imaeus" and the "Ethics" in their
hands. Christ in glory is above the group, emitting from His mouth three
rays upon the head of S. Thomas. Single rays descend in like manner upon
the evangelists and Moses and S. Paul. They, like Plato and Aristotle,
hold open books; and rays from these eight volumes converge upon the head
of the angelical doctor, who becomes the focus, as it were, of all the
beams sent forth from Christ and from the classic teachers, whether
directly effused or transmitted through the writers of the Bible. S.
Thomas lastly holds a book open in his hand, and carries others on his
lap; while lines of light are shed from these upon two bands of the
faithful, chiefly Dominican monks, arranged on each side of his footstool.
Averroes lies prostrate beneath his feet with his book face downwards,
lightning-smitten by a shaft from the leaves of the volume in the saint's
hand, whereon is written: _veritatem meditabitur guttur meum et labia mea
detestabuntur impium_.[138]

This picture, afterwards repeated by Benozzo Gozzoli with some change in
the persons,[139] has been minutely described, because it is important to
bear in mind the measure of inspiration conceded by the mediaeval Church to
the fathers of Greek philosophy, and her utter detestation of the
peripatetic traditions transmitted through the Arabic by Averroes.
Averroes, though Dante placed him with the great souls of pagan
civilisation in the first circle of Inferno,[140] was regarded as the
protagonist of infidelity. The myth of incredulity that gathered round his
memory and made him hated in the Middle Ages, has been traced with
exquisite delicacy by Renan,[141] who shows that his name became a
rallying point for freethinkers. Scholars like Petrarch were eager to
confute his sect, and artists used him as a symbol of materialistic
disbelief. Thus we meet with Averroes among the lost souls in the Pisan
Campo Santo, distinguished as usual by his turban and long beard. On the
other hand, the frank acceptance of pagan philosophy, insofar as it could
be accommodated to the doctrine of the Church, finds full expression in
the art of this early period. On the walls of the Palazzo Pubblico at
Siena were painted the figures of Curius Dentatus and Cato,[142] while
the pavement of the Duomo showed Hermes Trismegistus instructing both a
pagan and a Christian, and Socrates ascending the steep hill of virtue.
Perugino, some years later, decorated the Sala del Cambi