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 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 was once outfitted to enshrine it. during this booklet, Lisa Pon considers a cascade of moments within the Madonna of the Fire's cultural biography: whilst ink used to be inspired onto paper at a now-unknown date; while that sheet used to be famous via Forlì's humans as dazzling; whilst it was once enshrined in numerous 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 scan in artwork ancient 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
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.
The communal ritual of procession (discussed further in Chapters 6 and 7) is a fundamental act in the veneration of any icon, and especially so for this Roman image, one of the most important Marian icons on the Italian peninsula. Its retrospective title refers to a medieval legend that, while bearing it in procession around Rome during the plague of 590, Pope Gregory the Great saw the Archangel Michael sheathing his sword over Hadrian’s Mausoleum. 121 Between the twelfth and sixteenth centuries, the Salus Populi Romani was regularly taken around Rome in processions reenacting the Virgin Mary’s assumption into heaven, elaborate rituals also 39 40 Printed Icon: Forlı`’s Madonna of the Fire in Early Modern Italy 16.
The outward zoom of these chapters thus begins with a close analysis of the Madonna of the Fire as a printed piece of paper and then expands to analyze progressively larger physical and ideological sites associated with it: shrine and chapel, church and city, local region and Papal State. 33 But I also allow my art historical attention to move beyond that material object, where it resolutely begins, toward the less immediate consequences of that visibility: from the architecture razed or raised around it, to the social and ritual practices it inspires or provokes, and the spatial organization of the city and the polities beyond its walls.