Abstract
The iconographical programme in the Otranto Mosaic should be interpreted as a monumental ekphrasis. The 12th and 13th century romans, with the stories of Alexander the Great, offer the basis for an understanding of the complexity of this cycle with the representation of Marvels of the East. The originality of this repertoire of images is related to the particular historical and cultural context in Apulia during the Norman Period. That peculiarity explains the presence of King Arthur in the cycle.
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