Following up the Via Camollia towards the gate, we have on the right the Campansi, a former convent of Franciscan nuns, now a poor-house. Most of its artistic treasures have been removed to the picture gallery, but a certain number of frescoes have been preserved. In the cloisters is a large Assumption, mingling Sienese and Umbrian influences, the work of Matteo Balducci and (according to Mr Berenson) in part of Pietro di Domenico. On the first floor are: an Annunciation by Sano di Pietro; a Madonna and Child with St Anne, attended by the Magdalene and St Ursula (poetical in conception, but rather poorly executed) by Beccafumi; a Resurrection by Benvenuto di Giovanni. From a window in the women's department a beautiful view is obtained of San Francesco. The Madonna of Fontegiusta was built in 1479, as a thanks-offering for the victory of Poggio Imperiale, by Francesco Fedeli and Giacomo di Giovanni of Como. Over the outer portal is a beautiful Madonna and Child with Angels, of 1489, by Neroccio Landi. In the sixteenth century the fashionable thing was to hear vespers in this church on Sunday afternoons. In Pietro Fortini's _Novelle de' Novizi_, his five "right honest but most facetious ladies" attend vespers here, and at the holy water basin (the work still of Pacchia's father, Giovanni delle Bombarde) they join company with their "two winsome youths, most disposed to the service of love," and walk out with them in the cool as far as the Palazzo de' Diavoli.[158] The marble high altar, with the Pietà and exquisitely worked setting, is the masterpiece of Lorenzo di Mariano, executed in 1517 and, according to the legend, sent to Rome on mules for the edification of Leo X. The frescoed Assumption, in the lunette above the altar, is by Girolamo di Benvenuto. On the right wall is a Coronation of the Madonna by Fungai. On the left wall is the fresco of the Sibyl revealing the mystery of the Incarnation to Augustus, by Baldassare Peruzzi. It has been damaged and badly restored, and is one of the painter's latest and less satisfactory works, showing a mannered and unsuccessful attempt to imitate the style of Michelangelo. The Madonna commending Siena to her Divine Son is by Bazzi's pupil and son-in-law, Il Riccio. The shield and whalebones over the door are said by tradition to have been sent here as a votive offering by Christopher Columbus.