Frederick III of Aragon (1296–1337)

Entry Frederick III of Aragon (1296–1337)

Mirko Vagnoni

Independent Researcher, I-50050 Gambassi Terme, Italy; [email protected]

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 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.

Keywords: royal images; royal iconography; kings of Sicily; Aragonese dynasty; Frederick III of Aragon

1. Introduction Notwithstanding he already ruled as vicar of his brother James II from 1291, only in 11 December 1295 was Frederick III of Aragon elected King of Sicily by the Sicilian Parliament. Afterwards, he was crowned in Palermo on 25 March 1296 and he reigned until his death in 25 June 1337 (about Frederick III of Aragon, King of Sicily, see [1–4], the update [5] and synthetically [6–8]. More recent but not particularly interesting are [9–11]. For a historiographical framework on Frederick III, see [12], [13] (pp. 183–211)). Among the kings of the Aragonese dynasty on the Sicilian throne, Frederick III seems to be the only one Citation: Vagnoni, M. Frederick III of who made significant use of his image and, for this reason, he has been selected to represent Aragon (1296–1337). Encyclopedia the iconography of this royal family (we do not know of any images of Peter III of Aragon 2021, 1, 566–575. https://doi.org/ acting as King of Sicily. The lost wall paintings of the Cappella di Santa Maria Incoronata 10.3390/encyclopedia1030047 in Palermo date back to the 16th century [14] and it does not seem that he made a specific seal for the Kingdom of Sicily by only using the seal of king of Aragon [15] (Volume 1, Academic Editor: Song-Chong Lee pp. 115–117 and 207–208). With regard to James II of Aragon acting as King of Sicily, we only have the images of the seal [15] (Volume 1, p. 8 and pp. 240–241, no. 187), [16] Received: 26 May 2021 (p. 82, although the reference should be corrected) and the denaro [17] (p. 10), [18] (p. 264 Accepted: 8 July 2021 Published: 14 July 2021 and pp. 696–697, plate 42, images no. 769–770)). Regarding him, we have four official (namely, commissioned directly by him or his entourage) representations: the royal seal, the billon silver denaro coin, the lost mosaic from the Church of Santa Maria della Valle Publisher’s Note: MDPI stays neutral with regard to jurisdictional claims in (known as Badiazza) near Messina, and the mosaic in the Cathedral of Messina (about the published maps and institutional affil- identification of Frederick III’s official image, see [19]). iations. 2. The Royal Seal Diplomatic research attests to the use of a seal to corroborate the documents issued by Frederick III’s royal chancellery (for example, the catalogue for the exhibition on the Messina documents of the Fundación Casa Ducal de Medinaceli of Seville quotes a doc- Copyright: © 2021 by the author. ument from 12 July 1332 with a hanging seal (however, it was later lost) [20] (p. 183, Licensee MDPI, Basel, Switzerland. This article is an open access article document no. 77)) and, in a paper from 1997, Maria Grazia Fallico listed some diplomas distributed under the terms and from this king bearing a seal [21] (pp. 69–70). In particular, they were a parchment from conditions of the Creative Commons 1320 of the Commenda della Magione section of the Archivio di Stato di Palermo (in reality, Attribution (CC BY) license (https:// in the inventory of the archive there is only one document for 1320 and it is not from creativecommons.org/licenses/by/ Frederick III [22] (p. 315, card no. 596). The diploma in question, instead, is no. 606 from 29 4.0/). July 1329 [22] (p. 324, card no. 613). The Repertorio points out the absence of the seal (this

Encyclopedia 2021, 1, 566–575. https://doi.org/10.3390/encyclopedia1030047 https://www.mdpi.com/journal/encyclopedia Encyclopedia 2021, 1, FOR PEER REVIEW 2

