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By Lisa Pon

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 publication, Lisa Pon considers a cascade of moments within the Madonna of the Fire's cultural biography: while ink was once inspired onto paper at a now-unknown date; while that sheet was once well-known through Forlì's humans as remarkable; while it used to be enshrined in numerous tabernacles and chapels within the cathedral; while it or one among its copies was once - and nonetheless is - carried in procession. In doing so, Pon bargains an test in paintings historic inquiry that spans greater than 3 centuries of creating, remaking, and renewal.

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6th century. 3 cm. Ms. Lat. 9384 Bibliothe`que nationale de France, Paris. 72 The roots of this word go back to the Latin tabernaculum for “tent,” referring to the provisional sanctuary used by the Hebrews to shelter the ark before the erection of Solomon’s Temple. ) A number of surviving late medieval devotional paintings, similar to the Madonna of the Fire in showing a half-length Mary with Christ in a central arched field with additional scenes or figures at the sides, demonstrates that this pictorial format was already established by the thirteenth century.

Photo: Alinari / Art involving the icon of Christ that was taken out of the Sancta Sanctorum in the Lateran Palace for these occasions. 122 Thus, the Salus Populi Romani had an established cult for centuries before Forlı`’s Madonna of the Fire did. The Roman icon is also centuries older: a date of the late sixth or early seventh century is accepted by many scholars, following Gerhard Wolf,123 and its legendary origin is even earlier still. 124 The legend of manufacture by a saintly artist, who in some versions is given angelic aid in coloring, lends to these Lucan Imprint: Paper, Print, and Matrix 17.

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.

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