In a painting of ca. 1500–5 (Fig. 1), the Augustinian saint Nicholas of Tolentino (1246–1305, can. 1446) miraculously saves two young men from execution at the gallows. Dressed in the black robes of the Augustinian order, Nicholas appears in the center of the compositional space, supporting the bodies of the condemned men with an effortless grace. The panel, now in Pisa, would have originally been part of a multiscene predella placed below a painted image of Nicholas crowned in glory.1 Before its late eighteenth-century dismantling, the ensemble would have been found in a prominent and easily accessible location – a nave chapel – in the church of Sant’Agostino, the principal Augustinian friary in the north Umbrian town of Città di Castello.2 In this open and bustling viewing context, the image of Nicholas’s miraculous act, juxtaposed with the figure of the saint, would have reached a wide and diverse audience from all walks of life.