By Jesus Christ, Jesus Christ.; Blessed Virgin Saint Mary; Blessed VirginSaint. Mary; Pon, Lisa
In 1428, a devastating hearth destroyed a schoolhouse within the Northern Italian urban of Forlì, leaving just a woodcut of the Madonna and baby that have been tacked to the study room wall. the folk 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 publication, Lisa Pon considers a cascade of moments within the Madonna of the Fire's cultural biography: whilst ink was once inspired onto paper at a now-unknown date; while that sheet used to be famous by means of Forlì's humans as staggering; while it was once enshrined in quite a few tabernacles and chapels within the cathedral; whilst it or one in all its copies was once - and nonetheless is - carried in procession. In doing so, Pon bargains an test in paintings ancient inquiry that spans greater than 3 centuries of creating, remaking, and renewal
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Additional resources for A printed icon : Forlì's 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. Hyatt Mayor called Bezzi’s book, “the earliest monograph on a printed picture”;49 now, well into the second decade of the twenty-first century, I look upon Bezzi’s book not only as a precious early source about the Madonna of the Fire but also, like the Marian image it describes, as a printed thing itself.
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.
101 Writing more than eight decades later, Evelina Borea also acknowledged the differences in how the central figures and the smaller ones at the margins are executed, though in less polemic terms. ”102 Perhaps Venturi was exactly on target in seeing at the heart of the Madonna of the Fire an “archaic” image framed by figures that are closer in style to the moment of the print’s making. Perhaps Borea was right on both her counts: that the designs for the central figures and the surrounding ones were different in fact because the former drew on a traditional image whereas the latter did not.
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