The history and artistic evolution of the sanctuary of the Madonna dei Miracoli, the most important corbettese cult building, are inextricably linked to the miraculous appearance of 17 April 1555.
On that day, in fact, on the first Thursday after Easter, in the small square in front of the small church of San Nicolao (today located in the lower part of the sanctuary) three children, Cesare della Stampino, Antonio della Torre and his brother Giovanni Angelo (called Novello), deaf-mute from birth, were playing at bowls under the portrait of the Madonna with the Child frescoed on the facade of the church.
Suddenly the little John, reacquiring hearing and speech, indicated to his companions the celestial vision of the Child who, detached from the painting, had descended to join the game.
The Madonna then descended to re-take his Son and returned to the painting.

Other miracles followed that first miracle; in fact, the numerous graces received, in addition to being documented and kept in the archives of the sanctuary, are displayed inside the Cappella delle Benedizioni (chapel of the blessings), a place where more than two hundred votive offerings can be admired, a traditional form of recognition and popular devotion.
The apparition and numerous pilgrimages, were followed by a powerful enlargement of the church that was enlarged and embellished by brilliant names of Italian painting and architecture such as Francesco Croce, Fabio Mangone, Vincenzo Seregni, Francesco Pessina, Carlo Francesco Nuvolone, Giulio Cesare Procaccini, Giovan Battista Discepoli, Mosé Bianchi, Luigi Pellegrini Scaramuccia.

The miraculous image is found today in the upper sanctuary, an excellent example of Lombard baroque, enclosed in a glass case, still on the original wall where it was painted by Gregorio de' Zavattari in 1475.

From 1913 the sanctuary was recognized "Building of national monumental interest".
 

Immediately after the aforementioned restoration work that took place between 1948 and 1955, during which ancient decorations and frescoes of the sixteenth century were brought to light, the idea of dedicating the sanctuary to the cult of God and the Virgin was revived, advanced previously by the cardinal Alfredo Ildefonso Schuster but temporarily put on hold following the death of the latter in 1954.
When the new archbishop of Milan was appointed, the preparations were resumed and finally, on April 17, 1955, on the fourth centenary of the first miracle, Giovanni Battista Montini crowned the image of the Madonna di Corbetta proclaiming her "Blessed Virgin of the miracles venerated in the sanctuary of Corbetta, patron saint of the area".

Also worthy of note is the sanctuary's museum, located in the upper rooms of the cloister adjacent to the church, which houses numerous works of art of great value, including the chamber called "di San Carlo" where Saint Charles Borromeo stayed in a visit to Corbetta at the end of 16th century.
The room, consisting of a four-poster bed, some furniture and vestments belonging to the archbishop, was once in the Villa Frisiani Mereghetti where a memorial plaque is still displayed.
At the time of the visit of cardinal Borromeo recall the chronicles, "... there was not a palace suitable to host such a great personality and as such the only one was found in the house of the Most Excellency Mr. Dom.
Frisiani ... "
The Confraternity of the Holy Rosary is linked to the archiepiscopal sanctuary of the Beata Vergine dei Miracoli.
The history and artistic evolution of the sanctuary of the Madonna dei Miracoli, the most important corbettese cult building, are inextricably linked to the miraculous appearance of 17 April 1555. On that day, in fact, on the first Thursday after Easter, in the small square in front of the small church of San Nicolao (today located in the lower part of the sanctuary) three children, Cesare della Stampino, Antonio della Torre and his brother Giovanni Angelo (called Novello), deaf-mute from birth, were playing at bowls under the portrait of the Madonna with the Child frescoed on the facade of the church. Suddenly the little John, reacquiring hearing and speech, indicated to his companions the celestial vision of the Child who, detached from the painting, had descended to join the game. The Madonna then descended to re-take his Son and returned to the painting.
Other miracles followed that first miracle; in fact, the numerous graces received, in addition to being documented and kept in the archives of the sanctuary, are displayed inside the Cappella delle Benedizioni (chapel of the blessings), a place where more than two hundred votive offerings can be admired, a traditional form of recognition and popular devotion. The apparition and numerous pilgrimages, were followed by a powerful enlargement of the church that was enlarged and embellished by brilliant names of Italian painting and architecture such as Francesco Croce, Fabio Mangone, Vincenzo Seregni, Francesco Pessina, Carlo Francesco Nuvolone, Giulio Cesare Procaccini, Giovan Battista Discepoli, Mosé Bianchi, Luigi Pellegrini Scaramuccia. 
The miraculous image is found today in the upper sanctuary, an excellent example of Lombard baroque, enclosed in a glass case, still on the original wall where it was painted by Gregorio de' Zavattari in 1475.
From 1913 the sanctuary was recognized "Building of national monumental interest".  

Immediately after the aforementioned restoration work that took place between 1948 and 1955, during which ancient decorations and frescoes of the sixteenth century were brought to light, the idea of dedicating the sanctuary to the cult of God and the Virgin was revived, advanced previously by the cardinal Alfredo Ildefonso Schuster but temporarily put on hold following the death of the latter in 1954. When the new archbishop of Milan was appointed, the preparations were resumed and finally, on April 17, 1955, on the fourth centenary of the first miracle, Giovanni Battista Montini crowned the image of the Madonna di Corbetta proclaiming her "Blessed Virgin of the miracles venerated in the sanctuary of Corbetta, patron saint of the area".
Also worthy of note is the sanctuary's museum, located in the upper rooms of the cloister adjacent to the church, which houses numerous works of art of great value, including the chamber called "di San Carlo" where Saint Charles Borromeo stayed in a visit to Corbetta at the end of 16th century. The room, consisting of a four-poster bed, some furniture and vestments belonging to the archbishop, was once in the Villa Frisiani Mereghetti where a memorial plaque is still displayed. At the time of the visit of cardinal Borromeo recall the chronicles, "... there was not a palace suitable to host such a great personality and as such the only one was found in the house of the Most Excellency Mr. Dom. Frisiani ... "
The Confraternity of the Holy Rosary is linked to the archiepiscopal sanctuary of the Beata Vergine dei Miracoli.
Sanctuary of the Madonna of Miracles (Corbetta)