Horn or oliphant, ivory, South or Central Italian, possibly under Norman patronage, probably first half of the 11th century

The octagonally ribbed surface of the horn is plain, at either end are raised bands of ornament carved, in panels, with figures of men and animals and with a cross in low relief. In the centre of the inner curve is the figure of a naked mounted man blowing a horn; round the wide end is a band of interlaced ornament. The ground is decorated with bands of rosettes formed of incised circles.
The upper band consists of five roundels and three rectangular panels containing: (1) a cross with flowers, (2) a stag, (3) a naked mounted hunter with hawk, (4) a walking male figure with staff or sword, (5) two confronted dogs or wolves, (6) another walking male figure with staff, (7) another naked mounted hunter with hawk, (8) a deer.
The lower band is made up of eight rectangular panels containing: (1) a large standing figure in short tunic, (2) a seated lioness or leopard, (3) a quadruped with long ears, (4) a standing figure, (5) a peacock, (6) a griffin or senmurv, (7) a dog or wolf, and (8) a seated bear or lioness.

Acquired in London, £35 in 1862,

Historical significance: Some of the animal panels at the oliphant reveal a knowledge of Byzantine silks, while the crude quality of the carving and the elementary treatment of the human bodies and faces indicate a date earlier than the Farfa casket of ca. 1060 and show a clear adherence to earlier Longobardic figurative traditions, as manifested in the co-called Ratchis altar and the paliotto of Sigualdus in Cividale. The tenacity of the Longobardic heritage in Southern Lazio, Molise and Campania, which continued in some areas until the 12th century, is illustrated in the area around Campobasso, Benevento and Capua, where stone reliefs in a style comparable to that on the present horn are to be found at Capua, Petrella Tifernina and Matrice.

Probably made for ceremonial purposes, the horn does not have any indications that chains or straps were attached to it to aid handling and travel or even allow suspension for display, as do the majority of the 'Saracenic' examples. The decoration of the inner curve of the horn, unusually showing the cross, the mounted horn-blower and the 'giant', reinforces its difference from the latter group. If it is not possible to identify the large figure - rather different from the others and with a frontal, staring attitude - with confidence, it might tentatively be proposed that it represents the legendary Roland, who from an early date was associated with such horns in the Christian West and was especially popular with the Normans. In the 12th century Chason de Roland it is recounted that 'Just as a stag flies before hounds, so the pagans [in this context the Muslims] take flight before Roland', and it is therefore perhaps of relevance that just such a creature is shown alongside the Cross on the horn. The two raised bands with panels were perhaps intended to give the impression of gilt metal containing coloured enamel, an effect which would have been obtained by the application of the red mastic surrounding the figures in the panels.

probably first half of 11th century; South or Central Italy, possibly under Norman patronage

Some of the animal panels at the oliphant reveal a knowledge of Byzantine silks, while the crude quality of the carving and the elementary treatment of the human bodies and faces indicate a date earlier than the Farfa casket of ca. 1060 and show a clear adherence to earlier Longobardic figurative traditions, as manifested in the co-called Ratchis altar and the paliotto of Sigualdus in Cividale. The tenacity of the Longobardic heritage in Southern Lazio, Molise and Campania, which continued in some areas until the 12th century, is illustrated in the area around Campobasso, Benevento and Capua, where stone reliefs in a style comparable to that on the present horn are to be found at Capua, Petrella Tifernina and Matrice.

Probably made for ceremonial purposes, the horn does not have any indications that chains or straps were attached to it to aid handling and travel or even allow suspension for display.
The two raised bands with panels were perhaps intended to give the impression of gilt metal containing coloured enamel, an effect which would have been obtained by the application of the red mastic surrounding the figures in the panels.

8035-1862