At the Last Judgment, Christ separates the Elect from the Damned after their resurrection. He is enthroned in a mandorla – an almond-shaped form whose blue colour symbolises the meeting of terrestrial and celestial worlds.

Christ and the cross above the altar represent the visual and spiritual centre of the composition. He greets the Elect with his raised right hand, while his left hand consigns the Damned to hell.

The Last Judgment by Segna di Bonaventura is typical of the pictorial changes taking place in Siena around 1300. Still inspired by Byzantine modes of representation in the upper part, where Christ is represented frontally and rigidly, the lower section offers evidence of an embryonic interest in the rendering of space, toying with the position of the tombs to create an effect of depth. Finally, the characters are dressed in contemporary fashion and their costumes identify them as bishops, monks and lay people – the Elect with whom the faithful could identify – thus introducing a worldly and profane note.