figure holding a banner coiled around by a serpent, and near it is a
simoniac with his entrails torn out, the identical figure from the
Pisan Hell. The back view of the figure which a demon raises to throw
into the jaws of a terrible monster is also copied entire from the
same fresco.

The _bolge_ and the damned souls which occupy them, are, as we have
said, repetitions, but with less intelligence and character than the
Pisan fresco.

On the left the slothful and lazy are punished; beneath them in two
_bolge_ are the passionate and the gluttonous souls, and below again
the luxurious and avaricious ones. The poverty of conception in this
"Inferno" is not even compensated by the usual good qualities of
refinement; one could almost believe that the artist found it so
repugnant to his character to depict brutality and infernal tortures,
that he hurried over this part to get rid of it the sooner. The
representation of the damned is cold, their struggles with the demons,
which at Pisa and in other places is so full of energy, is given here
with exaggerated art and becomes ineffectual; in fact this part of the
picture is void of feeling, and confirms our previous remarks on the
artistic character of the painter.

Another "Last Judgment" is in the Corsini Gallery at Rome;--a
triptych, the side panels of which represent the "Ascension" and the
"Descent of the Holy Ghost."

This scene is, however, much more simply designed, but cannot be
fairly judged now, on account of the retouching and frequent
varnishing which disfigure it.

[Illustration: THE LAST JUDGMENT. (Rome, National Gallery.)]

The Saviour seated on the clouds, rests his left hand on a book which
he holds upright on his knees, while the right is raised in
malediction against the sinners, with an action which recalls the
Christ in the Judgment of the Camposanto at Pisa. On the sides are
groups of angels, apostles and saints; and the elect are on the right,
the wicked on the left below them. "In the picture of the Corsini
Gallery," writes Venturi, "the representation was cramped by the
narrow limits of the central panel of the triptych. It is evidently a
reduced form of preceding compositions, for several angels which
terminate the picture above, are here seen only from the waist
downwards. The figures of the elect, loving, ecstatic and beautiful,
clad in flame-coloured robes, with stars and flowers, as in similar
compositions by Fra Angelico, are absolutely s