“This Robert was Norman by descent, of insignificant origin. […] His stature was so lofty that he surpassed even the tallest, his complexion was ruddy, his hair flaxen, his shoulders were broad, his eyes all but emitted sparks of fire, and in frame he was well-built where nature required breadth, and was neatly and gracefully formed where less width was necessary.”
“This woman was a fearsome sight when dressed in full armour. […] But as she saw Robert’s soldiers running away, she called out to them in a very powerful voice: ‘How far will ye flee? Stand, and be like men!’ And when she saw they continued to run, she grasped a long spear and at full gallop rushed after the fugitives; and on seeing this they recovered themselves and returned to the fight.”
A fourth brother of the Hauteville line was even more successful: Robert Guiscard (d. 1085). After modest beginnings, he participated with his brothers in the decisive Battle of Civitate (1054), in which the Normans prevailed against an alliance of their opponents. Only a few years later, Robert had married the important Princess Sikelgaita of Salerno (d. 1090). In 1059, in return for a promise of protection, the Pope recognised him as count of Apulia and Calabria as well as Sicily. At that time, Sicily was still under Muslim rule and thus needed to be conquered first. Between 1061 and 1091, this was achieved under the leadership of Roger I (d. 1101), a younger Hauteville brother. Robert died in 1085 during a campaign against Byzantium.
North-western France, end of the 12th c.
Parchment
Avranches, Bibliothèque patrimoniale d’Avranches, Ms. 162, fol. 64r
In this work, which is preserved only in this manuscript, William of Apulia recounts the arrival of the Normans in southern Italy. He the covers the most important steps of the life of Robert Guiscard: His conquests in Calabria, the investiture as duke of Apulia and Calabria on the occasion of the synod of Melfi as well as the capture of Bari and Palermo. He ends his gesta with a report of Robert’s campaign against the Byzantine emperor during which Robert died in 1085. This may also be the first manuscript to mention Robert’s epithet „Guiscard“, which is old French for cunning and clever.
Production: Studio ARCHETIPO
by Dr. Arch. Konstantin Brandenburg
Dynastic tombs played an important role for legitimisation and as a signs of power. Such a sign was created by Robert Guiscard by commissioning the church in Venosa and assign it as burial ground for his family. At the same time, he arranged for the extensionof the abbey’s complex. However, the huge building project was never completed and to this day the impressive and unfinished building remains: the so-called Incompiuta. But what was the original plan and how was the new building supposed to look? In this video, you can see an architectural hypothesis which was created based on latest analysises research.
Montecassino, 2nd half of the 11th c.
Parchment
Vatican City, Biblioteca Apostolica Vaticana, Vat. lat. 1202, fol. 2r
Facsimile
Robert Guiscard and his wife Sikelgaita had close relations with the monastery of Montecassino and its abbot Desiderius, who was an important political and ecclesiastical figure. More than one time he acted as intermediary between the Normans and the Church. Robert and Sichelgaita supported Montecassino through donations and the duchess also was buried there. The scene depicts Desiderius handing over the codex to the enthroned Saint Benedict. At the abbot’s feet, other precious books refer to the abbey’ss famous scriptorium. The buildings in the background serve as a reminder of the aboot’s building activities who is also known as the second „founder“ of Montecassino.
Montecassino, around 1100
Pergament
Munich, Bayerische Staatsbibliothek, Clm 4623, fol. 174v
The chronicle tells the story of Montecassino with a focus on the political events of the 11th century. The author, the monk Leo Marsicanus, was an eye witness and had first-hand information. He reports the arrival of the the first Normans and their actions under their leaders from the Drengot and Hauteville family. The manuscript shown here is a so-called autograph, which means it was written by the author himself.
Found: Abbey of Montecassino
Production: Palermo (?) (1); Palermo/Messina (2), 11th–12th
Goldfoil, delicate and grained gold, glass stones, garnets (1); Tari, gold alloy (2)
Rom, Museo delle Civiltà, Inv. 15 (1); Rom, Museo Nazionale Romano, Inv. 125918–125946 (2)
The fibula was found together with 29 gold coins in Montecassino in 1898. It belongs to the type of big disc fibulas, which were on trend especially for high-ranking religious and secular men and women in late Ottonic and Salian Germany. The coins are golden tari, which were minted in Palermo and Messina between the reigns of Roger I (d. 1101) and of William III (d. ca. 1198).
Montecassino, 13th c.
Marble, white limestone, red glass paste
Cassino, Abbazia di Montecassino – Museo
In combination with its twin piece, a mirrored stone slab, this plate was made with a specific mosaic technique called opus sectile. This stone plate depicting a hound originates from the medieval basilica of Montecassino and is linked to the tomb of its founder Saint Benedict. It was recovered and saved during the reconstruction of the abbey, which was destroyed in the Second World War. It can be assumed that the plates were originally attached horizontally to the sides of the altar to protect the grave of Saint Benedict.
Opus sectile bezeichnet eine Technik, bei der verschiedene Materialien in Stücke geschnitten und in Wände oder Fußböden eingelegt wurden. Auf diese Weise konnte man ein Bild oder ein Muster erstellen. Anders als beim Mosaik, das aus vielen kleinen einheitlichen Stückchen besteht, sind die Stücke beim opus sectile viel größer und können bereits große Teile des Musters darstellen.
Southern Italy, 1st half of the 12th c. (?)
