By Jesus Christ, Jesus Christ.; Blessed Virgin Saint Mary; Blessed VirginSaint. Mary; Pon, Lisa
In 1428, a devastating fireplace destroyed a schoolhouse within the Northern Italian urban of Forlì, leaving just a woodcut of the Madonna and baby that were tacked to the school room wall. the folks of Forlì carried that print - referred to now because the Madonna of the fireplace - into their cathedral, the place centuries later a brand new chapel was once outfitted to enshrine it. during this ebook, Lisa Pon considers a cascade of moments within the Madonna of the Fire's cultural biography: while ink used to be inspired onto paper at a now-unknown date; while that sheet used to be famous by way of Forlì's humans as dazzling; while it used to be enshrined in a variety of tabernacles and chapels within the cathedral; whilst it or one among its copies used to be - and nonetheless is - carried in procession. In doing so, Pon bargains an test in artwork historic inquiry that spans greater than 3 centuries of creating, remaking, and renewal
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Extra resources for A printed icon : Forlì's Madonna of the Fire
Though Jesus’s first two fingers are raised in blessing, the 29 30 Printed Icon: Forlı`’s Madonna of the Fire in Early Modern Italy 10. Paolo Veneziano, Madonna and Child, ca. 1340. Tempera and gold leaf on panel, 107 cm Â 77 cm. A. Crespi Collection, Milan. Photo: Scala/Art Resource, NY extended four fingers of Mary’s right hand rest on Christ’s shins, parallel to the bottom edge of the picture rather than being lifted to point to Jesus. 97 Another variant of the Hodegetria, such as the Madonna del Popolo (Fig.
97 Another variant of the Hodegetria, such as the Madonna del Popolo (Fig. 99 The Madonna del Popolo shows Jesus makes a blessing gesture that visually places the outstretched fingers of his right hand at his mother’s neckline. With his left hand, he grasps Mary’s left thumb in a detail that Walter Angelelli describes as “a hint of the painter’s wish to express a more intimate contact between mother Iconography: Madonna and Child 11. Workshop of Lorenzo Ghiberti, Madonna and Child, ca. 1425–50.
In doing so, he displayed his understanding of the range of local practices associated with the Madonna of the Fire, from the rituals he negated to the pious custody of the material object he permitted to continue. It is this full range, this potent cascade and its standing in the history of art, that I explore in this book. e PART ONE THING f e CHAPTER ONE ICONOGRAPHY: MADONNA AND CHILD f On the scorching cloud of vivid flame, As a queen on a throne of glory, By a beaming sign of new victory, You reign, Mary, over this city.