Giovanni Battista Braccelli’s Etched Devotions before the Vatican Bronze Saint Peter Erin Giffin, Ludwig-Maximilians-Universität München, Germany IN THE MID-SEVENTEENTH CENTURY, the artist Giovanni Battista Braccelli (ca. 1584–1650) created an etching of the bronze Saint Peter cult statue at the Vat- ican surrounded by devotees and votives (fig. 1).1 This previously unpublished print, titled The Bronze Saint Peter with Votives, offers a detailed representation of the devotional object in its early modern location (figs. 2–3): against the northeast pier of the crossing of Saint Peter’s Basilica, where Pope Paul V Borghese (r. 1605– 21) had installed it on May 29, 1620 (still in situ today). The print details a group of early modern visitors gathered around the sculpture—well-dressed men, women, and children to the left of the composition, and an assortment of humbler lay and religious personages to the right. At the center, two pilgrims with walking sticks in hand and broad-brimmed hats slung over their shoulders approach the foot of the sculpted Saint Peter with great reverence. The first of the two bows down to touch the top of his head to the underside of the sculpted foot in an act of extreme humility, bracing himself against the sculpture’s base as the crowd looks on with approval. Emanating up from the devotees, a series of ex-voto offerings blanket the flanking pilasters of Saint Peter’s. One can make out the barest references of standard votive imagery and objects on the sketchily rendered plaques—kneel- ing figures and canopied beds before floating apparitions—accompanied by Contact Erin Giffin at Ludwig-Maximilians-Universität München (erin.giffin@kunstgeschichte .uni-muenchen.de). I would like to thank Chiara Franceschini, Estelle Lingo, Cloe Cavero, Tiffany Lynn Hunt, and Megan Erickson for their input on this text. This article was produced within the framework of a project financially supported by the European Research Council (ERC), titled “SACRIMA: The Normativity of Sacred Images in Early Modern Europe,” based at the Institute of Art History at Ludwig- Maximilians-Universität in Munich, Germany (PI: Chiara Franceschini, grant agreement no. 680192). 1. Biblioteca Apostolica Vaticana (hereafter BAV), Stampe.V.143, plate 66. I Tatti Studies in the Italian Renaissance, volume 23, number 2. © 2020 by Villa I Tatti: The Harvard University Center for Italian Renaissance Studies. All rights reserved. 0393-5949/2020/2302-0006$10.00 341 342 | I TATTI STUDIES IN THE ITALIAN RENAISSANCE FALL 2020 Figure 1. Giovanni Battista Braccelli, The Bronze Saint Peter with Votives, Rome, ca. 1649, Stampe.V.143, plate 66. Etching, 32 Â 29 cm. (© 2020 Biblioteca Apostolica Vaticana. Reproduced by permission of Biblioteca Apostolica Vaticana, with all rights reserved.) hanging crutches, canes, and swaths of fabric. Grouped together with a collection of seventeenth- and eighteenth-century religious prints, TheBronzeSaintPeter with Votives has gone largely unnoticed in the Vatican collection.2 Its omission from the artist’s oeuvre and the sculpture’s history is surprising, given that the print 2. The print is only briefly listed (without reproduction) in a recent summary of the artist’s life in Simona Sperindei, “Nuovi documenti sul pittore ed acquafortista seicentesco Giovan Battista Braccelli,” in Atti delle Giornate di Studi: Caravaggio e i suoi, ed. Pierluigi Carofano (San Giuliano Terme, 2018), 181–90, 185. Figure 2. Saint Peter, attributed to Arnolfo di Cambio or his circle, Saint Peter’s Basilica, Vatican, ca. 1293. Bronze (Alamy). 344 | I TATTI STUDIES IN THE ITALIAN RENAISSANCE FALL 2020 Figure 3. Saint Peter in the context of Saint Peter’s Basilica, Vatican. Bronze (author’s photo). Color version available as an online enhancement. clearly bears the name of the artist, with an inscription identifying the sculptural locus and the bronze Saint Peter. Though Braccelli’s print undoubtedly offers an idealized representation of early modern devotion, and likely served to ingratiate the artist to the print’s dedicatee, Canon Ugo Ubaldini, the composition also shares rare information regarding con- temporary interactions with a sculptural cult object. Braccelli’s etching offers a view of the seventeenth-century display of the sculpture to the modern viewer and hints at the many votives once adorning the new basilica. In a close examina- tion of Braccelli’s composition along with other works by the artist and his con- temporaries, this essay will elucidate the shape and texture of seventeenth-century religious practices associated with this prominent sculpture inside Saint Peter’s. By mapping the spatial relationship of the sculpture to the evolving church interior, together with the tactile and votive devotions enacted by devotees