This essay investigates the visual language of Guercino's monumental altarpiece of St Petronilla for St Peter's (1623), through which he constructs an authoritative image of her sanctity deeply intertwined with the art and fabric of the renewed church, particularly as it pertains to Michelangelo's legacy at the site. The saint's body, almost in tandem with the sculptor's Pietà, circulated throughout the old and new basilica during its gradual demolition and reconstruction. Guercino's imagery consolidates references to Petronilla's relics, her cult and the statue in the configuration of the saint suspended at her grave. A hitherto unnoticed portrait of Michelangelo underscores these associations and renews his exemplarity as a sacred artist in the service of the papacy. The evocations of Michelangelo's sculpture and person, the body of Petronilla, together with the altarpiece's setting and architectural imagery, encourage an interpretation of the altarpiece as a microhistory of St Peter's basilica itself.

中文翻译：

---

格尔西诺的圣彼得罗尼拉：圣体、米开朗基罗和新圣彼得

这篇文章探讨了盖尔西诺为圣彼得教堂（1623 年）创作的纪念性圣彼得罗尼拉祭坛画的视觉语言，通过它，他构建了一个与重建教堂的艺术和结构紧密交织的权威形象，尤其是与米开朗基罗在网站。圣人的身体，几乎与雕塑家的《圣母怜子图》齐头并进，在其逐步拆除和重建过程中流通于新旧大教堂。Guercino 的图像整合了对 Petronilla 的遗物、她的崇拜和悬挂在她坟墓前的圣人雕像的参考。迄今为止未被注意到的米开朗基罗肖像强调了这些关联，并重申了他作为为教皇服务的神圣艺术家的典范。米开朗基罗的雕塑和人物，Petronilla 的身体，连同祭坛画的设置和建筑意象，鼓励人们将祭坛画解释为圣彼得大教堂本身的微观历史。