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Updated: August 2, 2024
Some sculptured tombs, one of them a monument in honour of Marinella Rufolo of Ravello, who was married to a Coppola of Scala, remain in the churches to interest the curious traveller, but most visitors will find the principal charm of this dilapidated little city in its lofty striking situation beneath the frowning mass of Monte Cerrato.
Turning aside from Sigilgaita’s steady gaze and making the round of the bleak white-washed building, our eyes are suddenly attracted by a fine picture, in the manner of Domenichino, representing the martyrdom of Pantaleone, the popular Amalfitan Saint to whom this church was dedicated by the Rufolo family.
Six spiral columns, springing from the backs of crouched lions, support the rostrum of marble inlaid with beautiful mosaics; whilst above the arch of the stair-way of ascent stands the famous portrait, usually called that of Sigilgaita Rufolo, wife of the founder of the Cathedral.
The striking face, which is surmounted by an elaborate diadem with two pendent lappets, is evidently an excellent likeness of the original; yet there can be no doubt that this interesting bust has been wrongly named, since the pulpit itself, as a Latin inscription duly records, was erected in the year 1272 by Niccolò Rufolo, a descendant of the famous Grand Admiral, so that we may fairly conclude that the portrait represents the wife, or perhaps sister or daughter, of the donor.
Nor was Pope Adrian the only sovereign who honoured Ravello by his presence, for Charles of Anjou, brother of St Louis of France and the murderer of poor Conradin, and King Robert the Wise also received the hospitality of the Rufolo family within these walls.
Perhaps those severe proud features may have impressed the ignorant Vandal-Bishop as that of some unknown Saint, whom it might be dangerous to offend, and may thereby have saved the pulpit of Niccolò Rufolo from the destruction that must have seemed inevitable.
Its cathedral was founded in honour of Saint Pantaleone by Niccolò Rufolo, Duke of Sora and Grand Admiral of Sicily, the head of the powerful family whose name is still gratefully remembered in this half-deserted town.
There still exist intact the magnificent bronze doors with their fifty-four panels of sculpture in relief, the gift of Sergio Muscettola and his wife, Sigilgaita Rufolo, and the work of the Italian artist Barisanus of Trani, who likewise designed and cast the portals of the cathedrals of his native town and of Monreale.
That their name was still familiar in Italian society in the fourteenth century is evident from the circumstances that Boccaccio puts a story, no doubt founded on fact, into the mouth of the fair Lauretta, which deals with the adventures of one Landolfo Rufolo of Ravello, “who, not content with his great store, but anxious to make it double, was near losing all he had, and his life also.” The novel proceeds to relate how this member of a wealthy and respected family turned corsair, after losing all his capital in a mercantile speculation in Cyprus; how he, in his turn, was robbed of his ill-gotten gains on the high seas by some thievish merchants of Genoa; and how Landolfo, after passing through a variety of more or less improbable adventures, was finally rescued from drowning off the coast of Corfu by a servant-maid who, whilst washing dishes by the sea-shore, chanced to espy the unconscious merchant drifting towards the beach with his arms clasped round a small wooden chest, which kept him afloat. “Moved by compassion,” says the relator of the tale, “she stepped a little way into the sea, which was now calm, and seizing the half-drowned wretch by the hair of his head, drew both him and the chest to land, where with much trouble she unfolded his arms from the chest, which she set upon the head of her daughter who was with her.
On the arch over the entrance to the staircase projects the head of Sigelgaita, wife of Niccola Rufolo, the donor of the pulpit to the church, sculptured in the style of the Roman decadence, between two profile medallions in low relief. The material of the whole is fair white marble, enriched with mosaics, and wrought into beautiful scroll-work of acanthus leaves and other Romanesque adornments.
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