The famous canvas, measuring almost 90 square metres, placed on the counter façade of the church of San Pietro in Perugia: the Apotheosis of the Benedictine Order painted in 1592 by Antonio Vassilacchi known as l'Aliense, depicts venerables, pontiffs cardinals, bishops, abbots and members of other monastic orders linked to the saint of Norcia. Staring closely at the canvas, the shaded gaps between the figures of the religious change into two enormous slits: the eyes of an unclean beast that seem to challenge the visitor.

The apse of the Lower Church of St Francis contains the large painting attributed to Cesare Sermei of 1623. The upper part of the fresco is dedicated to the vision of the Judge and the heavenly court, while the space between the second and third window is occupied by Lucifer, the King of Hell, with a goatee on his chin, horns, ears and feral nails. Chains lock his neck and ankles, binding him eternally to a large rock. He angrily handles the snakes that wrap around his body. The only comfort he has at his disposal is to use the body or back of the damned as a stool.

In the twentieth scene of the Life of St. Francis, painted by Giotto in the Upper Basilica of Assisi, there is the profile of a demon, with two dark horns, emerging from the clouds suspended between the scene of Francis' death, below, and the scene of the assumption of his soul into heaven. Can you see it?

In the lower part of the façade of the church of San Pietro in Spoleto, on either side of the central entrance portal, are two series of splendid figured bas-reliefs contained within rectangular panels. On the left from top to bottom is the Death of the Just, among the best on the entire façade: St. Peter frees the just man from his chains; the scales weighing his soul hang on St. Michael the Archangel's side, but a demon, displaying a scroll on which is written DOLEO Q(UIA) AN(TE) E(RAT) MEUS, I grieve because before it was mine, attempts to steal on the weight by lowering the scales to his side and is punished by St. Peter with a blow of the key; repentance, even at the point of death, saves the man's soul.

In the Church of San Francesco in Montefalco, a beautiful fresco recently attributed to Tiberio d'Assisi (1510) depicts the 'Madonna del Soccorso'. The subject, according to a customary iconography of the time, depicts a kneeling mother begging the Virgin to save her son, whom the devil has taken possession of. The Virgin intervenes by threatening the devil with a stick and drawing the child to her, who clings to her robe in search of protection.

The splendid bas-reliefs on the façade of Orvieto Cathedral attract thousands of tourists every year. The fourth bas-relief depicts a recurring theme in the cathedral's artwork: the Last Judgement with images of the damned and the elect and the resurrection of the dead.

The theme of the Last Judgement is also beautifully depicted in the frescoes by Luca Signorelli (1499-1502) in the Chapel of San Brizio with apocalyptic scenes and the resurrection of the flesh. In the fresco of the Preaching of the Antichrist, the false Messiah stands on a pedestal in the foreground, preaching to the crowd. He resembles Jesus in features, but is moved by the Devil who suggests words in his ear and guides his gestures like a puppet.