Imperial Coronation Mantel of The Holy Roman Empire
The legacy of Sicily’s Arab past
The Imperial Coronation Mantel of the Holy Roman Empire was originally designed for Roger II, King of Sicily, a once flourishing Arab-Islamic center.
After the Norman conquest, Sicily continued to hold its Arab character. Roger II was fond of the Arab-Islamic heritage of the island. He was an Arabic speaker himself. He gathered around him famous, distinguished Arab men such as Muhammad al Idrisi.
Roger made this mantel on the occasion of his coronation in 1220. It was then carried in the coronation ceremonies of 47 rulers after him until the 18th century. The mantel came to the Holy Roman Empire through marriage politics. Constance, Roger II’s daughter married Henry VI, son of Frederic Barbarossa. When Henry left Sicily and returned to Germany, he took the coronation mantel with him. It became the property of the Hohenstauffer, German Imperial family. Henry and Constance’s son Frederic II grew up in Sicily. He was educated by Arab scholars and was a fluent Arabic speaker. Although the coronation mantel originated in Islamic culture, it was significant in the Holy Roman Empire.
The hem of the mantel is decorated with an Arabic inscription made by a Muslim Arab. The Kufic script is bordered on both sides by a double row of pearls.
The Arabic text adorning the mantel reads:
This belongs to the articles worked in the Royal workshop, (which has) flourished with fortune and honour, with industry and perfection, with might and merit, with (this) sanction and (his) prosperity, with magnanimity and majesty, with renown and beauty and the fulfillment of desires and hopes and with felicitous days and nights without cease of change!, with honour and solicitude, with protection and defence, with success and certainty, with triumph and industry. In the (capital) city of Sicily the year 528 (of the Islamic Hijri calendar)
The roots of this mantel reflect the fusion culture of Arab-Norman Sicily. The golden camels adorning the scene show the Fatimid Festival of the Sacrifice. This probably started with the Fatimid Caliph Ismail Al Mansur. The origin of this narrative goes back to Prophet Muhammad’s grandfather Abdulmuttalib who vowed to sacrifice one of his sons. The chosen one was Abdullah, the Prophet’s father. Abdulmuttlib eventually ransomed him by one hundred camels. This representation could also reflect Prophet Ibrahim (Abraham)’s sacrifice of his son Ismail, from where the Arabs descend. Thus the mantel’s iconography reimagines this event in a Christian context to display a Fatimid political ritual.
The Tree of Life motif which appears in the center is identical to that of the Umayyad Dome of the Rock mosaic. This motif can be found in several other early Arab-Islamic buildings such as Qasr Amra Palace in Jordan and Caliph Hisham’s Palace in Palestine. This tree is a palm tree which represents Arab power and Islamic influence. This tree is central with dates dangling on both sides: this is Arab Sicily that the Normans conquered. The new invaders recognized the beauty of the prior Arab-Islamic establishment and blended their traditions with Sicolo-Arab. The Tree of Life is an ancient symbol of Earthly roots, the connection to Heaven, and the bridge to the afterlife. The tree is connected to everything, its roots are deep underground and its branches reach the sky. It is a sign of immortality and a metaphor for evolution.
The branches are growing, striving for wisdom and knowledge. It thus represents connection, strength, growth, rebirth, and tranquility. In Islamic conception, the tree is connected to the transition of humans from the high Heavens down to the worldly Earth: But Satan whispered to him: he said, O Adam! Shall I lead thee to The Tree of Eternity And to a Kingdom That never decays? (Holy Quran 20:120)
A strong message about political legitimacy is also conveyed. This was used to reinforce the Norman power in Arab Sicily through the use of visual culture. The lions represent power, courage, and leadership. They reflect a guarding spirit that brings peace, prosperity, and tranquility.
On the other hand, the camels represent spiritual knowledge, wisdom, and divine revelation. They are not hunters, but rather patient and self-sufficient. If not conquered, they can remain resilient, withstand hardships, and live long. The figurative representation of the mantel shows the lions on top, appearing fearsome and dominant. While the camels are domesticated, wearing saddles, attacked by the ferocious hunters: the lions. These lions represent the Normans and camels the Arabs.
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