The pilaster with Madonna's picture had survived the fire, and the _Laudesi_ still met round it to sing her praises. But in 1336 the Signoria proposed to erect a grand new building on the site of the old loggia, which should serve at once for corn exchange and provide a fitting oratory for this new and growing cult of the Madonna di Orsanmichele. The present edifice, half palace and half church, was commenced in 1337, and finished at the opening of the fifteenth century. The actual building was in the hands of the Commune, who delegated their powers to the Arte di Por Sta. Maria or Arte della Seta. The Parte Guelfa and the Greater Guilds were to see to the external decoration of the pilasters, upon each of which tabernacles were made to receive the images of the Saints before which each of the Arts should come in state, to make offerings on the feasts of their proper patrons; while the shrine itself, and the internal decorations of the loggia (as it was still called), were left in the charge and care of the _Laudesi_ themselves, the Compagnia of Orsanmichele, which was thoroughly organised under its special captains. It is uncertain whom the Arte della Seta employed as architect; Vasari says that Taddeo Gaddi gave the design, others say Orcagna (who worked for the Laudesi inside), and more recently Francesco Talenti has been suggested. Benci di Cione and Simone di Francesco Talenti, who also worked at the same epoch upon the Duomo, were among the architects employed later. The closing in of the arcades, for the better protection of the tabernacle, took away the last remnants of its original appearance as an open loggia; and, shortly before, the corn market itself was removed to the present Piazza del Grano, and thus the "Palatium" became the present church. The extremely beautifully sculptured windows are the work of Simone di Francesco Talenti. There are fourteen of these little temples or niches, partly belonging to the Greater and partly to the Lesser Arts. It will be seen that, while the seven Greater Arts have each their niche, only six out of the fourteen Minor Arts are represented. Over the niches are _tondi_ with the insignia of each Art. The statues were set up at different epochs, and are not always those that originally stood here--altered in one case from significant political motives, in others from the desire of the guilds to have something more thoroughly up to date--the rejected images being made over to the authorities of the Duomo for their unfinished façade, or sent into exile among the friars of Santa Croce. In 1404 the Signoria decreed that, within ten years from that date, the Arts who had secured their pilasters should have their statues in position, on pain of losing the right. But this does not seem to have been rigidly enforced. [Illustration: WINDOW OF OR SAN MICHELE]