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 used to be equipped to enshrine it. during this publication, 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 was once famous by way of Forlì's humans as fabulous; whilst it used to be enshrined in a number of tabernacles and chapels within the cathedral; while it or considered one of its copies was once - and nonetheless is - carried in procession. In doing so, Pon bargains an scan in paintings historic inquiry that spans greater than 3 centuries of constructing, remaking, and renewal

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Extra resources for A printed icon : Forlì's Madonna of the Fire

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Simone da Bologna, called Simone dei Crocifissi, Triptych, ca. 1395. 63 cm. 1999). Photo: Rick Hall the printed and hand-painted drops of blood from Christ’s body down the picture, this halo forms the front edge of the promontory upon which the cross is set. Moving in the opposite direction from the large Madonna and Child upwards, we see that Golgotha’s rippling edge does not touch the enclosing arch on either side but rather hangs between them, almost like a cloth of honor behind Mary’s head.

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.

Pinacoteca, Massa Marittima. Photo: Scala / Art Resource, NY of Christ, forming the first pair of hands. The Theometor gestures to and implores the Child. . Christ answers by raising and blessing with his hand. In the second pair, the hand of each figure holds the Logos, and thus expresses the notion of the Incarnation. 96 Thus, the Hodegetria type features a dialogue between paired hands, one from the Mother and one from the Child, which concludes at the right side of the panel with the hands positioned one above the other, holding either the Word or the Word Made Flesh.

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