In the second chapel from the shrine is a fresco by Andrea del Castagno, which was discovered in the summer of 1899 under a copy of Michelangelo's Last Judgment. It represents St. Jerome and two women saints adoring the Blessed Trinity, and is characteristic of the _modo terribile_ in which this painter conceived his subjects; the heads of the Jerome and the older saint to our right are particularly powerful. For the rest, the interior of this church is more gorgeous than tasteful; and the other works which it contains, including the two Peruginos, and some tolerable monuments, are third rate. The rotunda of the choir was designed by Leo Battista Alberti and erected at the cost of the Marquis of Mantua, whose descendant, San Luigi Gonzaga, had a special devotion to the miraculous picture. From the north transept, the cloisters are entered. Here, over the door, is the Madonna del Sacco, an exceedingly beautiful fresco by Andrea del Sarto, painted in 1525. St. Joseph, leaning upon the sack which gives the picture its name, is reading aloud the Prophecies to the Mother and Child whom they concern. In this cloister--which was built by Cronaca--is the monument of the French knight slain at Campaldino in 1289 (_see_ chapter ii.), which should be contrasted with the later monuments of condottieri in the Duomo. Here also is the chapel of St. Luke, where the Academy of Artists, founded under Cosimo I., used to meet. A good view of the exterior of the rotunda can be obtained from the Via Gino Capponi. At the corner of this street and the Via del Mandorlo is the house which Andrea del Sarto bought for himself and his Lucrezia, after his return from France, and here he died in 1531, "full of glory and of domestic sorrows." Lucrezia survived him for nearly forty years, and died in 1570. Perhaps, if she had not made herself so unpleasant to her husband's pupils and assistants, good Giorgio Vasari--the youngest of them--might not have left us so dark a picture of this beautiful Florentine.