In the Via Venti Settembre, on the left, is Santa Chiara. The altarpiece is a good work of the chief Florentine painter of the seventeenth century, Matteo Rosselli. It represents Christ enthroned upon the clouds, between the Madonna and the Baptist; below are St Francis and St Louis of France on our left, while on our right--a motive equally happy in conception and execution--St Clare is bringing Santa Fina into the celestial company. There are several pictures ascribed to Rosselli in the town, but this is the only one in the least degree worthy of the painter of the David of the Pitti. Further on, on the right, are the Hospitals, including the Spedale di Santa Fina, founded shortly after her death by the Commune, partly from the alms of pilgrims. In 1274 two special officers, _Esortatori_, were appointed to visit sick persons, to beg alms or legacies for the institution. In the entrance hall, formerly the chapel, are frescoes by Mainardi; four Saints in lunettes and, over the door, a Madonna and Child blessing those that enter. In the chapel is preserved the _tavola_, the board upon which Fina made her hard bed of expiation for the sins of the world, and which blossomed out into flowers when her sacrifice was accomplished.[195] Beyond is San Girolamo, a church belonging to a convent of Vallombrosan nuns, with an altarpiece by Vincenzo Tamagni of 1522, with an upper part added by a later hand. At the end, connected with the former convent by a covered way across, is the church of San Jacopo, which belonged to the Knights Templars before the nuns had it; it is a building of the eleventh century (said to have been built in 1096 by the Sangimignanesi who returned from the Crusades), lovely in its ruin, in a little inclosed plantation of olive trees. The ornamented terra-cotta window and the curious coloured plates on the façade are noteworthy. Within are old frescoes, apparently of the Sienese school of the fourteenth century. Mr Berenson ascribes the St James on the pilaster to Pier Francesco. Then we pass out, through a breach in the walls, to the olive trees that clothe them, and to the sweeping view of the valley beyond. At Santa Chiara, the Via della Fonte leads down between vineyards and old walls to the Porta della Fonte, over which is a chapel. Outside, over the gate, a statue of St Geminianus records the attempt of the Ardinghelli and their allies to capture the town for the Duke of Athens at this point, in 1342. The wonderfully picturesque fountains below, where the women linger over their washing and carry up pitchers to the houses, were constructed in the thirteenth and fourteenth centuries. A little to the left, among the olives, flaming poppies and purple foxgloves, where a few oaks still remind us of the woods of old, there is a superb view of the "Castello della Selva" right above us, with eight of its towers visible.