To the left of San Girolamo is the Fonte San Maurizio, at the place, just outside the older circuit of walls, where the horse and cattle markets were held before the present fourteenth century walls were built. The arch over the beginning of the Via Ricasoli, with a seventeenth century fresco, representing the Blessed Trinity with St Maurice and St Jerome, marks the place of the old gate. The Via Romana runs out hence to the Porta Romana. On the left is a somewhat ruined palace, in the style of the Florentine Quattrocento, now known as the Rifugio, built about 1474, probably by Giuliano da Maiano, for the Abbot and monks of San Galgano, whose device of the sword stuck fast in the rock is seen still on the exterior. There is a curious petition of theirs to the Signoria, dated May 31st, 1474, in which they explain that they have begun this palace, "having a desire to convert their little income to the honour and ornament of your City, and in some part to the perpetual utility of that Abbey of yours," and that, as times are bad, they want to be exempted from the Gabella, and to have further aid from the State.[150] Further on is the great Augustinian convent of the Santuccio, in the church of which the head of San Galgano is preserved in a richly decorated reliquary. The Porta Romana, formerly the Porta Nuova, was built early in the fourteenth century by Agostino di Giovanni and Agnolo di [Illustration: FONTE SAN MAURIZIO] Ventura; the frescoed Coronation of the Madonna is by Taddeo di Bartolo and Sano di Pietro; the distich in her honour was written later by Niccolò Borghesi. It is thus the same gate through which Enea Piccolomini led the French deliverers in 1552, and that witnessed these French march out in 1555, with the long line of republican exiles, and the triumphant entry of the Marchese di Marignano. A short way beyond the gate is the church of Sta. Maria degli Angioli, a building of the latter part of the Quattrocento; the altar-piece (in a rich frame by Antonio Barili), the Madonna and Child with four Saints, a lunette and predella, is signed and dated 1502, by Raffaello di Carlo, a Florentine painter, by whom there are also works in the Palazzo Corsini and Santo Spirito at Florence. In the sacristy is a standard painted with an Assumption by Riccio. The other south-eastern gate, the Porta Pispini, has the remains of a frescoed Nativity by Bazzi. According to the legend, the name Pispini is derived from "Il Santo viene," "the Saint cometh,"--the cry raised by the people when the relics of St Ansanus were brought to the city. Outside the gate, a little to the left, is the modernised remnant of one of the bastions erected by Baldassare Peruzzi, as architect to the Republic.