Abstract

By analysing the cases of Blessed Agostino Novello, Blessed Andrea Gallerani and Blessed Umiltà da Faenza’s hagiographic panels, this paper explores how their narratives could arouse worshippers’ emotional responses, having the aim to reinforce or revive the cult of a new saint at about the time when his/her civic or religious institutionalization was being confirmed. As far as Gallerani’s funerary monument in S. Domenico in Siena is concerned, it is possible to identify the central part of the Vita-panel as Lippo Memmi’s Blessed Andrea Gallerani, now held in the Pinacoteca Nazionale in Siena.