The Mystic Marriage of Saint Catherine (detail of Archangel Michael)
Tempera on panel, 138.7 x 111.1 cm, attributed to Barna da Siena, c. 1340
Museum of Fine Arts Boston

Controversially attributed to Barna da Siena (it has also been attributed to Tederigo Memmi)
The panel, attributed to Barna da Siena, and by others, to Tederigo Memmi, symbolically portrays Jesus marrying Saint Catherine, with Jesus placing a ring on her fourth finger as a representation of their marital bond. Below the main scene, Mary, Saint Anne, and the infant Jesus are depicted, representing the bridegroom’s lineage. The large size of the panel suggests it was created for a church or convent rather than for private devotion, likely for a setting dedicated to Saint Catherine. The marriage scene, with its symbolic nuptial imagery, may also commemorate a real-life peace agreement or marriage, with the panel's commissioner potentially celebrating the resolution of conflict. This idea is visually echoed in the predella beneath the marriage scene, where two former adversaries, having discarded their weapons, embrace and exchange the kiss of peace under the protective wings of an angel. The angel's embrace guides the reconciliation, creating a sacred space for the act. Flanking the peace scene are two smaller images: on the left, Saint Margaret subdues Beelzebub with a mallet, and on the right, the Archangel Michael slays a dragon with a cross, both representing the triumph of good over evil. The panels on either side suggest the victory of peace over chaos. The central image, in contrast, radiates calm and order, with the Archangel Michael’s serene stance and protective wings symbolising divine peace. The depiction of Arico di Neri Arighetti, commissioned to memorialise the end of a feud, is confirmed by the inscription and the family’s coats of arms in the upper corners. The composition, inspired by Duccio’s style, emphasises the psychological depth of the peaceful transition from discord to harmony, with the angel’s wings framing the scene as a symbol of divine mercy and protection.




 

  

 


 








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Provenance
Commissioned by Arigo di Neri Arighetti, c. 1340
Robert Macpherson, Rome, 1858
William Blundell Spence, London, 1859
Possibly in the collection of Alexander Barker (†1873)
Sold to the uncle of Algernon Sartoris, London
Algernon Sartoris (1877–1907), Paris and London
Gimpel and Wildenstein, Paris and New York
Museum of Fine Arts Boston accession, 1915

Source: Museum of Fine Arts Boston, 2023