Via St. Augustine traveled you reach the intersection with Via Santa Caterina, which leads to the Church. The building that serves the entrance to the Church of Santa Caterina is the Chapel of the Innocents.
The facade is characterized, above the front door, by a slender stone mullioned window of Istria, arched triloba inscribed in a Gothic arch. The interior is composed of a classroom ideally divided into two parts (each with its own ceiling crossbar and a cycle of frescoes dated about 1430) by an arch set to semipilastri cruciform.
The back wall is dominated by the Great Central lunettone the Crucifixion, where Christ's death tragic creates a climate of tension that is re-echoes on the frescoes neighbors: the right to the Visitation, the Nativity, the Massacre of the Innocents, left the Presentation of Jesus the Temple and the Flight into Egypt, under the Martyrdom of St. Sebastian, on the sails of the Four Evangelists time. The part corresponding to the counter, under the gaze of Doctors of the Church in the sails of the time, recounts the life of Mary centered at the Annunciation.
The sides and the Birth dormit, the events that mark the beginning and end of his life. Always left you see the Presentation of Mary at the temple, under the figures of Saints John the Baptist and Eligio, whose presence has not yet found an explanation.
From the Chapel of the Innocents, through an arch, you come to the Church of Santa Caterina. The church and the convent was started in 1346 by the Florentine of the Servants of Mary, the ruins of the palace of Caminesi, princely residence of Lords of Treviso who had hosted artists, troubadours, poets and writers among them, most likely, also Dante Alighieri.
The palace was sacked and diroccato nell'insurrezione People of 1312 when the expulsion of Guecello from Camino (who wanted the city to deliver Scala). The Church consists of a single aisle with three chapels terminal where children have polygonal apses rebuilt in recent times.
The convent is characterized by the presence of two cloisters, separated from the main body (called "cross"). With the abandonment of religious Veneziano imposed by the Senate in 1772 and following the Napoleonic suppression of the 1810 Church, lost works of art, demolished the apses, loft inside, open windows tortured dozens of frescoes already boring, and the Convent, manipulated and altered in its two cloisters were used for military use, the first under the government of Austria, then under the Italian until 1944.
Affected by the bombing of the 1944-45 total, revealed the treasure of its frescoes and the full restoration started, is destined to become the new home of the civic museums. Santa Caterina is depicted on the wall right in a fourteenth-century fresco that depicts the hand while holding a model of the city.
Among the other frescoes, always on the right wall, it acknowledge the history of Sant'Eligio (attributable to Pisanello). Since 1979, when the Church of St. Catherine's exhibition hosted by Tomaso Modena (in the sixth centenary of his death) had found collocation frescoes recovered in 1883, History Sant'Orsola.