Encyclopedia 2021, 1 567 the inventory of the archive there is only one document for 1320 and it is not from Fred- erick III [22] (p. 315, card no. 596). The diploma in question, instead, is no. 606 from 29 July 1329 [22] (p. 324, card no. 613). The Repertorio points out the absence of the seal (this hashas alsoalso beenbeen kindlykindly verifiedverified personallypersonally byby Dr.Dr. SerenaSerena Falletta,Falletta, archivistarchivist atat thethe branchbranch ofof thethe CatenaCatena ofof thethe ArchivioArchivio didi StatoStato didi Palermo)),Palermo)), twotwo parchmentsparchments from from the the city city of of MessinaMessina issuedissued onon 11 OctoberOctober 13021302 andand storedstored inin thethe ArchivioArchivio ducaleducale MedinaceliMedinaceli inin Toledo,Toledo, and and fourfour parchmentsparchments fromfrom thethe citycity ofof CaltagironeCaltagironeissued issuedin in1299 1299and and storedstoredin in the theMuseo MuseoCivico Civicodi di Caltagirone,Caltagirone, inin thethe parchmentsparchments sectionsection ofof thethe Universitas Universitas di di Caltagirone. Caltagirone. ToTo mymy knowledge,knowledge, thesethese sealsseals havehave nevernever beenbeen published;published; however,however, II waswas ableable toto examineexamine somesome itemsitems inin CaltagironeCaltagirone (thanks(thanks toto thethe kindkind helphelp ofof archivistsarchivists MargheritaMargherita DiziaDizia andand EnzoEnzo Piluso).Piluso). AllAll fourfour ofof thethe examplesexamples fromfrom thisthis locationlocation areareidentical. identical. TheyThey areare redred waxwax hanging hanging seals seals placed placed in in a a wooden wooden box box (Figure (Figure1 ). 1). The The legend legend has has the the inscription inscription FRIDERICUSFRIDERICUS TERCIUS TERCIUS DEI DEI GRACIA GRACIA REX REX SICILIE SICILIE DUCATUS DUCATUS APULIE APULIE ET PRINCIPATUSET PRINCIPA- CAPUETUS CAPUE and the and image the image displays displays the king the onking a horseon a horse facing facing left. Theleft. sovereignThe sovereign is wearing is wear- a helmeting a helmet with a with crown, a crown, with a with sword a sword in his rightin his hand rightand hand a shieldand a shield in his left.in his Both left. the Both latter the andlatter the and caparison the caparison of the of horse the horse bearthe bear coat the of coat arms of arms of the of dynasty: the dynasty: quartered quartered with with red barsred bars in the in field the field or of or Aragon of Aragon and aand black a black eagle eagle in the in field the fiel argentd argent of Sicily. of Sicily.

FigureFigure 1.1. SealSeal of of Frederick Frederick III III of of Aragon Aragon as asKing King of Sicily, of Sicily, impression impression on red on redwax, wax, 15 October 15 October 1299. 1299.Museo Museo Civico Civico di Caltagirone di Caltagirone (ex (ex Carcere Carcere Borbonico), Borbonico), section section Pergamene Pergamene della Universitas Universitas di di Caltagirone, inventory number MC 4910, 10/22 1997. Photo taken by author. Caltagirone, inventory number MC 4910, 10/22 1997. Photo taken by author.

OwingOwing toto the the various various political political vicissitudes vicissitudes that that characterized characterized the the reign reign of Frederickof Frederick III, theIII, royalthe royal title changedtitle changed over theover years the (aboutyears ( theabout different the different royal titles royal of titles Frederick of Frederick III, see [13 III], (pp.see [ 191–192)).13] (pp. 191 The–192) seal). The probably seal probably had to adapthad to itself adapt to itself these to alterations. these alterations. Nevertheless, Never- duetheless, to the due small to the number small of number items preserved, of items preserved, it is not possible it is not to possible verify whether to verify there whether were changesthere were in thechanges iconography in the iconography or whether thisor whether type with this the type royal with image the wasroyal used image for was all 41used years for ofall his 41 reignyears (evenof his ifreign it is (even probable). if it is Regardless probable). ofRegardless this, the iconographyof this, the iconography of the seal clearlyof the differsseal clearly from differs the specimens from the of specimens the Norman of and the Swabian Norman predecessors, and Swabian but predecessors it perfectly, followsbut it perfectly the pattern follows of the the Aragonese pattern of predecessor the Aragonese as King predecessor of Sicily. as Indeed, King of it Sicily. is identical Indeed, to theit is seal identic of hisal to brother the seal James of his II, brother and it probably James II goes, and backit probably to a tradition goes back belonging to a tradition to the kingsbelong ofing Aragon to the in kings the Iberian of Aragon Peninsula in the (aboutIberian the Peninsula iconography (about of the the iconography Norman-Swabian of the kingsNorman of Sicily,-Swabian see [kings23]. About of Sicily the, see iconography [23]. About of the the iconography kings of Aragon, of the see kings [16]). of Aragon, see [16]Without). doubt, this image is an ofﬁcial representation of Frederick III, and it mainly had aWithout juridical doubt, function this (it image was usedis an toofficial corroborate representation the legal of value Frederick of diplomas III, and andit mainly doc- umentshad a juridical issued function by the royal (it was chancellery). used to corroborate Its mobile the support legal value would of diplomas have facilitated and docu- its circulationments issued inside by the the royal Kingdom chancellery and, in). this Its way,mobile it could support reach would a large have number facilitated of subjects. its cir- However,culation inside we should the Kingdom consider and, that sealsin this were way, not it could made toreach move a large around number but to of be subjects. stored, withHowever, their documents,we should consider in the archivesthat seals of were their not recipients. made to move Moreover, around their but dimensionsto be stored, (although they were bigger than the seals of the Norman predecessors and in line with the Swabian and Aragonese tradition) (the diameter of the seals of the Norman kings varies between 25 and 35 mm. Instead, the Swabian and Aragonese seals can be as big as

