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 school 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 was once outfitted to enshrine it. during this publication, Lisa Pon considers a cascade of moments within the Madonna of the Fire's cultural biography: while ink used to be inspired onto paper at a now-unknown date; while that sheet was once well-known by way of Forlì's humans as brilliant; whilst it was once enshrined in a number of tabernacles and chapels within the cathedral; whilst it or certainly one of its copies used to be - 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 info for A printed icon : Forlì's Madonna of the Fire
Photo: author The Madonna Bianca of Portovenere is another icon that shows a seated figure of Mary with hands clasped (Fig. 15). 111 If we imagine what the icon must have looked like before this miraculous event, the Madonna and Child would have been in close to a Hodegetria pose: Mary’s left hand supporting Jesus; the child holding a furled scroll in his left hand; the right hands of both Mother and Son raised. The Madonna dei Terremoti and the Madonna Bianca are examples in which unorthodox, even awkward, pictorial compositions are interpreted by their Iconography: Madonna and Child devotional communities not as the makers’ incompetence but rather indications of the icons’ power.
95 Another example is to be found in the closely pressed faces of Madonna and Child in Lorenzetti’s Massa Marittima Maesta` (Fig. 9) that 27 28 Printed Icon: Forlı`’s Madonna of the Fire in Early Modern Italy 8. Workshop of Bernardo Daddi, Madonna and Child, 1345–49. 8 cm. The Walters Art Museum, Baltimore recall the similarly cheek-to-cheek pose in the Eleousa or Glykophilousa Madonnas in Byzantine art. “A PRONOUNCED ARCHAICISM” Bissera Pentcheva has described the thirteenth-century panel from the Peribleptos church in Ohrid as a prime example of another important Byzantine iconographical type, the Hodegetria: Both figures have one hand that speaks and another that carries an object.
The speaking hand of Mary is visually juxtaposed with the speaking hand Iconography: Madonna and Child 9. Ambrogio Lorenzetti, Maesta`, ca. 1335–7. Tempera and gold leaf on panel, 161 cm Â 207 cm. 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.