The lower chapel--now the church of the Contrada--is the one referred to in these documents, the upper oratories being the result of later acts of devotion. It is uncertain who was the architect; a certain Francesco di Duccio del Guasta, as well as Antonio Federighi and other masters, seems to have had a hand in it. Over the door is a relief of St Catherine with Angels--an unworthy work by Urbano da Cortona--and on the façade are the four shields: the _Libertas_ and the _balzana_ between the Lion of the People and the Goose of the Contrada. The church was the workshop of Giacomo Benincasa and his sons. Over the altar is a statue in coloured wood of their glorious daughter and sister, by [Illustration: HOUSE OF ST CATHERINE] Neroccio. The five frescoed _putti_ above and the scene of the reception of the Stigmata are probably by Girolamo del Pacchia. On the right wall are two admirable frescoes by Girolamo who, like all true Sienese, was never so truly inspired as when painting Catherine. In the first, she is saving two Dominican friars from a band of robbers by her intercession. In the second, she is visiting the convent of Santa Agnese of Montepulciano, and when she stoops to kiss the foot of the dead virgin it moves itself to meet her lips, while "a very white manna falling like heavenly dew" descends upon her. Here the painter has combined two different legends about her visits to Montepulciano. The two girls kneeling on the left are Catherine's two nieces (Lisa's daughters) whom she placed in the convent; the young man in the foreground is apparently Neri di Landoccio. On the left wall we see her raising up Messer Matteo di Cenni, the Rector of the Casa della Misericordia, "a notable servant of God and very devout to this Virgin," when he lay dying of the pestilence; her figure is full of wonderful dignity and sweetness. This also is by Girolamo del Pacchia. The fresco representing the Saint at Florence, assailed by the Ciompi, is by Ventura Salimbeni.