Ivory
Florenz, Musei del Bargello, Inv. 60 C
Probably invented in India, the chess game became very popular throughout the Near East in the 6th and 7th centuries. From there it was brought to Europe perhaps via cultural contact zones or trade contacts with the arab-oriental East. In Europe, the game was adapted by the medieval feudal society. The king is the most important piece in the game. The exhibit shown here shows the features of a mature man who is wearing a long tunic and a heavy cloak. A light headgear is fixated by a tiara.
Southern Italy, Middle of 12th c.
Ivory
Berlin, Staatliche Museen zu Berlin, Skulpturensammlung und Museum für Byzantinische Kunst, Inv. 615
This queen was probably made in the workshop responsible for the famous ivory plaques of the Paliotto cycle in Salerno. The figure sits on a massive throne with a semicircular back and two cushions. She wears a wide robe with batwing sleeves. The index finger of the queen’s right hand points to the left in the direction of the central gaming piece, the king. Signs of wear and the smoothness of the surfaces indicate the use of this piece over a long time. There are rests of red coloring left in some places.
Southern Italy, ca. Middle of the 11th– Middle of the 12th c.
Ivory
Berlin, Staatliche Museen zu Berlin, Skulpturensammlung und Museum für Byzantinische Kunst, Inv. 5952
The ivory plaques of the „Paliotto-cycle“ from Salerno are masterpieces of medieval art. They were probably made to adorn a bishop’s throne and show a biblical scene from the Old and the New Testamenent. Probably, they were carved to be presented on the occasion of the inauguration of the cathedral of Salerno (1084) built by the Norman Duke Robert Guiscard and the Lombard archbishop. The Paliotto cycle is among the most important ivory artworks of the Middle Ages. Most of the plates are still in Salerno today, although some, like this piece, are preserved in other museums. The scene illustrates Genesis 13,18 with Abraham erecting an altar for god. The style of the altar’s structure reminds of the architecture of Norman Sicily and Fatimid Egypt.
Ivory plaque: Joseph’s dream
Southern Italy, Salerno/Amalfi, end of the 11th–beginning of the 12th c.
Ivory
Rouen, Musée des Antiquités, Inv. 721
Even though this plaque is more simple and schematic then the Berlin plaque it is still considered as linked to the „Paliotto-cycle“ from Salerno. It depicts the Old Testamentary scene of Joseph’s dream. It has stylistic similarities to the plaque from the Paliotto ivories depicting the same scene, with the duvet’s drapery, the engraved rhombs on the cushion, the angel’s wand and the beady strands of his hair.
Southern Italy, ca. Middle of the 11th–Middle of the 12th c.
Ivory
Rouen, Musée des Antiquités, Inv. 1796 (A)
The exact meaning and function of this horn is unknown. Other objects of this kind, however, were used as music instruments, reliquaries and status symbols. Ivory was a luxury good and connected to the strenght and power of an elephant. In the main frieze decorating this Oliphant there are two symmetrical pairs of griffins, gazelles, camels and not-identifiable four-legged creatures. Underneath there is a recess, maybe for fixing a strap made of metal or textile. This served as a decorative element and for transporting the horn.
Canne della Battaglia, 2nd quarter of the 12th c.
Ivory
Barletta, Antiquarium e Parco Archeologico di Canne della Battaglia, Inv. Nr. 44673
The delicately worked handle has the form of a fish or dragon head with big, empty eye sockets, which once might have contained decorative stones. In its wide-open mouth between its teeth, the monster holds captive a bearded man who is depicted on his knees. He has a a large head, a small body and bare legs. On the opposite side of the handle, there is another head: that of an older man with bald forehead, a braided sideburns and a bushy moustache.
Gaeta, ca. 1100
Marble
Gaeta, Museo del Centro Storico Culturale, ohne Inv.
There is no information about the origin and the original location of this object which was found during the demolition of a house in the historic centre of Gaeta. Due to the hole in the mouth onto which a small drain is attached it is assumed that it may have been a decorative element of a fountain from around 1100. Such ornaments were widely used. Gaeta was ruled by the Normans from 1063.
Master of the throne of abbot Elias
Bari, Basilica of Saint Nicholas, 1st quarter of the 12th c.
Marble
Bari, Pinacoteca Corrado Giaquinto, Inv. 21/969
This capital shows two naked juxtaposed men who can be identified either as slaves or as atlases. They are embraced by tendrils growing from the mouths of two demonic masks. The pressure working on the figures is demonstrated by the tensed muscles. The work is a masterpiece of sculpture and is connected to the anonymous master of Elia’s throne in the basilica of Saint Nicholas. It is one of the most famous testimonies of Norman sculpture in Apulia.
Production: Ralph Gellwitzki Animation und Video-Design
Immerse yourself in the land in which the Norman conquerors arrived in the 11th century and which they helped to shape. Click on the red dots on the map and discover the diverse world of southern Italy!
Using the example of the Hauteville family, we invite you to explore the function of marriage connections for the Normans and as strategy for intefration. Who marries whom, where and why? Find the matching pairs! Lift the flap and find out how the Hautevilles connected themselves within few decades – and these are only selected examples and they only were one of many families! Is it not incredible how connected the Normans were?
This didactic station is based on an idea by the students Nico Draxler, Laura A. Eger, Gloria Meleghy and Elisa Rudisile and was realised in cooperation with Nico Draxler, Laura A. Eger and Gloria Meleghy.