This study makes a welcome contribution to our understanding of the enormous popularity of Saint Catherine of Alexandria in the later Middle Ages. Previous studies of Saint Catherine have identified her multifunctional adaptability as key to that popularity. Similarly, Cynthia Stollhans explores the representation and reinvention of Saint Catherine in Rome by focusing on a number of specific visual portrayals, dating from the High Middle Ages to the early modern period. Some of these have already been the subject of substantial analysis: for example, Masolino’s fresco cycle in the church of San Clemente, commissioned by Cardinal Branda Castiglioni, and Pinturicchio’s depiction of Saint Catherine debating with the philosophers, created for the notorious Borgia pope Alexander VI. Others are less well known, such as the apsidal painting of Catherine with three hermit saints to be found in the Sant’Onofrio (the church of the Order of the Hermits of Saint Jerome) and the image of Catherine teaching, which appears in the Theodoli family funerary chapel in Santa Maria del Popolo.