Abstract
Unlike any other Western ruler before him, King—and later Emperor—Henry II (reg. 1002–24) relied on the ostentatious display of valuable objects of Eastern, and often Islamic, provenance. Used as spolia, they decorate works, such as the ambo of Aachen and book covers (the Gospel Book of Henry II, the Bamberg Apocalypse), which still exist today. The ambo in particular, with its Islamic and Byzantine spolia, is closely associated with Henry’s ultimately successful attempt to assert his royal dignity. The specific pattern on the ambo, especially the arrangement of several chessmen, seems to have been inspired by the wish to demonstrate the legitimacy of his claim to the throne. In addition, the spolia used serve to express a wider, cosmopolitan claim that Henry had as yet to realise in political practice. In fact, nothing is known about Henry’s contact with the Fatimids, and his connections with Byzantium remained tentative. Yet, through his ostentatious display of spolia, he sought to demonstrate his power, and associate his realm with powers beyond the borders of his empire. As can be seen from the fact that all the spolia were employed in the service of conveying the Christian message, moreover, Henry may not only have wished to demonstrate his leadership of the empire, but possibly also his superiority to people of other faiths.
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