governors, either acting independently, or holding of the pope, Ferrara is computed to have contained more than twice the number. Its greatest celebrity arises from