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 was once equipped 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 was once inspired onto paper at a now-unknown date; while that sheet used to be well-known by way of Forlì's humans as fabulous; whilst it was once enshrined in a variety of tabernacles and chapels within the cathedral; while it or one in every of its copies used to be - and nonetheless is - carried in procession. In doing so, Pon deals an test in paintings 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
Even more than Belting though, my emphasis is on the reciprocally constitutive relationship between the Madonna of the Fire as miracle-working image and the pious viewers it interpellates: on the one hand the Madonna of the Fire calls up around itself a community of devotees who see it as their source of divine intercession, and on the other is itself constituted as their icon by their recognition and veneration. ”59 Those individuals gathered together in these rituals are likewise thus constituted as a devotional community.
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.
1340. Tempera and gold leaf on panel, 107 cm Â 77 cm. A. Crespi Collection, Milan. Photo: Scala/Art Resource, NY extended four fingers of Mary’s right hand rest on Christ’s shins, parallel to the bottom edge of the picture rather than being lifted to point to Jesus. 97 Another variant of the Hodegetria, such as the Madonna del Popolo (Fig. 99 The Madonna del Popolo shows Jesus makes a blessing gesture that visually places the outstretched fingers of his right hand at his mother’s neckline. With his left hand, he grasps Mary’s left thumb in a detail that Walter Angelelli describes as “a hint of the painter’s wish to express a more intimate contact between mother Iconography: Madonna and Child 11.