The Saint Fina Chapel () is an Early Renaissance chapel in the right aisle of the Collegiate church of Santa Maria Assunta, located in San Gimignano, Tuscany, Italy. It was designed by Giuliano and Benedetto da Maiano in 1468 to enshrine the relics of Saint Fina. The side walls of the chapel are painted in fresco by Domenico Ghirlandaio with two scenes from her life, executed between 1477 and 1478. History After her death on 12 March 1253 the veneration of Fina dei Ciardi quickly grew to become the protector and saint patron of the city of San Gimignano. Her burial place, now close to the door of the sacristy, lay at that time in a small cloister, adjacent to the cemetery. In 1325 the commune of San Gimignano approved the erection of an altar within the church to contain her relics. In 1457 the city decided to build "a beautiful and honourable" chapel dedicated to Santa Fina to enshrine her relics. Works proceeded slowly until Giuliano da Maiano was summoned from Florence in 1468 to furnish the commune with a suitable design for the chapel. Giuliano was paid the sum of 11 lire 6 soldi. A papal bull issued by Pope Sixtus IV on October 1481, confirmed by Pope Paul III in 1538, permitted the public cult and veneration of Saint Fina as one of the saints of the Catholic Church. The chapel was consecrated by the Bishop of Pistoia on 4 October 1488. Architecture The architecture, completed in 1472, is inspired by Antonio Rossellino's Cardinal of Portugal Chapel in the basilica of San Miniato al Monte in Florence. It is one bay deep, each wall being defined by an arched recess. The arches support an entablature decorated by a color terracotta frieze with seraphim. Above the entablature are lunettes which include circular windows. The altar housing the saint's relics is a work by Benedetto da Maiano (1475) that bears relief scenes of Saint Fina's life. Above the altar is a tabernacle with a portrait of her on leather, an early 14th-century work by the Sienese Manno di Bandino. The urn on the tabernacle held the saint's bones until 1738. The upper lunette is decorated by a painting of the Madonna with Child between Two Angels. Around the side walls are stalls of carved and inlaid wood, by Antonio da Colle. The ceiling was adorned by Sebastiano Mainardi, Ghirlandaio's