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Keywords = kings of Sicily

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27 pages, 13168 KiB  
Article
Framing the Calendar of the Sacramentary of Messina (BNE, Ms. 52): Patronage and Byzantine Topics in Late 12th-Century Sicilian Art
by Carles Sánchez Márquez
Arts 2025, 14(2), 32; https://doi.org/10.3390/arts14020032 - 20 Mar 2025
Viewed by 910
Abstract
For the Norman kings of Sicily and the ecclesiastical authorities who ruled their dioceses, Byzantine art served as both a symbol of luxury and a model of prestige. Similarly to the mosaics of Palermo, Monreale, and Cefalú, as well as textiles and goldsmithing, [...] Read more.
For the Norman kings of Sicily and the ecclesiastical authorities who ruled their dioceses, Byzantine art served as both a symbol of luxury and a model of prestige. Similarly to the mosaics of Palermo, Monreale, and Cefalú, as well as textiles and goldsmithing, the manuscripts preserved in the National Library of Madrid stand as prime examples of the fascination that the dignitaries of the Kingdom of Sicily had for Byzantine esthetics. Among these manuscripts, the Sacramentary of Messina (Madrid, BNE Ms. 52) is perhaps the most striking. This Latin sacramentary, comprising 303 folios, features illuminated initials, a calendar with depictions of classical topics, such as the Spinario and a compelling depiction of August inspired by the Byzantine Koimesis, the months and zodiac, and two full-page illustrations depicting the Virgin Glykophilousa, the Crucifixion, and the Deesis. This study has a dual focus. First, it aims to analyze the iconographic peculiarities of the monthly images in this Latin calendar. Second, it seeks to provide new insights into the manuscript’s patronage and its place of origin. In this context, one of the most striking and significant aspects of the sacramentary’s iconography is the prominent role of the Virgin, a theme that will also be examined in this study. Archbishop Richard Palmer emerges as the leading candidate to have been the driving force in the patronage of the manuscript to the Royal scriptoria of Palermo. Full article
(This article belongs to the Special Issue Byzantium and the Mediterranean (11th–13th C.): Multiculturalism, Gender and Profane Topics in Illuminated Manuscripts)
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15 pages, 3377 KiB  
Article
The Early Manuscripts of San Salvatore de Lingua in Messina (Mid-12th Century): Surveying the Chief Decorator
by Antonino Tranchina
Arts 2023, 12(3), 98; https://doi.org/10.3390/arts12030098 - 9 May 2023
Cited by 2 | Viewed by 3348
Abstract
The monastery of Holy Savior has been the subject of much scholarship, but the liturgical reform requested by King Roger II of Sicily and carried out by the first archimandrite, Luke of Rossano, and the latter’s struggle to establish seemly equipment, has been [...] Read more.
The monastery of Holy Savior has been the subject of much scholarship, but the liturgical reform requested by King Roger II of Sicily and carried out by the first archimandrite, Luke of Rossano, and the latter’s struggle to establish seemly equipment, has been largely neglected. Given its potential relevance for the material setting of the monastery’s early manuscript collection through the middle of the twelfth century, this seems an oversight. Art historians have repeatedly claimed that the monastery’s lofty status could have enabled the spread of Byzantine models to Norman Sicily, especially in relation to figurative arts and manuscript decoration. This paper discusses the same assumption from the opposite perspective. It explores the main tendencies of manuscript decoration at San Salvatore based on the extant evidence from the monastery’s early collection. Building on the paleographical and codicological observations provided in the past decades (mostly by philologists), I examine the manuscripts in terms of decorative practice and artistic culture. Full article
(This article belongs to the Special Issue Byzantium and the Mediterranean (11th–13th C.): Multiculturalism, Gender and Profane Topics in Illuminated Manuscripts)
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9 pages, 2187 KiB  
Entry
Joanna I of Anjou (1343–1382)
by Paola Vitolo
Encyclopedia 2021, 1(4), 1303-1311; https://doi.org/10.3390/encyclopedia1040097 - 8 Dec 2021
Viewed by 3496
Definition
Joanna I of Anjou (1325–1382), countess of Provence and the fourth sovereign of the Angevin dynasty in south Italy (since 1343), became the heir to the throne of the Kingdom of Sicily, succeeding her grandfather King Robert “the Wise” (1277–1343). The public and [...] Read more.
Joanna I of Anjou (1325–1382), countess of Provence and the fourth sovereign of the Angevin dynasty in south Italy (since 1343), became the heir to the throne of the Kingdom of Sicily, succeeding her grandfather King Robert “the Wise” (1277–1343). The public and official images of the queen and the “symbolic” representations of her power, commissioned by her or by her entourage, contributed to create a new standard in the cultural references of the Angevin iconographic tradition aiming to assimilate models shared by the European ruling class. In particular, the following works of art and architecture will be analyzed: the queen’s portraits carved on the front slabs of royal sepulchers (namely those of her mother Mary of Valois and of Robert of Anjou) and on the liturgical furnishings in the church of Santa Chiara in Naples; the images painted in numerous illuminated manuscripts, in the chapter house of the friars in the Franciscan convent of Santa Chiara in Naples, in the lunette of the church in the Charterhouse of Capri. The church of the Incoronata in Naples does not show, at the present time, any portrait of the queen or explicit reference to Joanna as a patron. However, it is considered the highest symbolic image of her queenship. Full article
(This article belongs to the Collection Encyclopedia of Medieval Royal Iconography)
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10 pages, 2445 KiB  
Entry
Robert of Anjou (1309–1343)
by Mirko Vagnoni
Encyclopedia 2021, 1(3), 812-821; https://doi.org/10.3390/encyclopedia1030062 - 16 Aug 2021
Viewed by 3783
Definition
Robert of Anjou King of Sicily (1309–1343). Robert of Anjou was the third king of the Angevin dynasty on the throne of Sicily. He ruled from 1309 to 1343, but, in these years, Sicily was under the domain of the Aragonese dynasty and, [...] Read more.
