[1] Soon, faithful pilgrims to the site reported other miracles, documented in the archives of the sanctuary, and whose stories are displayed inside the Cappella delle Benedizioni (Chapel of the Blessings), among hundreds of traditional votive offerings.

In 31 August 1562, Pope Pius IV, prodded by his nephew, then archbishop of Milan, Saint Charles Borromeo, put forth in the bull Unigeniti Filii Dei, a grant extraordinary plenary indulgence in jubilee form to all those faithful who, spiritually disposed, showed devotion before the sacred image of the Madonna of Corbetta.

After the miraculous event that in 1555 had interested precisely the church of Saint Nicholas, an administrative committee was set up with the purpose of protecting the sanctuary, which in a very short time became a place of worship and pilgrimage.

This first chapter consisted essentially of the nobles of the village and was governed on behalf of the collegiate Corbetta by the canon Ambrogio Spanzotta who in 1556, for fear that the painting of the miracle could be damaged over time (given also the position in which found, exposed to the elements and negligence of the weather), he first proposed to remove the fresco to bring it inside the church, on the main altar.

Judged unsuitable to contain the ever-increasing number of believers who came to visit the sacred image, in 1574 it was agreed on the need to expand this same chapel on the design of the architect Vincenzo Seregni, who also added a ladder to the north to facilitate the descent of visitors.

It was thus that the already described chapter, thanks to his own contributions and to the offers received from the faithful, decided to buy the land behind the apse of the church, so as to build a choir, moving the high altar in a more retreated position from the moment that previously this stood under the dome.

Inside, the flooring is made by Cristoforo Alemani who also decides to raise the main altar through marble decorations still visible today and the realization of the inlaid works that represent the coat of arms of Pius IV (which granted the Bolla del Perdono to the Corbettese sanctuary) and that of Saint Charles Borromeo in perpendicular to the dome.

On the upper chapel of this era, it is known that it had light from a large window in the shape of a niche at the center of the façade, right in front of the fresco of the Madonna which was initially protected by a curtain and then by a reliquary crystal (1706).

In 1733 the rebuilding and enlargement of the upper chapel was completed, but took place thanks to a delegation only in 1736 thanks to the influence of local nobles Filippo Archinto, Francesco Maria del Maino and Giuseppe Brentano.

The frescoes in the center of the dome of the new upper chapel depicting the Assumption of the Virgin, together with the Four primary virtues of Mary in the corners, in addition to the Eight main mysteries of the life of the Madonna in the lateral areas of the intercolumni, monochrome paintings.

As for the dome, it had been whitewashed already in the seventeenth century by a cholera epidemic, and was redecorated entirely in 1874 by Mosé Bianchi with the figures of the four evangelists and the eternal father above the altar, torn from their headquarters after the restoration of 1950 brought to light the underlying renaissance frescoes.