Encyclopedia 2021, 1, FOR PEER REVIEW 3

with their documents, in the archives of their recipients. Moreover, their dimensions (alt- Encyclopedia 2021, 1 hough they were bigger than the seals of the Norman predecessors and in line with568 the Swabian and Aragonese tradition) (the diameter of the seals of the Norman kings varies between 25 and 35 mm. Instead, the Swabian and Aragonese seals can be as big as 95–110 mm [23] (passim), [15] (Volume 1, pp. 207–209). An example of James II of Aragon, iden- 95–110tical to mm that [ 23of] Frederick (passim), [III15 from] (Volume an iconographic 1, pp. 207–209). point An of example view, has of a James diameter II of of Aragon, 70 mm identical[15] (Volume to that 1, ofp. Frederick209, n. 38) III) were from somewha an iconographict reduced point and certainly of view, of has scarce a diameter visual im- of 70pact. mm Finally, [15] (Volume their use 1, p. was 209, not n. 38))particularly were somewhat common reduced either. andDespite certainly the reorganization of scarce visual of impact.the administration Finally, their and use wasthe improv not particularlyement to commonthe royal either.chancellery Despite done the reorganizationby Frederick III of(about the administration these aspects, andsee [ the24] improvement(pp. VII-CCXV) to), the we royal should chancellery note that the done average by Frederick number III of (aboutissues these did not aspects, seem seeto be [24 very] (pp. high VII-CCXV)), during his we reign should (about note thatthis theaspect average, see [ number25], [26] of(in issuesparticular, did not for seem the recapitulatory to be very high table, during p. 5) his). If reign we also (about consider this aspect, that the see same [25], recipients [26] (in particular,could receive for the several recapitulatory documents, table, we p.can 5)). suppose If we also that consider the number that theof subjects same recipients involved could receive several documents, we can suppose that the number of subjects involved was was not particularly great and was limited at the aristocratic and ruling class of Sicilian not particularly great and was limited at the aristocratic and ruling class of Sicilian society society (moreover, note that the number of preserved diplomas is greater for the lay ar- (moreover, note that the number of preserved diplomas is greater for the lay archives than chives than for the ecclesiastical archives [21]. Can we argue that there were more docu- for the ecclesiastical archives [21]. Can we argue that there were more documents for the ments for the first than for the second?). Therefore, in line with these data, it was not very ﬁrst than for the second?). Therefore, in line with these data, it was not very frequent to be frequent to be able to see the royal image of the seal and only a limited number of people able to see the royal image of the seal and only a limited number of people would have would have had this opportunity. had this opportunity.

3.3. The The Denaro Denaro AmongAmong the the official official representations representations of of Frederick Frederick III, III, there there is alsois also the the image image of the of the billon bil- silverlon silverdenaro denarominted minted in Messina in Messina (Figure (Figure2) (about 2) (about this image,this image see, [ see17] [ (p.17] 15 (p. and 15 and image image in platein plate 2, no. 2, no. 36), 36 [18), ][18] (pp. (pp. 267–268, 267–268, p. 698p. 698 and and plate plate 43, 43, images images no. no. 780–782)). 780–782)) Its. Its function function waswas mainly mainly legal: legal: It It was was used used in in order order to to corroborate corroborate the the legal legal value value of of the the coinage. coinage. On On thethe obverse obverse of of this this coin coin is is the the legend legend + + FRI FRI• •T T• •DEI DEI• •GRA GRA (namely, (namely, Fridericus Fridericus tertius tertius DeiDei Gratia), Gratia), with with the the crowned crowned head head of of the the king king turned turned to to the the left left encircled encircled in in small small pearls. pearls. HeHe has has long long hair hair and, and, probably, probably, a a shaved shaved face. face. The The reverse reverse displays displays the the inscription inscription + + REX: REX: SICILIE:SICILIE: and and a a cross cross patt pattéeée again again encircled encircled by by small small pearls. pearls. We We do do not not know know whether whether it it continuedcontinued to to be be issued issued during during the the years years when when the the king king adopted adopted the the title title of of Rex Rex Trinacrie Trinacrie (namely,(namely, from from 1311 1311 to to 1314 1314 and and from from 1319 1319 to to 1320) 1320) (about (about the the Frederick’s Frederick’s different different royal royal titles,titles, see see again again [ 13[13]] (pp. (pp. 191–192)). 191–192)). However,However, it it is is plausible plausible that that it it circulated circulated for for all all the the yearsyears of of Frederick Frederick III’s III’s rule. rule. The The iconography iconography of of this this coin coin is is really really generic generic and and stereotyped stereotyped andand it it is is difficult difficult to to say say whether whether it it was was following following a a specific specific tradition. tradition. However, However, we we can can argueargue that that Frederick Frederick III III again again adopted adopted an Aragonesean Aragonese pattern. pattern. Indeed, Indeed, the image the image of this of coin this iscoin very is similar very similar to that to of that the denaroof the denaro of his brother of his brother and predecessor and predecessor James II James (about II James(about II’sJames denaro, II’s denaro see [17,] see (p. 10[17 and] (p. image10 and in image plate 1,in no.plate 17), 1, [no.18] (p.17), 696 [18] and (p. plate696 and 42, imagesplate 42, no.images 769–770)). no. 769–770)).

