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 was once inspired onto paper at a now-unknown date; whilst that sheet was once well-known by means of Forlì's humans as outstanding; whilst it was once enshrined in a number of tabernacles and chapels within the cathedral; whilst it or one in all its copies used to be - and nonetheless is - carried in procession. In doing so, Pon deals an scan in artwork ancient inquiry that spans greater than 3 centuries of constructing, remaking, and renewal
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Extra info for A printed icon : Forlì's Madonna of the Fire
Mosaic of the Apse of Cathedral of S. Maria Assunta, Torcello, Italy. Byzantine. Photo: Scala / Art Resource, NY The structural richness and decorative vocabulary of the image taken as a whole evoke other types of objects. The little x’s and dots that fill the horizontal bands repeatedly dividing the picture bring to mind both the tooled punchwork in the gold backgrounds of devotional panels and also the mosaicpatterned strips separating scenes in church fresco cycles. The colonnettes reinforce the impression of a church interior, as does the Annunciation in the spandrel, which recalls, for instance the apse wall of Giotto’s Scrovegni Chapel in Padua with its similarly placed figures of Gabriel and Virgin Annunciate, or Santa Maria Assunta, Torcello, in which the Annunciation scene in the spandrels frames the Madonna and Child (albeit a standing rather than half-length one) over a row of smaller isocephalic apostles below in the apse itself (Fig.
17 18 Printed Icon: Forlı`’s Madonna of the Fire in Early Modern Italy 1. Mosaic of the Apse of Cathedral of S. Maria Assunta, Torcello, Italy. Byzantine. Photo: Scala / Art Resource, NY The structural richness and decorative vocabulary of the image taken as a whole evoke other types of objects. The little x’s and dots that fill the horizontal bands repeatedly dividing the picture bring to mind both the tooled punchwork in the gold backgrounds of devotional panels and also the mosaicpatterned strips separating scenes in church fresco cycles.
This book thus forms my response that an undated, anonymous, single-sheet woodcut/cult icon is a legitimate target for serious art historical inquiry, as are the places, practices, and community it calls forth. 37 Before turning to the print itself, I would like to close my introduction with an anecdote about Napoleon’s response to the Madonna of the Fire of Forlı`, which mirrors that of A. Hyatt Mayor with which I began. In March 1796, a young and relatively untested Napoleon was appointed commander of the French army in Italy.
A printed icon : Forlì's Madonna of the Fire by Jesus Christ, Jesus Christ.; Blessed Virgin Saint Mary; Blessed VirginSaint. Mary; Pon, Lisa