By Lisa Pon
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 fireplace - into their cathedral, the place centuries later a brand new chapel used to be equipped to enshrine it. during this booklet, 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; whilst that sheet was once famous by way of Forlì's humans as fantastic; whilst 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 scan in artwork old inquiry that spans greater than 3 centuries of constructing, remaking, and renewal.
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Additional resources for A Printed Icon in Early Modern Italy
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 miracle legend of that icon explains the indeed odd posture of the figures, with the swaddled Jesus balanced precariously between Mary’s knees: the enthroned Madonna had been holding her Child but when an earthquake struck unexpectedly, she dropped him into her lap in order to clasp her hands in prayer.
Yet despite the opening personal reference to his recovery from fever, Bezzi’s text is perhaps the most important piece of public writing about the Madonna of the Fire. For his book, The Triumphal Fire, was commissioned by the Forlivese magistrates as the official account of a communal ritual act: the civic procession that brought the Madonna of the Fire to its newly completed chapel in Forlı`’s cathedral on October 20, 1636. With a typical rhetorical flourish, the mid-twentieth-century print curator A.
Purchased with the generous assistance of Alice Tully in memory of Dr. Edward Graeffe, 1970. Photo: The Pierpont Morgan Library, NY images an authenticity that was recognized and propagated by fifteenth-, sixteenth-, and seventeenth-century narrative pictures showing Luke at work on his portrait of the Virgin Mary. An illumination by Michelino Molinari da Besozzo in a Latin prayer book now in the Morgan Library, for instance, shows the standing figure of the saint, who applies paint to the golden, gable-topped painting of the Madonna and Child with a delicately rendered brush (Fig.
A Printed Icon in Early Modern Italy by Lisa Pon