Robert of Anjou King of Sicily (1309–1343). Robert of Anjou was the third king of the Angevin dynasty on the throne of Sicily. He ruled from 1309 to 1343, but, in these years, Sicily was under the domain of the Aragonese dynasty and, hence, his authority was limited to the continental land of the Kingdom and his court was mainly focused in the city of Naples. From an iconographic point of view, he is particularly interesting because, between his official representations (namely, commissioned directly by him or his entourage), he was the first king of Sicily who made use not only of stereotyped images of himself, but also of physiognomic portraits. In particular, this entry focuses on these latter items, comprising the following four artworks: Simone Martini’s altarpiece, the Master of Giovanni Barrile’s panel, the Master of the Franciscan tempera’s canvas, and the so-called Lello da Orvieto’s fresco. Full article
(This article belongs to the Collection Encyclopedia of Medieval Royal Iconography)
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10 pages, 1833 KiB  
Entry
Frederick II of Hohenstaufen (1208–1250)
by Mirko Vagnoni
Encyclopedia 2021, 1(3), 710-719; https://doi.org/10.3390/encyclopedia1030055 - 3 Aug 2021
Viewed by 6189
Definition
Frederick II of Hohenstaufen, King of Sicily (1208–1250). Frederick II of Hohenstaufen was the second king of the Swabian dynasty to sit on the throne of Sicily. He was crowned in 1198, but, in consideration of his young age, he only ruled independently [...] Read more.
Frederick II of Hohenstaufen, King of Sicily (1208–1250). Frederick II of Hohenstaufen was the second king of the Swabian dynasty to sit on the throne of Sicily. He was crowned in 1198, but, in consideration of his young age, he only ruled independently from 1208 to 1250 (the year of his death). He not only held the title of King of Sicily but also was the King of Germany (or of the Romans), the King of Jerusalem, and, above all, Emperor of the Holy Roman Empire. His most relevant and innovative iconographic representations were in Southern Italy. For this reason, we focus on the images in this geographical context. In particular, we have nine official (that is, those commissioned directly by him or his entourage) representations of him: the bull (in three main versions), the seal (in three main versions), five coins (four denari and one augustale), the statue of the Capua Gate, and the lost image of the imperial palace in Naples. Full article
(This article belongs to the Collection Encyclopedia of Medieval Royal Iconography)
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10 pages, 1481 KiB  
Entry
Frederick III of Aragon (1296–1337)
by Mirko Vagnoni
Encyclopedia 2021, 1(3), 566-575; https://doi.org/10.3390/encyclopedia1030047 - 14 Jul 2021
Viewed by 3940
Definition
Frederick III of Aragon, King of Sicily (1296–1337). Frederick III of Aragon was the third king of the Aragonese dynasty on the throne of Sicily. He ruled from 1296 to 1337 and he was the only Aragonese king of Sicily who made a [...] Read more.
Frederick III of Aragon, King of Sicily (1296–1337). Frederick III of Aragon was the third king of the Aragonese dynasty on the throne of Sicily. He ruled from 1296 to 1337 and he was the only Aragonese king of Sicily who made a significant use of his image. In particular, we have four official (namely, commissioned directly by him or his entourage) representations of him: the royal seal, the billon silver denaro coin, the lost mosaic from the Church of Santa Maria della Valle (known as Badiazza) near Messina, and the mosaic in the Cathedral of Messina. Full article
(This article belongs to the Collection Encyclopedia of Medieval Royal Iconography)
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9 pages, 2623 KiB  
Entry
William II of Hauteville (1171–1189)
by Mirko Vagnoni
Encyclopedia 2021, 1(3), 542-550; https://doi.org/10.3390/encyclopedia1030045 - 3 Jul 2021
Viewed by 3816
Definition
William II of Hauteville King of Sicily (1171–1189). William II of Hauteville was the third king of the Norman dynasty on the throne of Sicily. He ruled independently from 1171 (from 1166 to 1171 he was under the regency of his mother) to [...] Read more.
William II of Hauteville King of Sicily (1171–1189). William II of Hauteville was the third king of the Norman dynasty on the throne of Sicily. He ruled independently from 1171 (from 1166 to 1171 he was under the regency of his mother) to 1189. From an iconographic point of view, he is particularly interesting because he was the first king of Sicily who made use of monumental images of himself. In particular, we have five official (namely, commissioned directly by him or his entourage) representations of him: the royal bull, the royal seal, and three images from the Cathedral of Monreale (near Palermo): two mosaic panels and one carved capital. Full article
(This article belongs to the Collection Encyclopedia of Medieval Royal Iconography)
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