and the emblems of the Passion, the Madonna and Baptist kneeling on either side as representing Divine Mercy and Divine Justice respectively; lower down are Enoch and Elijah as assessors, while the twelve Apostles are seated below the window. At the sides, to right and left of the Judge, are Heaven and Hell. Christ and His Mother are seen in the Empyrean, with Angels and Saints in the fruition of the Beatific Vision. The Hell is disgusting and vile, even beyond the usual fashion of these representations. Those who can endure it, will be able to work through its revolting details with the aid of the scrolls, and will be interested to note how certain Dantesque motives (the punishment of the panders and seducers is a good instance) have become coarsened and brutalised by the feebler imagination or provincial taste of the Sienese painter or his Sangimignanese employers. After the pestilence of 1348, it was decreed that an altar should be built, between the two doors of the Pieve, in honour of St Fabian and St Sebastian, to put the survivors under their protection. The fresco that we now see in that place, under Taddeo's Last Judgment, by Benozzo Gozzoli, commemorates the pestilence of 1464, and was ordered by Fra Domenico Strambi, an Augustinian monk, who was regarded as the great theological light in San Gimignano in the latter part of the fifteenth century, and to whom many of the artistic monuments of the town are due. He had been sent to study theology in Paris, partly at the cost of the Commune, in 1454, and received a State welcome on his return. Benozzo, as the inscription states, finished the work, "to the praise of the most glorious athlete, St Sebastian," in January 1465 (that is, according to our modern reckoning, 1466). The Saint himself is impassive and stolid, though his body is a mass of arrows; the group of Florentines who seem practising archery, on our left, is the most satisfactory part of the fresco. Angels crown the martyr, Christ and the Madonna appear to him in glory above the clouds. In the frieze we see St Geminianus above with the model of his town, and, in the corners below, Bartolo and Fina. The Eternal Father with the Dove and the beautiful group of Angels (completing the scene of the Annunciation, with the two wooden statues of Mary and Gabriel by a Sienese sculptor of the preceding century) are also by Benozzo. His, too, are the Assumption on the left, the St Antony and four Saints on the pilasters. The Patriarchs opposite the scenes from the Old Testament, the medallions of the Apostles between the arches, the Christ above the steps to the choir, are by the priest, Pier Francesco Fiorentino, that curiously unprogressive painter of the latter part of the fifteenth century, whose works abound here and in the neighbourhood.[188]