FigureFigure 2. 2.Denaro Denaro of of Frederick Frederick III III of of Aragon, Aragon King, King of of Sicily, Sicily, obverse obverse and and reverse reverse of of billon billon silver silver coin, 1296–1337.coin, 1296– Reproduced1337. Reproduced with permission with permission of the of Licensor. the Licensor. Image Image published published in [18 in] (plate [18] (plate 43, image 43, no.image 780). no. 780).

Certainly, on a coin, the royal image could move around the entire kingdom (that is, the island of Sicily and part of Calabria) and the lesser worth of a silver coin in comparison to a gold coin would have made its use more widespread. Moreover, we know that prob- Encyclopedia 2021, 1 ably around 1315, Frederick III implemented a monetary policy to place stricter royal con-569 trol on the circulation and actual quality of the currency (about that, see [11] (pp. 87–88)). In addition, he ordered an abundant amount of silver coins to be minted while at the same addition,time limiting he ordered the minting an abundant of gold amount coins ( ofabout silver that coins, see to [17 be] minted (p. 11), while [18] (pp. at the 265 same–268 time and limitingfor more the general minting information of gold coins pp. (about 257–260) that,). seeConsidering [17] (p. 11), that [18 the] (pp. former 265–268 also and included for more the generaldenari with information the king’s pp. head 257–260)). (for an Consideringoverview of thatFrederick the former III’s coins also, included see [17] (pp. the denari12–16), with[18] (pp. the king’s265–268, head pp. (for 696 an–699 overview and plates of Frederick42–43, images III’s coins,no. 771 see–782) [17)](, thepp. possibility 12–16), [18 of] (comingpp. 265–268 across, pp. the 696–699 royal image and plates would 42–43, have images been quite no. 771–782)), high. Nevertheless, the possibility coins of could coming be acrosshoarded the and, royal moreover, image would anthropolog have beenists quite have high. noted Nevertheless, that in general, coins when could coins be hoardedare used, and,more moreover, attention is anthropologists placed on their haveeconomic noted worth that than in general, their images. when coinsFurthermore, are used, we more have attentionto consider is placedthat this on denaro their economic did not have worth a particularly than their images. great visual Furthermore, or emotional we have impact: to considerIt is very that small this (the denaro diameter did not is haveonly a16 particularly mm and the great weight visual is or 0.58 emotional–0.65 g) impact:and it has It is a verycertain small iconographical (the diameter inaccuracy is only 16 mm and and stylization the weight that is makes 0.58–0.65 it difficult g) and it to has identify a certain the iconographicalsubject that is represented. inaccuracy and stylization that makes it difficult to identify the subject that is represented. 4. The Mosaic of the Church of Santa Maria Della Valle in Messina 4. TheThe Mosaic Church of theof Santa Church Maria of Santa della MariaValle, Dellaalso called Valle della in Messina Scala or Badiazza, with the connectedThe Church convent of Santaof Benedictine Maria della nuns Valle, (these also days, called the della congregation Scala or Badiazza, is almost withnil) is the in connectedContrada Badiazza convent ofnear Benedictine Scala, in a nunsmountainous (these days, area the along congregation the San Rizz iso almost stream, nil) approx- is in Contradaimately three Badiazza miles near from Scala, the center in a mountainous of Messina (about area along this church the San, see Rizzo [27] stream, (pp. 51– approxi-60), [28] mately(pp. 3– three8), [29], miles [30] from (pp. the256 center–258), of[31,32]). Messina The (about current this building, church, seeprobably [27](pp. constructed 51–60), [28 on] (pp.pre- 3–8),existing [29 ],remains, [30] (pp. goes 256–258), back to [31 the,32 end]). The of Norman current building,domination probably or to the constructed beginning on of pre-existingSwabian rule. remains, In particular, goes back Giuseppe to the Agnello end of Norman proposed domination dating it to or the to first the beginningquarter of the of Swabian13th century rule. [ In33], particular, [34] (pp. 247 Giuseppe–284). However, Agnello proposed following dating a fire itduring to the the first Sicilian quarter Vespers of the 13th(1282), century Frederick [33], [III34 ]ordered (pp. 247–284). the church However, to be followingrestored and a fire redecorated during the (and Sicilian maybe Vespers also (1282),extended) Frederick in the IIIfirst ordered decade the of the church 14th to century. be restored It was and during redecorated this work (and that, maybe following also extended)the assertion in the of firstPlaci decadedo Samperi of the 14thin 1644, century. the It king was had during a portrait this work of that,himself following made in the a assertionmosaic in of the Placido main Samperiapse (Figure in 1644, 3) in the the king act of had offering, a portrait together of himself with made his wife, in a a mosaic model inof the the main church apse to (Figure Saint 3 Peter) in the(“Hebbe act of offering, in molta together veneratione with questo his wife, luogo a model Federico of the II churchd’Aragona to Saint Rè Peter di S (“Hebbeicilia, et in ingrandì molta veneratione quel Monasterio, questo luogo et edificò Federico quel II d’Aragona Tempio, conRè dibellissima Sicilia, et architettura, ingrandì quel ornando Monasterio, la Tribuna et edific maggiore,ò quel Tempio, con ricco con Mosaico, bellissima ove architettura, egli dipinto ornandosi vede riverentemente la Tribuna maggiore, à piè condel Vicario ricco Mosaico, di Christo ove S. egli Pietro dipinto Apostolo, si vede con riverentemente la Regina suaà pimoglie,è del Vicario e tiene di Christo il modello S. Pietro del Apostolo, Tempio, e con Monasterio la Regina sua nella moglie, man edestra tiene il in modello atto di del Tempio, e Monasterio nella man destra in atto di presentarglielo” [35] (p. 317)). presentarglielo” [35] (p. 317)).

