Resumen
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.