Built in the first half of the 14th century in devotion to the saint, a Christian princess from Alexandria, Egypt, in an area that at the time was surrounded by fields, though near the ancient road that led from Concordia to the north, it found itself – with urban development – in the very center of the new village.
The first document in which it is mentioned is related to the construction of S. Girolamo in castello in 1347. A renovation occurred in 1591, as evidenced by the inscription on the architrave, including the construction of the small bell tower.
The altar furnishings, like the altarpiece of Santa Caterina, with Madonna and child, Santa Apollonia, and Santa Lucia, can be dated to the 17th century (19th century according to other experts). In 1677 it was still consecrated, but in the following centuries, it suffered severe degradation. From 1971 the property passed to the parish (bequest of Countess Giulia Mainardi Marzin) which led to the structural recovery after 1976 and in 1987 the restoration of the fresco cycle.
The frescoes on the southern wall depict a Madonna with child and saint (with an overlapping fresco in the lower part from 1608) attributable to an anonymous Venetian-Friulian painter from the first half of the 14th century. There is also the panel with S. Dorotea(?), S. Caterina d’Alessandria, and S. Lucia (?); the fragment of the Franciscan saint (S. Francesco?) is superimposed on a S. Leonardo from 1571; another fragment with S. Giorgio and the princess; finally, the more extensive decoration of the Madonna enthroned with child, two bishop saints, S. Giacomo maggiore, S. Margherita d’Antiochia (or S. Anastasia) with the kneeling donor, all attributable to painters following the Giottesque-popular language of Tommaso da Modena (sometimes with references to Vitale da Bologna), from the second half of the 14th century.
For the frescoes on the northern wall: the Nursing Madonna is attributable to an anonymous local painter from the late 14th century-early 15th century; while the SS. Rocco and Sebastiano are attributable to an artist following Gian Francesco da Tolmezzo (a hypothesis under study for a young Pordenone?), from the early 16th century.
On the walls, there is an Annunciation by Domenico de’ Soldi (1680) and an 18th-century Holy Family with St. John the Baptist by Giuseppe Buzzi, originating from the sanctuary of the Madonna.
Interesting is the web of graffiti and monograms left by pilgrims in transit or for invocations during plagues (the oldest dated is 1442).