FigureFigure 3. 3. ChurchChurch of of Santa Santa Maria Maria della della Valle Valle (called (called Badiazza), Badiazza), central central apse. apse. Image Image courtesy courtesy of of https://www.cistercensi.info/abbazie/abbazie.php?ab=1165 (accessed on 20 May 2021). https://www.cistercensi.info/abbazie/abbazie.php?ab=1165 (accessed on 20 May 2021).

Of this mosaic, we only have a fragment of the face of Saint Peter (now in the Museo Re- gionale di Messina, inv. no. 967). Following some considerations by Demetrio Salazaro [36] (Volume 2, p. 68) and Ugo Monneret de Villard [37] (p. 72), in 1969 Ferdinando Bologna proposed dating this artefact to the beginning of 13th century and identiﬁed the subject as Frederick II of Swabia [38] (pp. 22–23). However, by mutual consent, art historians later allocated this fragment (now there is uncertainty as to the identity of the apostle) to Encyclopedia 2021, 1 570

the beginning of 14th century (about that, see [39] (pp. 2–3), [40] (p. 489), [41] (p. 9), [42] (p. 23)), thus following the testimony of Samperi. If it is plausible that the king represented in the apse of the Church of Santa Maria della Valle was Frederick III, it is also possible that he directly ordered its creation. Indeed, it seems that the Sicilian kings had an intense relationship with this monastery: First the Normans and then the Swabians granted it privileges and donations, and Peter III of Aragon was also particularly tied to it (about that, see [31] (pp. 1–42)). Bartolomeo di Neocastro says that this king visited the church on his way to Messina, immediately after the liberation of the city from the siege of Charles I of Anjou (1282) (“[Peter III of Aragon] jam ad limina Sacrae Domus Beatae Virginis de Scalis applicuit; lugubrem domum ingemmit, quam pudenter excoluit et hostis iniquitas laceravit” [43] (p. 42)). The people of Messina attended and particularly venerated this church because there was a miraculous image of the Virgin (the depiction of the Madonna della Scala) (about that, see [35] (pp. 314–329)) on its main altar, and for this reason, it also received gifts from foreign princes and queens. In confirmation of the intense relationship between the monarchy and this church, in 1633 the abbess Livia De Gregorio established that every week a mass be celebrated for the dead and living kings of Sicily who, thanks to their donations, had contributed to its wealth (about that, see [31] (pp. 1–42). In light of the above, it is curious that in March 1285, the Dominicans Perrone of Aidone and Antonio of Monte Gargano, who had come to Messina to instigate a revolt against the Aragonese dominion, had their abode in the monastery of Santa Maria delle Scale (“Dicti vero Fratres Praedicatores, Messanam adeuntes, latentes morabantur in domo gloriosae Virginis Mariae de Scalis inter dominas moniales”) [43] (p. 78)). A tradition has it that Frederick III was particularly bound to this monastery for sentimental reasons, because it was here that he met his future wife Eleanor of Anjou for the first time in May 1303, and thereafter, he came here often to restore his spirit, away from the whirlwind of political life (about that, see [34] (p. 253)). All of this seems rather improbable due to the fact that Santa Maria della Valle is in the hinterland and not that close to Messina, and contemporary sources recount that Eleanor arrived from the coast (about that, see [44] (pp. 458–459)). Nevertheless, the considerable restoration and remarkable reconstruction that the Aragonese king is thought to have ordered in 1303 make it highly possible that on this occasion, he wanted to portray himself acting as a donor in the apse of this church. Having said this, we have to note that very little is known about the dimensions and visibility of this work of art, or the iconographic attention paid to rendering the royal image. From the report by Samperi, we only know that the king was depicted in the main apse of the church in an offering act but nothing more is said. However, the same Samperi wrote that in the main apse there was also a mosaic copy of the picture of the Madonna della Scala (probably made around 1221) (“Vi è in questo Tempio [namely, in the Church of Santa Maria della Valle] rimasta la copia di molto buona mano della Immagine di S. Maria della Scala, la quale stà in molta veneratione in quella contrada, e nella Tribuna maggiore, la quale era tutta artificiosamente lavorata di ricco Mosaico; vi era la Imagine di Nostra Signora adorata da due Cherubini, con alcuni caratteri greci intorno, le quali per essere logore dal tempo, non si possono perfettamente leggere; e essendo per l’humidità, e per la poco cura, caduta buona parte del Mosaico, solamente il volto della B. Vergine non hà macchia alcuna, e pare che fosse fatto di fresco, e che desse ancora spirito, e vita à quel luogo” [35] (p. 327). On the apse mosaics of this church, see also [31] (pp. 165–168)). Considering the presence of the Virgin between two cherubs, we can assume that with respect to the Mother of God, the royal image was at a lower level of the apse and its size was not particularly monumental. For these reasons, it is probable that the image was not particularly visible from the naves of the church. Moreover, we have to consider that it was in the presbyterial area, therefore in a space generally divided from the naves by a more or less obscuring partition (a rood screen), to which the lay people generally had no access (even if some exceptions were possible). Consequently, said mosaic was Encyclopedia 2021, 1 571

