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Global Medieval: The fact that this mantle such Islamic distinctive features is a huge testament to the Global Medieval aspect of Art History. There was an abundance of cross-cultural connection by Norman Sicily under Roger II as we had went over in class. NOT ONLY was this made by Arabic Craftsmen under a Christian ruler just as many of the Norman churches and buildings built in Sicily were built by local Arab labor thus influencing their designs to turn very unlike any other design. For example we saw symmetrical churches which looked layout-wise very like a mosque. In this case, it is the same cross-cultural Global Medieval type of art but just with a mantle. In fact, even the imagery is directly referencing cross-cultural ideas because the lion on one side represents the Normans and the camel represents the Arabs showing that not only Roger II was a truly inclusive and multicultural kingdom but that this challenges the Global Medieval Canon that most christian kingdoms were divided from the Islamic world and Western Europe was plunged into an age of plague and darkness. It is clear through this piece of art that Norman Sicily had a deep syncretic aspect to it whether it is Art like this mantle or architecture.

Subect: Other than the lion overpowering the camel in the mantle with ornate designs tha t are very Islamic. There is also Kufic script written proving further the deep involvement of Arabic artisans in the creation of this mantle. In fact, a similar idea is shown in the Capella Palatina : "Originally, every facet of the layered, gilded ceiling was covered with banqueting scenes: drinkers, dancers, and musicians and Kufic inscriptions." (Britt 29) This shows this kind of mixture was not limited to this mantle but a theme throughout Roger II's rule. The mantle is seen to be a representation of power because although there is a camel and there are numerous Islamic motifs the overarching message seems to be the Lion defeating the camel or the domination of the territory that was conquered. But based on Roger II's multicultural approach towards Sicily I think it doesn't mean conflict between Christians and Muslims and the elements such as the Kufic, or the embroidery from Islamic artisans or the Tree of Life which looks like a palm tree generally associated with the Islamic world are all signs it isn't a anti-Muslim piece of art but rather something that represents the history of the conquest and also the further multicultural Global Medieval mingling that happened under Roger II's rule. In fact, the Capella Palatina directly presents the ruler as "...purely Islamic." (Britt 29)

Context: According to Britt, the Normans were "renowned for their mastery of propaganda, a neccesary skill for Roger II's ambition" (Britt 34) This mantle utters screams propaganda. The lion screams power projection and the opulence and size of mantle is enough to do that alone. Similar to the Capella Palatina, and its multicultural aspects this mantle does all that perfectly while also not making it seem like those conquered are being completely suppressed. If Roger decided to not use Arab artisans then they may have not made their motifs in here and thus would not have complied with his rule otherwise. That is why doing propaganda is so important in art history and as a ruler.

Q1: In what way does the Tree of Life here represent the multicultural rule of Roger II? What does the Tree of Life really mean in the Islamic and Christian traditions? Does it represent power or cultural acceptance?

Q2: What do the embroidery and materials that make up the mantle show about the trade network that the Normans had access to?

Q3: What does the Kufic inscriptions say exactly? Additionally, how does this mantle compare to other areas of multicultural art in Norman Sicily such as the Capella Palatina. How does it compare with Norman art and mantles that were before the Normans arrived in Sicily? This mantle was also apparently the inspiration for a mantle worn by Charlemange. How exactly and where did that inspiration come from?