The Santa Fina Chapel in the Collegiata of San Gimignano is an outstanding example of the Quattrocento synthesis of arts outside of Florence. It was built by Giuliano da Maiano and decorated with sculpted altar-tomb by Benedetto da Maiano and frescoes by Domenico Ghirlandaio. In this article the monument is considered as an integral ensemble, a kind of model of the universe. All parts of that ensemble are semantically and artistically linked to each other and to the chapel’s surroundings. They are imbued with a common idea and subordinated to a certain hierarchy. The measure of sacredness of the images on the walls of the chapel increases as the eye moves from bottom up and from the entrance to the altarpiece. The chapel of Santa Fina invites a multi-level reading. Its creation was associated with the hopes of citizens of San Gimignano that the canonization of the local Saint would lead to the granting of greater political and religious independence to the city. The themes of the Eucharist and of Salvation are especially important in the decorative program of the chapel. Questions of the interpenetration of the real and represented worlds and of spectator perception are considered. The article shows how the elements of the chapel’s decoration are reflected in its frescoes, and how the blessing of the depicted saints extends from Fina to the visitors of the chapel.