in a place particularly connected to the sacred liturgy and, presumably, it performed a religious/devotional function in favor of the king’s soul and only the members of the ecclesiastical order could see it. Architectural research has underlined that in the corners of the presbytery of the church there were four terraces, accessible from the outside and connected in pairs, which could be used as women’s galleries. The ones on the southern side could be arrived at from the monastery and they were reserved for the nuns, whereas the ones on the northern side were arrived at thanks to a terrace placed over the aisle and connected by a drawbridge to the bell tower (which was along the side of the building and separate from the main church) (about that, see [28] (pp. 5–6), [34] (p. 263)). These matronei would have been for the distinguished guests of the church who, in this way, could attend the religious services (about that, see [45]). Therefore, in this case, the mosaic could have been visible to the public but, all considered, limited to a small group of people (maybe the king with some kin, some closer members of the court, or some foreign ambassadors, local lords, or foreign princes visiting the monastery). Moreover, these terraces do not seem to have a particularly privileged view of the apse, and in reality, the royal image does not appear to have been designed to be clearly visible to those seated in these spaces.

5. The Mosaic of the Cathedral of Messina Guidotto de Abbiate (and not de Tabiatis) (about that, see [46]), archbishop of Messina from 1304 to 1333, ordered a series of completions and improvements to the Cathedral of Santa Maria la Nuova in Messina: decoration of the main facade (left portal) and sacristy, encouragement for private citizens to build chapels and altars, erection of his funeral monument, and the construction, on the north side of the church, of new structures for the clergy (about the Cathedral of Messina, see [47], [30] (pp. 253–255), [48]). However, for our purposes, the most relevant endeavor is the decoration of the main apse with mosaics (Figure4). It included a medallion with angels on the extrados, eight images of the Elders per side (Ap. 4:4), the Agnus Dei on the intrados in the middle, and the Etimasia and Christ enthroned and flanked by two seraphs, two angels, the Virgin, and Saint John the Baptist on the apse basin. Here, at the feet of Christ, small figures of Archbishop Guidotto, Frederick III of Aragon, and his son Peter II (identified respectively by the inscriptions GUIDOTUS ARCHEP[ISCOPU]S / FRIDERICVS REX / PETRVS REX) were depicted in the act of devotion (about this decoration, see [49] (Volume 2, p. 159), [47] (pp. 26–36), [50] (p. 319), [51], [48] (pp. 277–278), [52–56]). Later on, the side apses were also decorated with mosaics. The left (SS. Sacramento) has an image of the Virgin on the throne with the Child while the Hand of God (from the Heavens) is blessing her. Archangels Michel and Gabriel and saints Agatha and Lucy come up beside her while queens Eleanor of Anjou (wife of Frederick III as of 1302) and Elisabeth of Carinthia (wife of Peter II as of 1322) are at her feet. The right (S. Placido) has the image of Saint John the Evangelist. Saints Nicholas and Basil come up beside him while Louis of Aragon and John, Duke of Randazzo (regent of the Kingdom of Sicily from 1342 to 1348), are at his feet]. The king has a kneeling position, long hair, and shaved face and he wears a crown with pendilia, a loros, a red tunic, and a purple cloak with geometric decorations (maybe stylized stars). His iconography probably follows a Norman tradition (for more information and details about the iconographic tradition of the images of Frederick III, see [57]). Considering that Frederick III is also portrayed here as praying, historians think that the king played a preponderant role in the commission of this work. For this reason, we can consider this image in some sense to be an official representation of the sovereign (moreover, do not forget that Frederick III often resided in Messina and he made this city the de facto capital of his kingdom in place of Palermo [4] (pp. 88–89), [58]). Regarding the dating, we can assume that the work was finished by the death of Guidotto in 1333 and that its conception and creation began after 1321, when Frederick III admitted his son Peter II to the throne of Sicily (here he is being presented with the royal title) (for a summary of this event, see [6]). However, over the centuries, the Cathedral of Messina has suffered Encyclopedia 2021, 1 572

a lot of damage and its mosaic has undergone intense restoration, in some cases being remade from scratch (about that, see [51–56]). The earthquake on 28 December 1908 did not particularly harm the main apse but the ﬁre provoked by the bombing on 13 June 1943 produced much more serious damage. Following the report written during the survey conducted after the collapse, the image of Frederick III was fortunately still “intatta” [53] (p. 602), however it was decided to completely rebuild all of the decoration of the apse. For Encyclopedia 2021, 1, FOR PEER REVIEWthis reason, what we can currently admire is the result of this remake (which, it seems, also7

covered the original remains).

