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This church is indissolubly linked to the history of the Archconfraternity of Siena in Rome, to which it still belongs. A sizable Sienese community in Rome was established at the end of the 14th century, and first used the church of Santa Maria in Monterone as its home before shifting to Santa Maria sopra Minerva (site of Catherine of Siena's tomb) around the middle of the 15th century.
The Letters of St. Catherine of Siena. Vol. 4. Binghamton: Center for Medieval and Early Renaissance Studies, State University of New York at Binghamton. ISBN 978-0-86698-036-4. (Republished as The letters of Catherine of Siena, 4 vols, trans Suzanne Noffke, (Tempe, AZ: Arizona Center for Medieval and Renaissance Studies, 2000–2008))
A group of Dominican tertiary nuns, living in a small house in via Santa Chiara where St. Catherine had died, were looking for larger premises. Led by Porzia Massimo whose late husband was a Conti, [1] from 1574 they successively acquired parts of properties belonging to the Conti family at Magnanapoli to establish their convent there, financially assisted by Pope Gregory XIII. [1]
In his decree of 13 April 1866, Pope Pius IX declared Catherine of Siena to be a co-patroness of Rome. On 18 June 1939 Pope Pius XII named her a joint patron saint of Italy along with Francis of Assisi. [7] On 1 October 1999, Pope John Paul II made her one of Europe's patron saints, along with Teresa Benedicta of the Cross and Bridget of Sweden.
Within the chapel, there are a further two sculptures by artists from Bernini's workshop - a St Catherine of Siena by Ercole Ferrata and a St Bernard of Siena by Antonio Raggi. The chapel as a whole was designed by Bernini. [2] Scholars have emphasised the mystical experience being undergone by the figures.
A painting depicting St. Dominic and St. Catherine of Siena by Michelangelo Cerruti; The Maria Advocata, a painting on wood, a 7th–8th century Byzantine icon, associated with the legend of Saint Luke painting the Virgin; it has been documented in Rome since 1219. The convent preserves the left hand of St. Catherine of Siena.
Chapel of Saint Catherine. The altars on the right side are decorated by an Appearance of the Virgin by Stefano Volpi (1630), a Nativity of the Virgin by Alessandro Casolani (1584) [1] and a reliquary of St. Catherine's relics. They are followed by the St. Catherine Chapel in Baroque style, with, in the centre, an altar housing the saint's head ...
He wrote a long panegyric on St. Catherine at her death, which, with another of his works, is preserved in the public library at Siena. [1] His works consist of six manuscripts: an epistle to the provincial of his order; a letter to the doctors of the province; an epistle to the brethren in general