Starting from the back, this wall presents a panel painting of another great Sienese Saint, Bernardine, painted by Pietro Aldi in 1872.
Next is the first of three large scenes, begun by Riccio and finished by Arcangelo Salimbeni in 1578, whose subject is The Mystical Marriage of Saint Catherine, a testament to her profound union with Christ. The depiction reflects the version of the event reported in the Legenda Major: during the night of Shrove Tuesday, while in the streets the people were celebrating Carnival, Catherine, closed up in her room, was deep in prayer. Suddenly the Lord and Our Lady appeared to her, accompanied by Saint Dominic, Saint Paul, Saint John the Evangelist, and King David playing the lyre. Our Lady took Catherine’s right hand and held it out to Christ, who placed a precious ring on her finger, marrying her in the faith. In this episode we grasp the vital center of Catherine’s religiousness: Christ is, for her, like a husband, to whom she is joined in a relationship of communion and fidelity. He is the good loved above all other goods.
The scene right after this one puts the accent on Catherine’s ‘political’ activity; the juxtaposition of the two paintings can be considered emblematic of the two fundamental aspects of her life story. For she was not only a great contemplative who lived the most sublime mystical experiences (such as the Marriage just observed), but at the same time a woman of action engaging her gifts of intelligence, heart, and will in numerous social works, in efforts to make peace among peoples, and in diplomatic negotiations between the papacy and governments. The scene, painted by Pomarancio in 1582-1583, shows Catherine in Discussion with Pope Gregory XI, which took place in Avignon in the presence of the College of Cardinals, during which the Saint persuaded the Pope to bring the seat of the papacy back to Rome.
The third scene, painted by Alessandro Casolani between 1582 and 1583, presents an analogous subject, Pope Urban VI Given the Keys to Castel Sant’Angelo, after Catherine had brought the people back to obedience to the Pope. The canvas refers to the Great Western Schism which occurred in September 1378; when the French Cardinals elected the antipope Clement VII, Catherine became a supporter of Urban VI, exhorting everyone to recognize his authority as the legitimate successor of the apostle Peter. As can be read over and over again in her Epistolary, the Pope, the priests and, more generally speaking, the Church represented for her Jesus Christ on earth, and as such they were owed love and obedience, despite any human ‘shortcomings’ they might have.
The series of paintings on the right wall is concluded by the canvas of Blessed Andrea Gallerani by Alessandro Casolani.