FigureFigure 4.4. CathedralCathedral ofof Messina,Messina, centralcentral apseapse withwith mosaicmosaic decorationdecoration rebuiltrebuilt afterafter thethe bombing bombing on on 13 13 JuneJune 1943.1943. PhotoPhoto takentaken byby author.author.

ThanksConsidering to some that drawings Frederick madeIII is also during portrayed the surveys here as in praying, 1908 and historians 1943 (about think that, that seethe [king53] (figures played 6a andpreponderant 9)), historians role have in the verified commission that the of reconstructionthis work. For fundamentallythis reason, we followedcan consider the general this image iconography in some ofsense the originalto be an mosaics official (aboutrepresentation that, see [of54 ]the (pp. sovereign 80–81)). However,(moreover, it do must not beforget pointed that Frederick out that inIII reality,often resided the image in Messina of Frederick and he III made underwent this city somethe de inexplicable facto capital changes of his kingdom (Figure 5in). place Indeed, of Palermo it seems [4 that] (pp. originally, 88–89), [58]). the kingRegarding was not the totallydating, kneeling we can assume but rather that inthe an work erect was position finished (albeit by the still death in an of attitude Guidotto of in reverence) 1333 and andthat itits is conception not clear whether and creation he really began wore after a 1321, cloak. when Moreover, Frederick he woreIII admitted a crown his that son did Pe- notter II have to the the throne current of Sicily odd shape (here but,he is onbeing the presented contrary, waswith tallthe androyal square title) (for like a thesummary other diademsof this event, represented see [6]). inHowever, the cathedral over the aswell centuries, as in Norman the Cathedral iconography of Messina (about has Norman suffered iconography,a lot of damage see [and59] (pp.its mosaic 64–71)). has undergone intense restoration, in some cases being remadeThis from image scratch of Frederick (about that III is, see in the[51– presbytery56]). The earthquake of the church on 28 and December it is close 1908 to thedid mainnot particularly altar. Like harm the mosaic the main of apse the Church but the offire Santa provoked Maria by della the bombing Valle, it wason 13 in June an area1943 thatproduced was only much accessible more serious to the religiousdamage. andFollowing presumably the repor separatedt written from during the navesthe survey by a roodconducted screen. after Therefore, the collapse, the royal the image wasof Frederick in a context III was particularly fortunately connected still “intatta” with the[53] liturgy(p. 602), and, however presumably, it was itdecided performed to completely a devotional rebuild function all of in favorthe decoration of the king’s of the soul. apse. In thisFor connection,this reason, what historians we can have currently noted admir that thee is whole the result iconographic of this remake program (which, of theit seems, apse followedalso covered the typicalthe original pattern remains). of the Byzantine Deesis and it was perfectly in line with both the funeralThanks function to some ofdrawings the place made and during the marked the surveys Marian in connotation 1908 and 1943 of the (about church that and, see its[53 ornamentation] (figures 6 and (on 9)), the historians main altar have there verified was anthat icon the ofreconstruction the Virgin Hodegetria fundamentally that was fol- worshippedlowed the general like a relic,iconography and the of mosaic the original decoration mosaics most (about likely that also, see had [54 a] scene(pp. 80 of–81) the). Dormitio Virginis with the Assumption) (about that, see [56] (pp. 41–42)). However, it must be pointed out that in reality, the image of Frederick III underwent some Certainly, lay people who went to the church could also see the royal portrait from inexplicable changes (Figure 5). Indeed, it seems that originally, the king was not totally the bottom of the nave because it was on the high level of the apse and it had rather kneeling but rather in an erect position (albeit still in an attitude of reverence) and it is not monumental dimensions. However, its visibility was not particularly evident from this clear whether he really wore a cloak. Moreover, he wore a crown that did not have the position, and it does not seem that this image was specifically conceived of for this type of current odd shape but, on the contrary, was tall and square like the other diadems repre- solution. Indeed, it was best viewed from the presbyterial area, and as a matter of fact, if sented in the cathedral as well as in Norman iconography (about Norman iconography, its beholders were lay people, in this case other parts of the church could have played a see [59] (pp. 64–71)).

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more functional role and provided a more important visual impact. For these reasons, it Encyclopedia 2021, 1, FOR PEER REVIEWseems more probable that the royal image was addressed to the clergy of the cathedral as8

they ofﬁciated the services.

