On 10 December 1552 the Vicar-General of the Lombard Congregation allowed the Augustinians to assign two empty chapels to new holders: one of them was located "apud cappella Fusari vulgariter nuncupata la Madonina” ("by the Foscari Chapel, commonly called la Madonnina") and it had been requested by Traiano Alicorni, a Milanese nobleman and protonotary apostolic.

The new owner employed the same artist, Giulio Mazzoni of Piacenza, who had already been entrusted by the Alicorni, and maintained the original dedication of the chapel with the addition of Saints Jerome, Catherine and John the Baptist.

The symbol of the chalice alluded to the city of Cádiz and the bishopric - although it can be noted that Girolamo Theodoli never set foot in Spain.

In 1564 he was forced to resign because his long absence made his position untenable but at the same time he obtained a generous annual income of 3000 scudi.

[1] This certainly helped him to acquire and decorate a chapel in the prestigious basilica of Santa Maria del Popolo a few years later.

[...] As Saint Catherine stands for informed Christian wisdom and strength of virtue against all heresy, so, too, do the Theodoli [...] connect themselves to these ideas", argues Cynthia Stollhans.

According to art historian Patrizia Tosini the altar statue is a mature work of the artist and opened a new era in Mannerist sculpture with its solemn and soft cloths, proto-classicist attitude, composure and chiaroscuro features, „far removed from the rigidity and hyperbole of his contemporaries”.

A more conspicuous inscription on the base states: DIVAE CATHARINAE VIRG ET MART DICATUM ("dedicated to Saint Catherine, virgin and martyr").

The other two are simply described by Tosini as "Sybils and Prophets" but Cynthia Stollhans proposed a more complex explanation which takes into account the historic background and the overall iconographic program of the chapel.

Possibly the fresco depicts the incarcerated Catherine converting Porphyrius, the captain of the imperial guard, another well-known episode from the Golden Legend.

The painted medallions, which are decorated with ribbons and festoons, are held by pairs of white stucco angels depicted as naked young men.

One element of the decoration is a bit enigmatic: the presence of two plaster statues of Saints Peter and Paul which are perhaps the works of one of Mazzoni’s assistants.

The soffit of the arch is divided into rectangular panels and bands with floral and foliate stucco ornaments against red or green background.