Simon Gattula, Confessionale pro Reverendissimo Episcopo Venusino, in Latin, illuminated manuscript on vellum

13 leaves, 140mm. by 105mm., complete, collation: i^{2, ii8, iii3 (iii a singleton), written space 118mm. by 78mm., 20 lines of dark brown, blue or red ink in various sizes of a number of accomplished late Gothic hands, some decorative cadels and calligraphic work, six 2- to 3-line initials in liquid gold on blue grounds with coloured penwork, all edged in red ink, four elaborate calligraphic initials in blue or brown ink, a number of lines and letters in liquid gold (including the three lines on the opening page and the initials of the author on fol. 3r), seven full-page line-drawn illustrations (one later) in High Renaissance style, each page with thin border-frame in liquid gold or line-drawn acanthus-leaves, some minor smudges and cockling throughout, in fine contemporary dark brown leather binding over pasteboards with elaborate gilt-tooling on both front and back boards of a frame enclosing scroll-work around a central floral boss and SIMON GATTULA on front board and EP(ISCOP)US VEN(USIN)US on back board, most probably restored in nineteenth century with addition of modern paper flyleaves}

provenance

1. Almost certainly produced for Simon Gattula, bishop of Venosa, in Naples in 1557.

2. Rudolfo Pio, nephew of Alberto Pio, the lord of Carpi; arms and ownership inscription on fol. 11v.

3. Pantani Giuseppe Fabbro Valestra in 1877: ownership inscription at base of fol. 1r.

Condition is described in the main body of the cataloguing where appropriate.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

text

Few details survive of the life of Simon Gattula, the author and most probably the owner of this text. He originally held office as the head of the Neapolitan church, and in 1551 Pope Julius III appointed him bishop of Venosa, a diocese in southern Italy in the Apennines. He died in Naples a few years later, in 1566. The present manuscript is a petition sent to the pope to obtain the authorisation for the particular series of penitent prayers and related practises for the faithful within Gattula's diocese, and includes a copy of the papal response of 1557, granting this authorisation. The lavish decoration and fine binding mark this as a highly personal copy, most probably produced for the bishop himself as a private record, and the illustrations suggest it may also have been used for personal contemplation. After Gattula's death, the manuscript appears to have come into the possession of Cardinal Rudolfo, nephew of Alberto Pio, the lord of Carpi, who had his coat-of-arms and an inscription in a calligraphic hand in red ink, added to fol. 11v.

decoration

The full page line-drawn illustrations are in a High Renaissance style and include:

1. Folio 1r, full-page line drawing of the arms of Simon Gattula within an oval cabochon, surmounted by a bishop's mitre, and surrounded by an inscription in blue ink with scroll-work decoration: SIMON / GATTULA / EPUS / VENUSINUS, all within a liquid gold border frame and with the title at the head of the page in liquid gold.

2. Folio 1v, full-page line drawing of the arms of the pope within an oval cabochon, surmounted by the three-tiered crown of St. Peter and the keys of the saint, all within a liquid gold border frame.

3. Folio 2r, large and detailed line-drawing of the Crucifixion (approximately 85mm high) above three lines of text, all within a liquid gold border frame.

4. Folio 2v, full-page line drawing of St. Peter kneeling before Christ, and receiving his keys from him, with later inscriptions of INRI & S.P. above the figures, all within a liquid gold border frame.

5. Folio 7r, large line drawing of a bishop, almost certainly that of Gattula himself, kneeling in prayer with his mitre and crosier before him, the Crucifixion and the Virgin and Christ Child above him on clouds (approximately 98mm. in height), above three lines of text, all within a liquid gold border frame.

6. Folio 7v, full-page line drawing of Pentecost, with a dramatic and complex scene of Mary and her followers in wonderment as the Holy Spirit descends in the form of a dove, all within a liquid gold border frame.

7. Folio 9v, full-page line drawing of an intertwined circlet, most probably the crown of thorns, touched in blue and brown, and surrounded by the inscription in blue ink: Jesus / Nazaren / Rex / Judeor, all within a liquid gold border frame.

8. Folio 11r, full-page line drawing of St. Andrew, holding the cross on which he was martyred and a book (note that the fine Gothic cathedral in Venosa, built in 1532, was originally dedicated to this saint), all within a liquid gold border frame.

9. Folio 11v, full-page line drawing of the coat-of-arms of Rudolfo Pio, surmounted by a cardinal's cap, with inscription in red ink naming the owner of the arms, within a liquid gold border frame.