FigureFigure 5.5. Graphic survey survey of of the the mosaics mosaics of of th thee central central apse apse of ofthe the Cathedral Cathedral of ofMessina Messina after after the the1943 1943 fire. ﬁre. Palermo, Palermo, Biblioteca Biblioteca Comunale, Comunale, Valenti Valenti Photographic Photographic Archives. Archives. Reproduced Reproduced with permis- with permissionsion of the ofLicensor. the Licensor. Detail Detailof the ofimage the imagepublished published in [53] in (F [igure53] (Figure 9). 9).

6. ConclusionsThis image of Frederick III is in the presbytery of the church and it is close to the main altar.In Like order the to mosaic summarize of the the Church general of line Santa of Frederick Maria della III of Valle, Aragon’s it was iconography, in an area that we canwas concludeonly accessible that this to kingthe religious did not makeand presumably an abundant separated use of his from images. the naves The mediums by a rood that screen. he preferredTherefore, to the use royal were image seals and was coins, in a context but he also particularly adopted mosaics.connected The with latter the were liturgy placed and, inpresumably, churches and, it performed specifically, a devotional in the presbyterial function area in favor (with of a particularthe king’s predilectionsoul. In this connec- for the maintion, apse),historians namely, have in noted restricted that t areas.he whole For iconographic this reason, although program they of the had apse a monumental followed the naturetypical and pattern a greater of the visual Byzantine impact Deesis in comparison and it was with perfectly seals andin line coins, with presumably both the funeral they werefunction addressed of the onlyplace to and religious the marked beholders. Marian Certainly, connotation seals andof the coins church had and great its circulation ornamen- andtation could (on reachthe main a wide altar part there of population.was an icon However,of the Virgin their Hodegetria images were that of was small worshipped size, and thelike denaro a relic,especially and the mosaic did not decoration pay accurate most iconographic likely also had attention a scene toof renderingthe Dormitio the Virginis details ofwith the the royal Assumption) image. The iconographic(about that, see themes [56] (pp. adopted 41–42) in) these. artefacts present Frederick III as a knightCertainly, but also lay aspeople a donor who and went devotee to the towards church Christ could or also sacred see figuresthe royal (as portrait Saint Peter). from Inthe the bottom rendering of the of nave the royal because image it was (and on the the related high level symbols of the of apse power, and attire, it had and rather physical mon- features),umental dimensions. seals and coins However, seem to its follow visibility the Aragonesewas not particularly tradition ofevident the brother from Jamesthis posi- II. Ontion the, and other it does hand, not the seem mosaics that probablythis image adopted was specifically elements ofconceived the Norman of for iconographic this type of traditionsolution. (see, Indeed, for instance, it was best the viewed specific from type ofthe crown, presbyterial the use area of loros,, and and as a the matter embroideries of fact, if ofits the beholders robe). were lay people, in this case other parts of the church could have played a more functional role and provided a more important visual impact. For these reasons, it Funding:seems moreThis probable research received that the no royal external image funding. was addressed to the clergy of the cathedral as Conflictsthey officiated of Interest: the services.The authors declare no conflict of interest. Entry Link on the Encyclopaedia Platform: https://encyclopedia.pub/12981. 6. Conclusions References In order to summarize the general line of Frederick III of Aragon’s iconography, we 1. Testa, F. Vita e opere di Federicocan II reconclude di Sicilia; Regionethat this Sicilia: king Palermo,did not Italy,make 2006; an abundant (Original Latin use editionof his images. Palermo, The Italy, medium 1775). s 2. De Stefano, A. Federico III d’Aragonathat he re prefer di Siciliared (1296–1337) to use were; Zanichelli: seals and Bologna, coins, but Italy, he 1956; also (Original adopted edition mosaics. Palermo, The latter Italy, 1937). were 3. Olivar Bertrand, R. Un rei deplaced llegenda. in Frederic churches III de and, Sicilia specifically,; Aymà: Barcelona, in the presb Spain,yterial 1951. area (with a particular predilection 4. Backman, C.R. Declino e cadutafor dellathe main Sicilia apse), medievale. namely Politica,, in religionerestricted ed economiaareas. For nel this regno reason, di Federico although III d’Aragona they had Rex a Siciliae mon- (1296–1337); Officina di Studiumental Medievali: nature Palermo, and Italy,a greater 2007; (Originalvisual impact edition in Cambridge, comparison UK, with 1995). seals and coins, presum- 5. Backman, C.R. Federico III d’Aragona:ably they were un regno addressed rivisitato. only In Ilto Mediterraneo religious beholders. del ‘300 ed Certainly, il regno di Federico seals and III d’Aragona: coins had saperi, great economia, società; Musco, A., Ed.; Schede Medievali. Rassegna dell’Officina di Studi Medievali; 2011; Volume 49, pp. 7–14. circulation and could reach a wide part of population. However, their images were of small size, and the denaro especially did not pay accurate iconographic attention to rendering the details of the royal image. The iconographic themes adopted in these artefacts present Frederick III as a knight but also as a donor and devotee towards Christ or sacred figures (as Saint Peter). In the rendering of the royal image (and the related symbols of

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