саркофаг был разделен и хранится в разных музеях
Paolo cattaneo (umbro), monumento fuenbre di riccardo gattola, da villa di marignolle, inizio del XV sec
Museo Bardini - Armeria
передняя панель надгробия
Artist - Paolo da Gualdo Cattaneo (fl. 1353 / 1403)
Relief from the Tomb of Riccardo Gattola
relief - H: 29 1/2 x W: 74 13/16 x D: 5 in. (75 x 190 x 12.7 cm)
inv. no. 285
marble; 245?110 cm
inscription:…domini mccccxii.xi.indictione. nobile homo ricardo gattola sancto iacobu fece fare hoc opus pro se a magistru pauloda gaulo catanii magistro de marble
The deceased is represented lying on one side, his arms folded on his stomach. His head is girded by a pad, a twisted cloth used to cushion the halmet and rests on the helmet. Hewearsmail armour over a cloth tunic, shin guards, kneepieces and shoes, all in iron. An attempt to realistically portray the face is seen.
The inscription that runs along the outer edge of themarble slab – different fromthat of the figure and jutting at the ends – is an addition made by Bardini himself so as to complete the last display given to the statue, before the
current one with the two small, non-pertinent lions from the 14th-century.
Itwas originally located on a sarcophaguswith the front divided into three panelswith the reliefs of crests bearing the coat-of-arms of the deceased's family on the side panels whereas on the center one is theMadonna and Son Enthroned, with the knight being presented by a saint who is probably Saint Peter.
The inscription specifically identifies the deceased figure here portrayed asRiccardoGattola of San Giacomo.
That this funerary monument belonged to the Gattola family is evidenced by the coatof-arms with the three magpies characteristic of the Gattola family of Gaeta and more recently of the Gattola diMartino branch.
The sculpture is attributed to Paolo daGualdo Cattaneo, an Umbrian sculptor known primarily for his funerary works found in churches in Rome and Lazio.
Here, the deceased, Riccardo Gattola, kneels in his armor before the Virgin and Child, from whom he receives a blessing. His hope for salvation is represented by this depiction of his devotion to the Virgin while alive. He is presented by a pilgrim, probably Saint James the Great, venerated as a protector of knights and crusaders, holding a staff (partly missing) and food bag. Riccardo Gattola came from Gaeta, south of Rome, and was one of the courtiers of Queen Giovanna II of Naples.
This relief originally formed the front of Gattola's sarcophagus, which was supported by four short columns. On the lid was a reclining statue of him dressed in armor and an inscription with his name, the date, and the name of the artist. Other elements of the tomb belong to the Museo Bardini, Florence. This complex tomb very likely once stood in a church in Gaeta. The three-panel format, severe facial expressions, stylized drapery, and draped throne recall other works by Paolo da Gualdo Cattaneo, who was influenced by Lombard sculpture of the late 14th century.
Of Riccardo Gattola we only know that he descended fromthe family of the same name, originally from Gaeta, and was among the courtiers ofQueenGiovanna ii ofNaples, in whose service he probably died in 1417.