Question: What town under the swirling sky in the center part of the painting?
About the article "The Starry Night", section "Subject matter".

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The center part shows the village of Saint-Rémy under a swirling sky, in a view from the asylum towards north.
The Alpilles far to the right fit to this view, but there is little rapport of the actual scene with the intermediary hills which seem to be derived from a different part of the surroundings, south of the asylum.
The cypress tree to the left was added into the composition.
Of note is the fact Van Gogh had already, during his time in Arles, repositioned Ursa Major from the north to the south in his painting "Starry Night Over the Rhone".
In a letter to his brother Theo, Van Gogh wrote of it: 
In the painting "View of Saintes-Maries" (F416) Van Gogh painted rows of what is likely lavendar from the foreground to the town of Saintes-Maries in the center of the frame, thereby drawing the viewer into the painting.
A wall encloses the town in which a large church becomes the focal point.
The painting takes upon a three-dimensional appearance, starting with relief-like layers of blue paint in the sky.
Finer brushstrokes were used on the field and town buildings.
The Philadelphia Museum of Art owns a drawing that Van Gogh made titled "The Road at Saintes-Maries".
It is also known as "Cottages in Saintes-Maries" (F1436). 
  The European Central Bank Headquarters in Frankfurt, Germany (under construction)  Sky Tower (Chișinău) in Moldova  Sky Tower (Wrocław) in Wrocław, Poland  Sky Towers (Cluj Napoca) in Romania  Sky Towers (Kiev) in Ukraine  SkyTower, part of the Floreasca City Center complex in Bucharest, Romania (under construction)  
Bloodchild is a young adult novel written by British author Tim Bowler.
It was originally published in 2008 in the UK.
Bloodchild opens with a startling scene of visionary sensation.
A boy lies dying in a deserted country lane.
As he slips away, he sees almost abstract blocks of colour, as vivid and monumental as a Rothko painting.
A deep blue ocean is sucking him under; misty red faces are swirling like shadows around him; and a girl with blue eyes as wide as the ocean is commanding him back to life.
Against all the odds he survives - but with an almost total loss of memory.
He does not even know himself.
And that is not all.
At night he is tormented by visions, in the daytime by hostile strangers.
Why does he have so many enemies?
And who is the strange child who seems to have a story to tell him?
Something has happened in this town, something terrifying.
Will can sense it but he can't work out what it was.
Perhaps the old Will knew.
But that was before the accident.
The new Will must search for the answers again - and this is a dangerous task.
For the town has a secret and there are those who will do everything in their power to preserve it.
Even kill. 
"Belshazzar's Feast" is an oil painting by British artist John Martin.
It was first exhibited at the British Institution in February 1821 and won a prize of £200 for the best picture.
It was so popular that it needed to be protected from the crowds by a railing, and established Martin's fame.
In the words of Martin's biographer William Feaver, he "turned literary references to visual reality".
Martin published mezzotint engravings in 1826 and 1832.
The original painting is now held by the Yale Center for British Art in New Haven, Connecticut.
The Biblical episode depicted in the painting - Belshazzar's Feast - is described in the Book of Daniel.
The Babylonian king Belshazzar is said to have defiled the sacred vessels of the enslaved Israelites by using them to serve wine at a banquet.
The feast was then disturbed by the appearance of a divine hand which wrote a glowing inscription on a wall - the writing on the wall - which was interpreted by the prophet Daniel as portent of Belshazzar's doom.
Belshazzar was killed that night and Darius the Mede succeeded to his kingdom.
The painting is the second piece in a trilogy of paintings by Martin on Mesopotamian themes, starting with his "The Fall of Babylon" in 1819, and completed with his "The Fall of Ninevah" in 1828.
It was inspired by a conversation with the American artist Washington Allston and perhaps also by a poem by Thomas Smart Hughes.
It shows a panoramic view of a cavernous banqueting room with columns to either side decorated with signs of the zodiac.
The hall is filled with crowds of feasting Babylonians, and open to the sky, with the Hanging Gardens of Babylon above, and the Tower of Babel and a ziggurat visible in the background, lit by the moon revealed by a break in dark swirling clouds.
The architecture is inspired by Egyptian, Babylonian and Indian styles.
Dressed in black, Daniel stands at the centre of the foreground, interpreting the supernatural writing on the wall of the hall.
Belshazzar recoils in astonishment and dread to his right, and others look on in shock and horror.
Martin published an accompanying pamphlet with a key to help viewers to interpret the painting and identify the figures and structures.
Although popular with the public, Martin's painting was not a critical success.
There was appreciation of the magnificent architecture and emotional content, of the scale and bold colours of the work, but criticism of his painterly technique and particularly the execution of the figures.
Charles Lamb called it vulgar and bombastic.
Martin sold the painting to his former master, glass painter William Collins, for 1,000 guineas before the exhibition in 1821, and Collins made Martin agree not to reproduce the painting until Collins sold it.
The Duke of Buckingham and Chandos offered Martin 800 guineas; disappointed, he commissioned Martin to paint "The Destruction of Pompeii and Herculaneum" instead.
Collins sent the painting on an extensive tour of Britain, and it was wildly successful.
By 1826, the accompanying pamphlet had reached its 45th edition.
Martin was preparing to publish an engraved version in 1826 when Collins sued under the agreement not to reproduce the painting.
Martin successfully claimed that he was reproducing his preliminary sketches, not the finished work, and versions of his engraving were published in 1826, in 1832, and for his "Illustrations of the Bible" project in 1835The painting was bought by Liverpool merchant John Naylor in 1848.
It was damaged in 1854 on its journey to Naylor's gallery at Leighton Hall near Welshpool, when the cart transporting it was hit by a train, but the painting was quickly repaired.
It was rejected by the National Gallery as being too large - by - and is now owned by the Yale Center for British Art.