A printed icon : Forlì's Madonna of the Fire by Jesus Christ, Jesus Christ.; Blessed Virgin Saint Mary;

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 study room wall. the folks of Forlì carried that print - referred to now because the Madonna of the hearth - into their cathedral, the place centuries later a brand new chapel used to be equipped to enshrine it. during this e-book, Lisa Pon considers a cascade of moments within the Madonna of the Fire's cultural biography: whilst ink used to be inspired onto paper at a now-unknown date; while that sheet used to be well-known by means of Forlì's humans as magnificent; while it was once enshrined in a number of tabernacles and chapels within the cathedral; whilst it or considered one of its copies was once - and nonetheless is - carried in procession. In doing so, Pon bargains an scan in paintings old inquiry that spans greater than 3 centuries of constructing, remaking, and renewal

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6 cm  113 cm (with original engaged frame). The J. Paul Getty Museum, Los Angeles. Digital image courtesy of the Getty’s Open Content Program 14a. Detail of Fig. 14, before conservation. The J. Paul Getty Museum, Los Angeles the exchange by painting in a recipient. 107 In the sixteenth century, the Getty picture itself had a small recumbent figure of Jesus painted in oils below Mary’s outstretched hand, some two centuries after Daddi had completed the painting (Fig. 108 An icon’s awkward composition can even indicate to its pious viewers its miraculous nature.

The multiplication of the Madonna of the Fire in printed, painted, and cast images is the subject of Chapter 8). 83 This positioning of these Iconography: Madonna and Child 6. Virgin Hodegetria, central plaque on the Jena bookcover. 8 cm. Source: Thu¨ringer Universita¨ts- und Landesbibliothek (ThULB), Jena astronomical bodies is not common: I have found them only in two Byzantine ivory plaques used as book covers in medieval Europe (Fig. 6). ”85 In the Madonna of the Fire, the sun and moon seem almost to have descended from their usual positions above the crossbeam of Christ’s cross, hovering instead below the rippling edge that separates the crucifixion scene 25 26 Printed Icon: Forlı`’s Madonna of the Fire in Early Modern Italy 7.

127 The central image of the triptych (not discussed by Wolf) presents a fully frontal standing Madonna and Child, in the same relative positions in Imprint: Paper, Print, and Matrix 19. Circle of Baldassarre Croce, St. Luke Painting the Salus Populi Romani, early seventeenth century. Oil on panel. Museo della Basilica di S. Maria Maggiore, Rome. Photo: Courtesy of Prof. info which they appear in half-length in the Salus Populi Romani itself. The two side panels share a background, with a single interior architectural setting and a common landscape visible beyond, that is discontinuous with the central panel’s niche-like setting.

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