Download A Printed Icon in Early Modern Italy by Lisa Pon PDF

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 hearth - into their cathedral, the place centuries later a brand new chapel used to be equipped to enshrine it. during this publication, 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 was once well-known via Forlì's humans as marvelous; while it was once enshrined in a number of tabernacles and chapels within the cathedral; while it or certainly one of its copies used to be - and nonetheless is - carried in procession. In doing so, Pon bargains an scan in artwork ancient inquiry that spans greater than 3 centuries of constructing, remaking, and renewal.

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Additional info for A Printed Icon in Early Modern Italy

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Edward Graeffe, 1970. Photo: The Pierpont Morgan Library, NY images an authenticity that was recognized and propagated by fifteenth-, sixteenth-, and seventeenth-century narrative pictures showing Luke at work on his portrait of the Virgin Mary. An illumination by Michelino Molinari da Besozzo in a Latin prayer book now in the Morgan Library, for instance, shows the standing figure of the saint, who applies paint to the golden, gable-topped painting of the Madonna and Child with a delicately rendered brush (Fig.

Info which they appear in half-length in the Salus Populi Romani itself. The two side panels share a background, with a single interior architectural setting and a common landscape visible beyond, that is discontinuous with the central panel’s niche-like setting.

Though Jesus’s first two fingers are raised in blessing, the 29 30 Printed Icon: Forlı`’s Madonna of the Fire in Early Modern Italy 10. Paolo Veneziano, Madonna and Child, ca. 1340. Tempera and gold leaf on panel, 107 cm  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.

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