Chapel of Santa Maria degli Angeli. As you approach the entrance to the presbytery and the sacristy is another side chapel, commissioned by Prince Piero Ginori Conti (chapel Ginori) in the late nineteenth century It was consecrated by the bishop Emanuele Mignone in 1939, and sporting the second pipe organ. Behind the chancel is the choir, with two rows of walnut stalls in the central part, with inlays depicting Santa Maria Assunta, San Lorenzo and Blessed John, the work of the twentieth century between Leonardo Galiberti from Woodshed. Additional inlays from 1509 by Piero Zanobi. On both sides of the presbytery there are two figures of St. Francis and St. Anthony Abbot (about 1475-80). The chapel to the left of the presbytery has the organ. The chapel is dedicated to the 'Ascension of Jesus, with the impressive work of the same name in glazed terracotta by Andrea della Robbia and his son Luke Bartholomew II in 1480. Looking back on the left side of the church, the chapel front mate with the colonnade is dedicated to the 'Annunciation, and retains the same name by Andrea della Robbia, dated 1475. Going further back to the entrance, the chapel of St. Michael, which holds the remains of Blessed John of La Verna (or from Fermo), brother of the thirteenth century which Christ appeared at the site of the chapel of the beech, a small stone building in woods over the Sanctuary. Corridor of the Stigmata Leading of to the right of the Basilica Maggiore, is access to corridor of the Stigmata. First is a small chapel, dedicated to Count Checco Montedoglio and containing a Pieta with Saints John the Evangelist, Mary Magdalene, Francis, Archangel Michael, Anthony of Padua and Jerome (circa 1525-1532) sculpted by Santi Buglioni. The Corridor of the Stigmata was covered between 1578 and 1582. Since 1431, the daily procession of the ninth hour (1500 hr or 3:00 p.m.) occurs. The passageway is lined with frescoes representing the episodes of the life of St. Francis. Eighteen panels were made by Baccio Maria Bacci in two stages between 1929 and 1962 to replace the seventeenth-century frescoes by Fra Emmanuel from Como, already renewed in 1840 by Luigi and Giovanni Ademollo, whose work is still visible in the last three boxes. About halfway up the corridor is a doorway, out to the "bed" of St. Francis. It is a small cave, where