has two street façades, each with six wide balconies bearing the coat of arms of the Melfi family, a frame of acanthus leaves from which a putto leans. The balconies, a feature of the palazzo, are notable for the differing corbels which support them, ranging from putti to musicians and grotesques. The focal points of the principal façade are the three central balconies, divided by columns with Corinthian capitals. Here the balconies are supported by images of musicians with grotesque faces. The Ragusa Cathedral in Ragusa Superiore was built between 1718 and 1778. Its principal façade is pure Baroque, containing fine carvings and sculptures. The cathedral has a high Sicilian belfry in the same style. The ornate Baroque interior is separated into three colonnaded aisles. Ragusa Superiore was replanned following 1693 around the cathedral and displays an unusual phenomenon of Sicilian Baroque: the palazzi here are peculiar to this town, of only two storeys and long, with the central bay only emphasised by a balcony and an arch to the inner garden. This very Portuguese style, probably designed to minimise damage in future earthquakes, is very different from the palazzi in Ragusa Ibla, which are in true Sicilian style. Unusually, Baroque lingered on here until the early 19th century. The last palazzo built here was in the Baroque form but with columns of Roman Doric and neoclassical balconies. Catania Sicily's second city, Catania, was the most damaged of all the larger cities in 1693, with only the medieval Castello Ursino and three tribunes of the cathedral remaining; thus it was replanned and rebuilt. The new design separated the city into quarters, divided by two roads meeting at an intersection known as the Piazza del Duomo (Cathedral Square). Rebuilding was supervised by the Bishop of Catania, and the city's only surviving architect, . Di Benedetto headed a team of junior architects called in from Messina, which quickly began to rebuild, concentrating first on the Piazza del Duomo. Three palazzi are situated here, the Bishop's Palace, the Seminario and one other. The architects worked in complete harmony and it is impossible to distinguish di Benedetto's work from that of his junior colleagues. The work is competent but not remarkable, with decorated rustication in the 17th-century Sicilian style, but often the decoration on the upper floors is superficial. This is typical of the Baroque of this period immediately after the earthquake. In 1730,