At the end of the right aisle is the shrine of Santa Fina. The chapel is a perfect gem of later fifteenth century art; architecture, sculpture and painting are blended to form a plastic poem even more harmonious than that of the more strenuous virgin of Siena in San Domenico. It was designed by Giuliano da Maiano in 1468; the shrine itself, in pure white and gold, was executed by Giuliano's brother, Benedetto, in 1475. It is not quite as the sculptor left it. Above the sarcophagus are the Madonna and Child in a glory of cherubs with two Angels; underneath them are scenes from Fina's life in relief; her vision of St Gregory, her funeral, her appearing to heal a sick woman. These predella scenes were originally below, the present base of cherubs' heads and sacramental cups being more modern. Below, on either side of the tabernacle, are four Angels in niches, and two more (isolated statues) kneel with vases of flowers on either side of the altar. Upon the sarcophagus, with curious naked genii in the spirit of the Renaissance, is the inscription:-- "Virginis ossa latent tumulo quem suspicis, hospes. Haec decus, exemplum, praesidiumque suis. Nomen Fina fuit; patria haec; miracula quaeris? Perlege quae paries vivaque signa docent."[189] [Illustration: _Alinari, Florence_ THE FUNERAL OF SANTA FINA (DOMENICO GHIRLANDAIO)] And it is dated MCCCCLXXV. All round the chapel runs a frieze of cherubs' heads. In two large lunettes on either side are two admirable frescoes by Domenico Ghirlandaio, which have a freshness and simplicity that we hardly find elsewhere in his work. On the right is the bare, poverty-stricken room where Fina lies on her plank, which has already begun to break out into flowers beneath her. Her faithful nurse Beldi supports her head with the hand that, according to the legend, caught the disease, and another woman is seated by her; both are peasant types, in the dress of peasants at the painter's own day. They do not see the sudden vision of St Gregory in his glory, that sheds its splendour over the humble chamber, but they gaze up because of Fina's rapt face. Above, the Angels are carrying her soul up to Paradise. Opposite is the funeral, a picture full of those splendid Florentine portrait heads that Domenico painted so well. Fina has just placed her dead hand upon that of her nurse, and thereby cured her; Bishop Ranieri of Volterra, who had a few months back reconciled the conflicting factions of the town, is reading the office for the dead. In the background are the towers of San Gimignano, and the Angels are ringing the bells. These two frescoes appear to be very early works of the painter, who had probably been introduced to the Operaio of the Collegiata by either the architect or sculptor.[190] The Prophets and Saints in the angles and round the windows, the Evangelists on the ceiling are the work of Sebastiano Mainardi.