LAUSR

matic manner that contributes, along with the volume’s curt introduction, to the dulling of their otherwise sharp convergences. If cross-fertilized by thematic groupings, other essays would yield vibrant insights. For example, we come to see sacred images as public health technologies in Alessia Meneghin’s insightful study of the environmental factors that dominated the miracles of the Blessed Virgin of Soccorso in Rovigo; this theme emerges as well in Vittoria Camelliti’s investigation of the range of materials used in the ritual offerings of city models and in Stefano D’Ovidio’s examination of the public healing rituals performed by a miraculous icon, the Madonna Bruna of Naples. Despite these missed opportunities, all of the essays in the volume contribute to a recovery project, associated primarily with the art historian Megan Holmes (2011, 2013), which examines the aesthetics and agency of miracle-working images. Brought together in a splendid format with a clear map, beautiful reproductions, and helpful chronological chart that coordinates the production of visual art with other historical developments in Italy, the book successfully argues for the power of images to shape social life in early modern Italy.