Rembrandt Duits explores iconographic exchanges between Byzantium and Italy through depictions of Hell, demonstrating that while Byzantine art initially influenced Italian renditions of the Last Judgement, some elements of the latter tradition then came to influence artists working in Crete. The author proposes the existence of a now lost image of the Last Judgement, which may have served as a model for numerous versions of the scene scattered throughout Crete. These images of Hell present a vivid illustration of the cross-cultural interaction between Venetian Crete and mainland Italy.