Islam, except in its later developments,[292] has no place for a Purgatory. There is no mention of a Purgatorio in the Koran or in this “Gospel,” though Barnabas gives even the Faithful a probationary residence of torment in Hell, varying from Mohammed’s own brief term of “the twinkling of an eye” to a duration of 70,000 years![293] But the Barnaban arrangement of Hell itself furnishes an almost exact parallel to the scheme of Dante’s Purgatorio. The framework of the arrangement is that of the seven capital sins. Hell is divided[294] into seven circles or “centri” wherein are punished respectively (1) lo irachondo, (2) il gollosso, (3) lo acidiosso, (4) il lusuriosso, (5) lo hauaro, (6) lo inuidiosso, (7) il superbo. The order of the sins differs considerably from that adopted by Dante, and indeed is not repeated in any of the typical arrangements given in Dr. Moore’s well-known Table;[295] coming nearest to that of Aquinas. In common, however, with Dante’s arrangement it has the juxtaposition of Pride and Envy and their position at the lower end of the series: a point which is perhaps the more significant in that Barnabas approaches his Inferno from the bottom (not, as one would have expected, from the top), beginning with “il più basso centro” of Pride. There is another point also, in which the Inferno of Barnabas resembles both the Inferno and the Purgatorio of Dante—the principle which runs through all its torments “per quae peccat quis ... per haec et torquetur.” The proud shall be “trampled under-foot of Satan and his devils,”[296] the envious shall be tormented with the delusion that even in that joyless realm “ogniuno prendi allegrezza del suo malle he si dolgia che lui non habia peggio”;[297] the slothful shall labour at tasks like that of Sisyphus,[298] and the gluttonous be tantalised with elusive dainties.[299] Nor can we fail to notice here how in the story of the serpent’s doom[300] there comes out the idea of all pollutions of human sin—especially repented sin—streaming back eventually to Satan: the conception which underlies the system of Dante’s rivers of Hell, including the “ruscelletto” that trickles down from Purgatory.[301] There is a vivid description in _Barnabas_ of the “Harrowing of Hell” at the coming of God’s Messenger, which though it has nothing in common with the account of the Saviour’s Descent as related by Virgil in Limbo, is strongly suggestive of a later scene where at the advent of the much-debated “Messo del ciel,”[302] who comes to open the gates of Dis, both banks of the Styx tremble, and more than a thousand “anime distrutte” fly headlong like frogs before a water-snake.[303] “Onde tremera,” says Barnabas, “lo infferno alla sua pressenzza[304] ... quando elgi ui andera tutti li diauoli stridendo cercherano di asscondersi sotto le ardente brasse dicendo luno allo altro: scampa scampa che elgi uiene machometo nosstro innimicho.”[305]