The print with the view of the Convent of Porta Orientale is very important for the Capuchin Museum for the reconstruction, at least through the image of a lost place. The Capuchin friars arrived in Lombardy in 1535 and in Milan the first settlement was in the Ducal Chapel of San Giovanni alla Vedra (or Vipera). In 1542 they moved to the convent of San Vittore all'Olmo in Porta Vercellina and just outside the city walls.

About fifty years later, thanks to the contribution of the "Rulers" of the city government, the Capuchin friars bought a land on which, in 1592, they began to build another convent and church that will be dedicated to the Conception of the Immaculate Virgin Mary starting from 1599 The new convent soon became the main one in the Milanese province.

The church, according to the description that Carlo Torre gives in 1714 in Portrait of Milan, had a painting by Cerano on the facade. Unlike the traditional Capuchin indications, the church was large and spacious, however it had a single nave and two chapels on each side, protected by tall wooden gates of Capuchin manufacture. A wooden partition, also of Capuchin tradition, separated the main altar from the choir of the friars. The altarpieces were all the work of the major artists working in Milan at the time: Camillo Procaccini, Carlo Francesco Nuvolone and again Cerano.

The waves of suppressions addressed to religious orders also hit the Capuchin friars and the complex was definitively suppressed and demolished in 1810.

The image of the facade of the church of the Immaculate Conception, a few months before the suppression, appears exaggeratedly impressive. In fact, the print reproduces the ephemeral façade the church was endowed with on the occasion of the three days of celebrations for the beatification of Fra Crispino da Viterbo. However, this lithography is almost the only iconographic document of the facade of the church of the Immaculate Conception (another relief of the seventeenth-century facade remains, of disputed reliability).