There are various reconstructions of the coat of arms, which the various authors have associated with the Hauteville family; the azure insignia with a bend chequy in argent and gules of two rows of tiles has been attested as the most widespread and most accepted representation.

The monarchs were to be endowed with a coat of arms "with two stripes, or as Sancetta says: with two bends sinister, chequy gules and argent on a azure field: as is seen in three very ancient wooden plaques hung in the Cathedral of Palermo above the Royal porphyry tombs of King Roger, and of the Empress Constance his daughter [...]".

[1][6] To ground his position, Inveges resorts to complex heraldic reasoning: The Bend of this Coat of Arms is an insignia of war, & ornament of a Soldier; from which hangs the sword: as Virgil sang.

As reported by Marco Antonio Ginanni, an intellectual and heraldist, author of L'arte del blasone dichiarata per alfabeto, "the stripe represents the baldric, that is, the pendant of the Sword, and is a sign of military honors, and dignity.

Crollalanza reports that the chequy, one of the "noblest and most ancient figures of the blazon," is closely connected to the game of chess and strategy: it represents, like the chessboard, the battlefield and, also, an army deployed in combat, which is why those who have demonstrated their valor in war, that is, their skills as military strategists, boast of it.

The symbolism attached to this color is broad: the concepts of loyalty and fidelity are associated with it, while warriors, writes Crollalanza, "wanted to express with it vigilance, fortitude, constancy, patriotism, victory and fame.

"[12] It is possible to identify a number of alternative versions of the coat of arms of the House of Hauteville, which, while not evidently the result of misrepresentation or blazoning, are of uncertain attribution, nor do they allow a clear interpretation of the intervening variations.

[20] Finally, the insignia is illustrated by the mathematician and cartographer, also French, Oronce Finé, in the volume Giuoco d'armi dei sovrani e stati d'Europa, a didactic game published in 1681.

[13] Also in red is the field of the coat of arms attributed to Robert Guiscard in Promptuaire armorial et general divisé en quatre parties, a seventeenth-century work by the French cartographer Jean Boisseau.

Compared to the insignia emblazoned by Favyn, this coat of arms associated with the ruler of the Duchy of Apulia and Calabria differs in one of the tinctures of the band, for while the metal remains silver, the color is black.

The coat of arms, trimmed in gold and gules, on a bend chequy with two azure and silver tiles, is held by two putti, which in turn are flanked by two shields with the Maltese cross of the Knights Hospitaller.

Similarly, the French Jesuit and heraldist Claude-François Ménestrier, writing that "one would not know how to produce any other document of the bend chequy given to the Norman Kings of the blood of Tancred [...]," argues that, in the Kingdom of Naples, there would be no coat of arms older than those from the House of Anjou-Sicily.

Symbolists, iconologists and heraldists agreed in attributing to it the symbols of valor, dominion, noble heroism, fortitude, courage, magnanimity and generosity.Specifically, it is interesting to note how the lion - which by definition is rampant - can be associated, reproduced, though, with different tinctures, with two extremely relevant figures in the history of the dynasty: Robert Guiscard and his younger brother Roger, the first count of Sicily.

A shield with a red lion on a gold field, in fact, appears in a miniature of the Nova Cronica, which depicts the coronation of Guiscard, proclaimed duke by Pope Nicholas II, in 1059, during the first council of Melfi.

The escutcheon, of which it is not possible to deduce the tinctures, can be seen in a miniature contained in Peter of Eboli's Liber ad honorem Augusti, which depicts the Norman, riding a horse launched at a gallop, while, with his right hand, he holds a flagstaff.

Both Ginanni and Crollalanza agree in asserting that the coat of arms of England is the result of the union of the Norman and Guienne insignia, which consists of a single leopard in gold on a red field.

The question of the multiple attributions of insignia to the Siculo-Norman dynasty and the discordant positions taken by the various authors who have dealt with the Hauteville coat of arms is addressed by the Norman genealogist and heraldist Gilles-André de la Rocque.

"[37]The first of these is a silver coat of arms, at the branch of a fern in green, bound in gold, which the heraldist, citing as his source the de Sainte-Marthe brothers, attributes to the dynasty which, not coincidentally, he defines as being of "Sicily-Antiochia.

[38] The second insignia to be mentioned by de la Rocque in his examination is represented in a manuscript, formerly preserved in the library of Jean and Émery Bigot, in Rouen, the ancient Norman capital.

Other symbols regularly found in pictorial and sculptural representations that can be traced back to the royal dynasty, but which probably find their origins in past dominations of Sicily, include the palm tree, griffin, and eagle.

[26] Theories of an origin of the lowered-flying eagle coat of arms traceable to a period earlier than the rise of the House of Hohenstaufen to the throne of Sicily generate perplexity in the heraldist Angelo Scordo, according to whom, although the use of eagles as Sicilian symbols in the centuries preceding the advent of the Staufen is not to be ruled out, hypothesizing a relationship of direct derivation between these already existing symbols and the Staufian coat of arms comes across as an exercise lacking any concrete foundation.

[48] In a table accompanying the Dissertazioni sopra le antichità italiane by the presbyter and historian Ludovico Antonio Muratori, it is possible to observe a reproduction of Roger II's signum, which bears, in the legend circumscribing it, precisely the motto in question.

Latin: Apulus et Calaber, Siculus mihi servit et Afer.In particular, Summonte reports that the motto was adopted by Roger II when the ruler managed to extend his rule over several territories in the North African coastal area: "[...] & at the time he had that verse carved into his sword for glory [...].

[52] Similarly, de la Roque also reports that the motto in question was introduced by Roger II to exalt the expansion of his authority in the Mediterranean and, at the same time, does not fail to point out that the ruler had those words engraved on his own shield.

Going into even more detail, the Norman heraldist points out that it is possible to infer that, outside of the motto itself, no other figure was represented on that coat of arms; this, however, de la Roque again specifies, does not exclude the use of emblems on other shields, by the Sicilian sovereign.