I Bizantini consideravano i Normanni come barbari, ma li riconoscevano anche come una seria minaccia militare. I Normanni, invece, bramavano le ricchezze dell’Impero bizantino e il lusso di Costantinopoli. Le influenze "greche" e la tradizione religiosa erano profondamente radicate nell'Italia meridionale e divennero parte integrante del potere siculo-normanno. I re siciliani imitarono nelle loro rappresentazioni l'imperatore bizantino e anche la decorazione di chiese e palazzi rivela forti influenze bizantine. Nelle officine reali di Palermo lavoravano tra i migliori artisti e artigiani provenienti dall’Impero bizantino.
Byzantium, 12th c.
Parchment
Florence, Biblioteca Medicea Laurenziana, Plut. 70.2, fol. 11v/12r
In 15 books, Anna Komnene (d. 1153) wrote a history dedicated primarily to the reign of her father, Emperor Alexios Komnenos. As the emperor’s daughter, she had grown up in the centre of power and was therefore able to draw on her own observations as well as on direct eyewitness accounts and documents. The result is a multifaceted, detailed but not uncoloured account of her father’s reign (1081–1118). The Normans play an important role in her account. The manuscript on display is one of the oldest surviving copies of the text. The book is opened on the first appearance and description of Robert Guiscard in the 10th chapter of Book 1.
Front: Christ on the cross
Back: Praying Mary
Mid-Byzantine, 10th–12th c.
Bronze, cast
Reiss-Engelhorn-Museen Mannheim, Inv. Blanck 5
Front: Praying Mary (?), flanked by two half-figured angels
Back: undecorated
Mid-Byzantine, 11th c.
Bronze
Reiss-Engelhorn-Museen Mannheim, Inv. Homsy 127
Front: Christ on the cross between Mary and John
Back: Praying Mary and busts of the four evangelists
Mid-Byzantine, 10th–12th c.
Bronze, cast
Reiss-Engelhorn-Museen Mannheim, Inv. Allardt 22 (3); Inv. Homsy 128 (4)
The term encolpion initially included all objects that were worn on chains on the chest. From the 9th century onwards, encolpia in the form of small cross-shaped capsules became increasingly popular in the Byzantine Empire. They consisted of two hollow cross halves connected by a hinge, which could be opened. Relics, usually the remains of a saint, were kept inside. Crucifixion scenes and the praying Mary, alone or with the evangelists (or their symbols), were among the most common depictions.
Constantinople (?), end of the 10th–beginning of the 11th c. (with later changes)
Gilded silver, cloisonné-enamel, gemstones
Monopoli, Museo Diocesano, Inv. 1
Parts of the Cross of Christ are kept in a staurotheque. The precious artwork from Monopoli was most likely made in Constantinople. The central plate can be opened by sliding it down and the cavety was used to store a fragment of the “True Cross”. The depiction on the central panel made with cloisonné-enamel also refers to the religious content: Christ on the cross, flanked by Mary and John. Inside the doors there are the figures of the Saints Peter and Paul.
Constantinople (?), 2nd half of the 10th c.
Gold and cloisonné-enamel
Gaeta, Museo Diocesano, no Inv.
This magnificent work of art was most likely made in the imperial workshops of Constantinople. It served both as a reliquary for fragments of the “True Cross” and as an encolpion. In this function, it was intended to guarantee its wearer protection and physical integrity. A metrically written inscription reveals the name of the original owner: “Mother of God, help your servant Basilios”. It can be assumed that the object arrived in the Italian south before the Norman conquest, when large parts of southern Italy were under Byzantine rule.
Palermo, 1140-1154
Silver
Berlin, Staatliche Museen zu Berlin, Münzkabinett, Nr. 18279775
Constantinople, 1005-1154
Observe: + Ih(σou)S X(ρ)IS(τos) REX REGNANTIhm
Reverse: + bASIL(eios) C COHSTAhTIh b(asileus) R(omaion)
Gold
Stuttgart, Landesmuseum Württemberg, Inv. MK 28027
Constantinople, 1028-1034
Observe: + Ih(σou)S X(ρ)IS(τos) REX RESNANTIhm
Reverse: + Θ(εoτo)CE bOHΘ RωmAhω
Upper middle: M(ητηρ) Θ(ειou
Gold
Stuttgart, Landesmuseum Württemberg, Inv. MK 28030
Constantinople, 1143-1180
Observe: + K(uρι)E ROHΘEI
In the middle: I(ησou) C.X(ριστo)C
Reverse: left in the field: [M]A/[NVH]Λ/[ΔE]C/ΠO/TH,
right: ΠOP/ ΦY/POΓ/NH/T
Gold
Stuttgart, Landesmuseum Württemberg, Inv. MK 28032
In 1071, the Byzantine Empire lost its last territories in southern Italy to the Normans. However, the Greek traditions survived in various forms, among others in the Norman coinage. Roger II operated mints in Palermo, Messina, Salerno and Amalfi. His coins in gold, silver and bronze were modelled on Byzantine coins, but did also take up the motifs of Arabian coins regarding their lettering and images. Especially for the silver nominal currency introduced by King Roger II, the Ducalis (1), a Byzantine imagery was used. This becomes obvious when comparing it to the coins of the Greek emperors (2–4).