The basilica of the Madonna of Humility is a Pistoia basilica dedicated to the Virgin Mary. Its architectural importance is due to the sixteenth-century dome made by Giorgio Vasari and 59 meters high. The structure is also known as an important center of Marian devotion and for this it also assumes the name of the sanctuary of Our Lady of Humility. The present building was built on the site of the ancient church of Santa Maria Forisportae, so called because it was built outside the first wall circle and was just outside the Old Gate. The church, dedicated to Mary Assunta, to one of its altars, presumably on the left wall of the atrium, commissioned by Bishop B. Andrea Franchi, in 1382, a painter had painted an image of the Madonna of Humility, that is, sitting on the throne. Among the various projects presented was that of Giuliano da Sangallo, perhaps on commission of Lorenzo the Magnificent, but since Sangallo, in 1494, moved away from Tuscany following the traumatic interruption of the Signoria dei Medici, placing at the service of Cardinal Della Rovere, the direction of the work was taken by Ventura Vitoni, tradition which has always been indicated as the architect of the factory: the works started already in 1495, but they dragged on for a long time, in 1522 Vitoni died and in 1563 the construction of the dome was entrusted from Cosimo I to Giorgio Vasari, who followed a design from the original one and made the large dome cover. In 1568 the lantern was completed. In 1579 the work was carried out by carrying the 14th century fresco over the new altar designed by Pietro Tacca. The church was consecrated in 1582. The noble Domenico Manni of Federigo, in the eighteenth century, was commissioner of the Church of the SS. Virgin of the Umit. The interior of the basilica is rich in works of art that adorn each of the six altars placed around the wide circular compartment on which the dome and presbytery created by Pistoia Jacopo Lafri, the strict vestibule, occupy the space on which once the medieval church was erected, it was enriched by large frescoes from 1720. The octagonal structure of Corinth is preceded by a vestibule or atrium with barrel vaults decorated with rosettes and a central dome. The octagon is overlaid by the Vasari dome and decorated by three architectural orders in the drum and a marble floor of various colors. It is complemented by six lateral altars, which are all over the sixth, richly ornate, framing large canvases painted by Florentine painters of the sixteenth century. Equally valuable, if not more, is attributed to the so-called treasure of Our Lady, a collection of sacred buildings owned by the basilica whose relevance invests not only and not so much in the field of the arts as in the social and religious history of the city. Among these are the silver ciborium, the work of Florentine goldsmith Giovan Battista Mariani, donated by cavalier Fabio Tolomei in 1630 as a thanksgiving for the escaped danger of plague; to it in 1643 was added, as a gift from the ballad Camillo Rospigliosi, a step, also in silver, which celebrates the resistance opposed by Pistoia to the siege of barber troops. The Rospigliosi family, who together with the Ptolemies actually established a kind of patronage on the church, donated in 1669, by Giulio's hand, then Pope under the name of Clement IX, a branch of golden roses with a sapphire top. Even more remarkable, though less well-known, the textile heritage of the basilica includes among its pieces of absolute masterpieces, such as the seventeenth tablecloth made in Venice-type needle lace. A testimony to the devotion of the city remains a rich ex vowel set, some of which depict silver parts of the body on which the miraculous action of the Madonna depicts, and others are jewels or in any case personal objects particularly dear to those who have them donated.