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.

中文翻译：

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墨西拿 San Salvatore de Lingua 的早期手稿（12 世纪中叶）：首席装饰师调查

圣救主修道院一直是许多学术研究的主题，但西西里国王罗杰二世要求并由第一任大主教罗萨诺的卢克实施的礼仪改革，以及后者为建立合适的设备所做的努力，在很大程度上被忽视了。鉴于它与 12 世纪中叶修道院早期手稿收藏的材料背景具有潜在相关性，这似乎是一种疏忽。艺术史学家一再声称，修道院的崇高地位可能使拜占庭模型得以传播到诺曼西西里岛，尤其是在具象艺术和手稿装饰方面。本文从相反的角度讨论了相同的假设。它根据修道院早期收藏的现存证据，探讨了圣萨尔瓦多手稿装饰的主要趋势。在过去几十年（主要由语言学家）提供的古文字学和手抄本观察的基础上，我从装饰实践和艺术文化的角度审视了这些手稿。