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 were tacked to the school 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 used to be outfitted to enshrine it. during this ebook, 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; whilst that sheet was once famous by means of Forlì's humans as impressive; while it used to be enshrined in a number of tabernacles and chapels within the cathedral; while it or certainly one of its copies was once - and nonetheless is - carried in procession. In doing so, Pon deals an test 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
Instead we see saints who would appeal to all fifteenth-century Christians: Paul holding a sword and Francis with book and cross at the upper left; in the register below him Christopher carries the Christ Child over blue waves and Anthony Abbot holds his tau staff; at the lower right, we see John the Baptist and red-robed Jerome with a rampant lion; above them, Lawrence, clad in yellow, holds his grill with both hands. 67 Thus, the picture known as the Madonna of the Fire is in many ways contradictory.
52 Ninth-century iconophile Theodore the Studite wrote that, “he who revers [a Byzantine icon] surely revers the person whom the image shows, not the substance of the image . . 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.
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 printed intermittent dashes of Christ’s falling blood seem to land as the discrete black centers of the flowers on Mary’s robe.
A printed icon : Forlì's Madonna of the Fire by Jesus Christ, Jesus Christ.; Blessed Virgin Saint Mary; Blessed VirginSaint. Mary; Pon, Lisa