After crossing the entrance vestibule, you come into the oratory itself. Its appearance reflects the typical characteristics of a confraternity oratory: a single nave, with along the walls (except the back wall) wooden stalls dating to the sixteenth century, where the brothers would sit during assemblies. The seats against the entrance wall were generally reserved for the members who governed the Company.

The space is divided into three bays, covered by vaults decorated with late seventeenth-century stucco ornamentation which becomes richer close to the altar. This frames a heterogeneous series of paintings on various subjects and by artists who for the most part remain unknown, some on wooden panels and others on canvas. In some cases these are fragments of lost works, and all can be dated between the sixteenth and eighteenth century. The overall impression is of a disjointed collection mounted temporarily, awaiting a more suitable arrangement which never happened.

The subjects of the paintings placed along the walls are episodes from the life of Christ, the Virgin Mary, and Saint Catherine. The entrance wall presents two eighteenth century canvases, one on the right and one on the left, showing respectively Jesus Appearing to Catherine in the Guise of a Poor Beggar, a fairly frequent theme in the iconography of the Saint, and Catherine Drinking from Christ’s Side the . . .