Lisa Pon's A Printed Icon in Early Modern Italy PDF

By Lisa Pon

ISBN-10: 131631068X

ISBN-13: 9781316310687

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 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: while ink used to be inspired onto paper at a now-unknown date; while that sheet used to be well-known through Forlì's humans as surprising; whilst it used to be enshrined in quite a few tabernacles and chapels within the cathedral; whilst it or considered one of its copies was once - and nonetheless is - carried in procession. In doing so, Pon deals an scan in paintings ancient inquiry that spans greater than 3 centuries of creating, remaking, and renewal.

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Extra resources for A Printed Icon in Early Modern Italy

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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. 96 Thus, the Hodegetria type features a dialogue between paired hands, one from the Mother and one from the Child, which concludes at the right side of the panel with the hands positioned one above the other, holding either the Word or the Word Made Flesh. The Byzantine ivory plaque at the center of the Jena bookcover, which as we have seen contains the unusual image of a half-length Madonna and Child with a sun and moon on either side of Mary’s head, modifies this schema slightly (Fig.

For in Bezzi’s lifetime, as in ours, the people of Forlı` called upon the Madonna of the Fire as their special spiritual advocate not only for communal catastrophes such as war and famine, but also in times of personal distress including illness, injury, or accident. In the case of Bezzi’s potentially fatal illness, their prayers were answered: as Bezzi himself wrote soon thereafter, the Madonna of the Fire “pull[ed] me from my sickbed to the disbelief of the doctors, . . ”48 Giuliano Bezzi published those words in 1637, in one of the many Forlivese texts in praise of the Madonna of the Fire.

Ambrogio Lorenzetti, Maesta`, ca. 1335–7. Tempera and gold leaf on panel, 161 cm  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. 96 Thus, the Hodegetria type features a dialogue between paired hands, one from the Mother and one from the Child, which concludes at the right side of the panel with the hands positioned one above the other, holding either the Word or the Word Made Flesh.

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A Printed Icon in Early Modern Italy by Lisa Pon


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