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 have been tacked to the study 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 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 used to be inspired onto paper at a now-unknown date; whilst that sheet used to be well-known through Forlì's humans as mind-blowing; whilst it used to be enshrined in numerous tabernacles and chapels within the cathedral; while it or one in all its copies was once - and nonetheless is - carried in procession. In doing so, Pon deals an test in artwork old inquiry that spans greater than 3 centuries of constructing, remaking, and renewal.
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Extra resources for A Printed Icon in Early Modern Italy
Fifty nine. 60. sixty one. sixty two. sixty three. Archive. Courtesy of designated Collections, fantastic Arts Library, Harvard collage Giovanni di Mastro Pedrino, Miracle of the fireplace, aspect of colour Plate III Vittore Carpaccio, Dream of St. Ursula, 1495. Tempera on canvas, 273 cm Â 267 cm. Venice, Accademia. photograph: Erich Lessing / artwork source, new york The Sickroom, woodcut in Girolamo Savonarola, Predica dell’arte del bene morire, Florence: Bartolommeo de’Libri, after November 2, 1496. Rosenwald assortment 318, infrequent publication and distinctive Collections department of the Library of Congress, Washington, DC Aurelio Milani, version for Miracle of the Madonna of the hearth of Forlı`, aspect. ca. 1725. Oil on canvas. Minneapolis Institute of Arts, the loo R. Van Derlip Fund seventy one. forty six. For the entire portray, see Fig. ninety five Floriano dal Buono, engraved name web page for Giuliano Bezzi, Il fuoco trionfante, Forlı`: Cimatti, 1637. Typ 625. 37. 208, Houghton Library, Harvard collage Nicola Lindemain, Miracle of the Madonna of the fireplace, eighteenth century. Etching, 208 cm Â 143 mm. Fondo Piancastelli, Forlı` Biblioteca Comunale Aurelio Saffi. photograph: Liverani The Madonna of the hearth, woodcut in Bartolommeo Ricceputi, Istoria dell’Immagine Miracolosa . . . Detta l. a. Madonna del Fuoco della Citta di Forlı`, Forlı`, 1686. © The British Library Board 4605. a. forty eight Attributed to Antonio Gandolfi, Miracle of the Madonna of the fireplace, Chiesina del Miracolo, Forlı`. photograph: writer Floriano dal Buono, The Chapel of the Madonna of the fireplace. engraving in Bezzi, Il fuoco trionfante (Forlı`, 1637). nationwide Gallery of artwork Library, Washington, DC Giovanni Giardini, Tabernacle for the Madonna of the fireplace. Gilt bronze and lapis lazuli, 1718. Chapel of the Madonna of the hearth, Cathedral of Santa Croce, Forlı`. Madonna of the fireplace enshrined. Early-twentieth-century picture. Fondo Piancastelli, Biblioteca Comunale “Aurelio Saffi,” Forlı`. picture: Liverani Chapel of the Madonna of the hearth, Cathedral, Forlı`. February 2001. photograph: writer Vincenzo Coranelli, Map of Forlı`, 1694. Fondo Piancastelli, Forlı` Biblioteca Comunale Aurelio Saffi. photograph: Liverani Floriano dal Buono, the 1st Arch, engraving in Giuliano Bezzi, Il fuoco trionfante (Forlı`, 1637). nationwide Gallery of paintings Library, Washington, DC web site of the 1st arch (marked “A” on colour Plate IV), close to the current church of Corpus Domini, the place the church of the Monache Convertite had stood. picture: Liverani Floriano dal Buono, the second one Arch, engraving in Bezzi, Il fuoco trionfante (Forlı`, 1637). nationwide Gallery of artwork Library, Washington, DC. website of the second one arch (marked “D” on colour Plate IV), at the present Corso Garibaldi close to the Piazza del Duomo. photograph: Liverani Floriano dal Buono, the 1st viewpoint View, engraving in Bezzi, Il fuoco trionfante (Forlı`, 1637). nationwide Gallery of artwork Library, Washington, DC. ix ninety five a hundred 104 one zero five 108 one hundred ten 112 one hundred fifteen 117 a hundred twenty five 133 136 137 a hundred forty five 146 147 148 149 a hundred and fifty x Illustrations sixty four. web site of the 1st point of view view (marked “B” on colour Plate IV), on the head of the “Strada” or “Contrada Grande,” now through Pietro Maroncelli.