In October, 1532, Ariosto, after sixteen years passed, since its first publication, in the continual and almost daily revision of his great poem, published a third edition in forty-six cantos, which, notwithstanding some misprints, has remained the legitimate text of the Orlando Furioso. This was the last edition which he published himself. The six additional cantos are the 33d, 37th, 39th, 42d, 44th, and 45th; and in the others, stanzas are added or altered from time to time. Soon after Ariosto had thus completed his work, he fell ill of a painful internal complaint, which, after several months of lingering sufferings, terminated in death, June 6, 1533. He was then in his fifty-ninth year. He was buried privately in the church of San Benedetto, near his house, and his funeral was attended by the monks, who volunteered to pay this honour to his remains. Forty years later, the church having been rebuilt, a monument was raised to him on the right of the great altar by Agostino Mosti of Ferrara, who in his youth had studied under Ariosto, to which the poet’s bones were transferred with great ceremony. In 1612, Ludovico Ariosto, the poet’s grand-nephew, raised another monument, more splendid than the first, and placed it in the chapel to the left of the great altar; and thither Ariosto’s remains underwent removal for the second time. They were then left in peace for nearly two centuries, until the French took possession of the country at the beginning of the present century, when they removed the monument (we believe the last of the two, though we cannot positively say) to the Lyceum or University; where Ariosto’s chair and his ink-stand are also preserved, as well as the autographs of the Furioso. In the convent of San Benedetto is a painting, representing paradise, by Garofalo, who had known Ariosto personally, in which the poet is seen between St. Catherine and St. Sebastian.