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Siculo-Norman en · ADJ

From Siculo- + Norman.

(historical, not-comparable) Of or pertaining to the period of Norman rule of Sicily, 1071–1194.
- The conquering eagle is also found in Siculo-Norman art, for example in the royal palace in Palermo, where a vault contains a central image of an eagle which clutches a hare in its talons. 1995, Lynn Anne Jones, Between Byzantium and Islam, University of Illinois at Urbana-Champaign, page 279:
- Among the considerable number of Siculo-Arabic and Siculo-Norman objects and monuments, clearly the body of painted ivories offers the most varied and ample material for comparison, both stylistically and iconographically. 2005, Ernst J. Grube, Jeremy Johns, The Painted Ceilings of the Cappella Palatina, Bruschettini Foundation for Islamic and Asian Art, page 23:
- Duke Serra di Falco, has presented his work on the Siculo Norman Churches to the Institute—stating that he is collecting minerals, &c., for the Institute. 1842, Bulletin of the Proceedings of the National Institute for the Promotion of Science, page 239:

From Siculo- + Norman.

(historical) A Norman who settled in Sicily during or after the Norman conquest of southern Italy, or a descendant of one.
- Thanks to the tolerant policy of both Rogers of Altavilla and both Williams, their successors, the many Muslims left on the Island could draw up their deeds in Arabic, the Greek-Byzantines in Greek, and the Siculo-Normans in Latin. 2017, Paolo Martino, “Playing with identities in the Multilingual Place-names of Medieval Sicily”, in Piera Molinelli, editor, Language and Identity in Multilingual Mediterranean Settings, Walter de Gruyter, page 224:
- But the finest example of the blending of the Saracenic and the Romanesque, with the rich ornamentation in mosaic carried out so effectively by the Siculo-Normans, is S. Maria dell'Ammiraglio,[…]. 1869, Charles Isidore Hemans, A History of Mediaeval Christianity and Sacred Art in Italy: A.D. 900-1350, page 316:
- It is an attractive hypothesis, which we accept, that these Muslim influences played on the art of Amalfi during the great age of the Republic and not merely (as some think) after the city was subdued by the Siculo-Normans. 1971, Kenneth John Conant, Henry M. Willard, “Early Examples of the Pointed Arch and Vault in Romanesque Architecture”, in Viator: Medieval and Renaissance Studies, Volume 2, University of California Press, page 205:

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