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 hearth - into their cathedral, the place centuries later a brand new chapel was once outfitted to enshrine it. during this e-book, 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; whilst that sheet used to be famous through Forlì's humans as excellent; whilst it used to be enshrined in numerous tabernacles and chapels within the cathedral; while it or one among its copies was once - and nonetheless is - carried in procession. In doing so, Pon deals an scan 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
112 Furthermore, this quotation of the preeminent type of Marian icon, thought to be painted by Saint Luke himself (an important consideration to be treated in the next chapter),113 is not here fixed and perfectly finished, but rather incomplete and in the process of happening before the viewer’s eyes. 115 Mary’s lap may be truncated by the horizontal strip of x- and dotdecoration below, but Christ’s swaddled heel barely makes a tangent with it. As we have already seen, the equivocation between a ledge supporting the crucifixion scene and a cloth of honor behind the Madonna’s halo characterizes the top third of the picture.
Mary’s left hand and Christ’s right are poised one above the other, but they have not resolved into a fully determined gesture: no intertwining of fingers or clasping of hands has been achieved in favor of a more ambiguous placement of limbs. Furthermore, the hands pictured in the Madonna of the Fire are simplified into almost abstract geometric forms. Mary’s right hand, with which she supports 31 32 Printed Icon: Forlı`’s Madonna of the Fire in Early Modern Italy 12. Raphael, The Niccolini-Cowper Madonna, 1508, oil on panel, Andrew W.
54 The Byzantine icon thus partakes of its model’s sacrality, and devotional practices directed toward such an icon reach the holy figure depicted. 55 Although I will argue that the Madonna of the Fire alludes to compositional and functional conventions rooted in Byzantium, when I call the Madonna of the Fire an icon, I am not saying it is a Byzantine icon. 58 The Madonna of the Fire is a Marian icon in the sense that it is a likeness of the Virgin Mary that has been recognized by its community as having special, indeed miracleworking, powers; that recognition is marked by organized devotional practices including prayer and procession by the members of its cult.