Abstract
This paper constitutes an encompassing account of the Madonna of Orsanmichele in all its historical instances. As source of the first miracle ever recorded in the city state of Florence, in 1292, the Orsanmichele Madonna generated a cult that lasted centuries. Considering the extravagant artistic commissions on the site of the granary turned church, Orsanmichele became a place of religious worship, and, more importantly, grown into being equated with the political and spiritual identity of Florence. The panel b y Bernando Daddi and the tabernacle designed by Andrea Orcagna have generated, I argue, a parallel cult one revering the exquisite artistic draughtsman ship of the painting and that of its monumental shrine. In this paper I aim to present the dialogue be tween the Marian cult located at Orsanmichele, starting in the thirteenth century, and the artistic patronage prompted by the popularity of the miracle making image of the Virgin. My study represents a critical re visitation of the prominent book by Megan Holmes, The Miraculous Image in Renaissance Florence, published in 2013.
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