The mighty tower which rises beside S. Maria in Porto fuori has been thought to be in part the famous Pharos of which Pliny speaks.[1] It is almost certainly founded upon it, but the lower part in its huge strength is, as we see it, a work of the end of the twelfth century, as is the lofty campanile which rises from it. [Footnote 1: See _supra_, p. 24.] S. Maria in Porto fuori is undoubtedly the greatest monument that remains to Ravenna of the Middle Age; nothing really comparable with it is to be found in the city itself. The earliest of the friars' churches, those great monuments of the Middle Age in Italy, is S. Chiara which with its convent is now suppressed and lost in the Recovero di Mendicita (Corso Garibaldi, 19). This convent, which dates certainly from 1255, was founded by Chiara da Polenta and was rebuilt in 1794. It is from its garden that we get our best idea of the church which within possesses frescoes of the Romagnuol school, where in the vault we see the four Evangelists with their symbols and the four Doctors of the Church. Upon the walls we see a spoiled fresco of the Presepio, that peculiarly Franciscan subject, and again the Annunciation, the Adoration of the Magi, the Baptism of Our Lord, Christ in the Garden, the Crucifixion, and various saints. These frescoes are the work of the men who painted in S. Maria in Porto fuori. It cannot have been much later that the church of S. Pier Maggiore, of which I have already spoken,[2] came into Franciscan hands, and certainly from 1261 it was called S. Francesco, when the archbishop Filippo Fontana handed it over to the Conventuals who held it till 1810. Its chief mediseval interest lies for us of course in the fact that Dante was buried, probably at his own desire, within its precincts. But there are other things too. Close to the entrance door is a slab of red Verona marble dated 1396, which is the tomb of Ostasio da Polenta who was a Tertiary of the Franciscan Order, and was therefore buried in the habit of the friars. The figure carved there in relief to represent Ostasio is evidently a portrait and a very fine and noble piece of work. To the left, again, is another slab of red Verona marble which marks the tomb of the General of the Franciscan Order, Padre Enrico Alfieri, who died of fever in Ravenna in 1405. The fine Renaissance pilasters in the Cappella del Crocefisso should be noted, and the beautiful sixteenth-century monument of Luffo Numai by Tommaso Flamberti at the end of the left aisle. [Footnote 2: See _supra_, pp. 174 _et seq_.]