on site, I will demonstrate how the bronze Saint Peter conveyed a sense of permanence and constancy in a dramatically modernized interior. In essence, Giovanni Battista Braccelli’s Bronze Saint Peter with Votives reveals the persistence of cultic interac- tions between the old and new basilicas of Saint Peter’s, as well as the official sup- port of such ephemeral practices in the liturgical center of the faith. Giovanni Battista Braccelli’s Etched Devotions | 345 THE ARTIST’ SCAREERANDTHEBRONZESAINTPETER WITH VOTIVES Giovanni Battista Braccelli’s trajectory is shrouded in uncertainty, from his origins in 1580s Genoa, to his death circa 1657–58.3 Simona Sperindei theorizes that the young artist followed the painter Giovanni Battista Paggi to Florence, where he would subsequently embark on an independent career.4 Braccelli first appears in the records of the Florentine Accademia del Disegno in 1619, where he contin- ues to be noted sporadically through 1635.5 At some point thereafter, Braccelli relocated to Rome, where he joined meetings of the Accademia di San Luca be- tween 1642 and 1657.6 During his first decades of activity, Braccelli published prints in Rome, Livorno, and Naples, which indicate the mobility of either the art- ist or his carved matrices. Braccelli’s best-known publications from this era are the Bizzarie di varie figure, published in Livorno in 1624, and the Figure con instru- menti musicali e boscarecci, published in Rome circa 1625–30. Braccelli’s fifty small-scale prints of the Bizzarie, dedicated to Don Pietro de’ Medici, grandson of Duke Cosimo I, seem to follow the example of Jacques Callot, who published his Capricci in Florence in 1617. His second print book, also known as The Mu- sicians, perpetuates the Florentine connection in the dedication, where he refer- ences a “Tomasso Guadagni,” likely a member of the Florentine Guadagni family based near Santissima Annunziata.7 These publications showcase not only the art- ist’s skills and ingenuity but also his Florentine associations. 3. The artist’s name is written both as “Braccelli” and “Bracelli.” In the records of the Accademia del Disegno in Florence, his full name is noted as “Giovanbattista di Antonio Braccelli, detto il Bigio.” Luigi Zangheri, Gli accademici del disegno: Elenco alfabetico (Florence, 2000), 49; Sperindei, “Nuovi documenti,” 181. 4. Braccelli’s earliest known commissions in Florence include his l’Onore, an allegorical, oil on can- vas composition commemorating Michelangelo on the ceiling of the galleria of the Casa Buonarroti (1616–17), and another oil composition, San Benedetto risuscita un morto (1620–21), at the local or- atory of San Benedetto Bianco. Sperindei, “Nuovi documenti,” 182; for the San Benedetto oil on canvas composition, see the catalogue entry in Alessandro Grassi, Michele Scipioni, Giovanni Serafini, eds., Il rigore e la grazia: La Compagnia di San Benedetto Bianco nel Seicento fiorentino (Livorno, 2015), 116– 17. 5. Zangheri, Gli accademici del disegno, 49, as noted in Sperindei, “Nuovi documenti,” 182 n. 5. Braccelli signs multiple prints, including The Bronze Saint Peter with Votives, with the abbreviation Pitt.re Fiorentino. For a brief history of the artist’s education, see Sue Welsh Reed and Richard Wallace, Italian Etchers of the Renaissance and Baroque (Boston, 1989), 230. 6. Sperindei, “Nuovi documenti,” 187 n. 22. 7. A complete facsimile of the Bizzarie was published by Wolfgang Max Faust, Bizzarie di varie figure: Faksimile-Neudruck der Ausgabe Florenz 1624 (Unterschneidheim, 1978). See also Maxime Préaud and Tristan Tzara, Bracelli: Gravures (Paris, 1975), 7–8; Reed and Wallace, Italian Etchers, 230–33; Jack Werner Stauffacher, “Giovanni Battista Bracelli: Bizzarie de varie Figure,” Graphis 14 (1958): 350–53, 350; Elisabetta Insabato and Silvia Baggio, “Archivi del patriziato fiorentino: Il caso Guadagni,” Opus Incertum 2 (2007): 3–15, 6. 346 | I TATTI STUDIES IN THE ITALIAN RENAISSANCE FALL 2020 The first real evidence of Braccelli’s interactions with Roman artwork and re- ligious practices appears in 1629–30, when he etched the procession of the local Florentine community from Saint Peter’s Basilica to the national church of San Giovanni dei Fiorentini, designed by the Florentine Agostino Ciampelli (fig. 4).8 Though the composition is not Braccelli’s invention, the scene is relevant in that it documents devotional ephemera, specifically a procession on June 5, 1629, cel- ebrating the recent canonization of Saint Andrea Corsini, a fourteenth-century Florentine elevated to sainthood by Pope Urban VIII Barberini on April 22 of the same year.9 In the composition, San Giovanni dei Fiorentini’s as-yet incom- plete façade nearly disappears behind layers of decorative ephemera, including an array of civic