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74F0r an excellent recent analysis of medieval Marian miracle collections, see Ward, 132-65, with earlier bibliography. 7sOrationes, 7, quoted in Graef, I: 212. It was well known that Christ would punish insults to his mother more harshly than those to himself: see Geoffrey of Vendome (d. , 226; and Ward, 139-41, for specific instances of such "vengeance" miracles. 5 16 RENAISSANCE QUARTERLY identification also shifts the focus of appeal from the supreme deity to more accessible intermediaries -whether the Virgin or saintssufficiently powerful to control demonic activity.

Religious Art in France: T h e Late Middle Ages. A Study of Medieval Iconography and Its Sources. Ed. Harry Bober. Trans. Marthiel Mathews. Princeton, 1986 (first ed. 1908; trans. from 5th rev. , Paris, 1949). Marshall, Louise. D. , University of Pennsylvania, 1980. Mazzi, Maria S. " In Strutturefamiliari epidemie e migrazioni nell'Italia medievale, ed. G. Piccini, R. Comba and G. Pinto, 91-115. Naples, 1984. Meiss, Millard. Painting in Florence and Siena After the Black Death. Princeton, 1951.

For attribution to Paolo da Viso, documented between 1441-83, and inscriptions, see Fabbi, 139-46. 526 R E N A I S S A N C E QUARTERLY FIG. 18. ). Madonna del voto. Detached fresco, fiom S. Agostino. Visso, Duomo. Photo: Soprintendenza per i Beni Artistici e Storici delle Marche, Urbino. 90 As a shield between the citizens and the enraged divinity, the tent takes the place of the Virgin's mantle in the plague Madonna della Misericordia. By this device her protective role is still stressed, yet divested of any disturbing implications of autonomy.

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Manipulating the Sacred: Image and Plague in Renaissance Italy by Louise Marshall

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