The art of the Crusades, produced in the Levant under Latin rulership, spanned two artistic periods in Europe, the Romanesque and the Gothic, but in the Crusader states the Gothic style barely appeared. The military crusaders themselves were mostly interested in artistic and development matters, or sophisticated in their taste, and much of their art was destroyed in the loss of their kingdoms so that only a few pieces survive today. Probably their most notable and influential artistic achievement was the Crusader castles, many of which achieve a stark, massive beauty. They developed the Byzantine methods of city-fortification for stand-alone castles far larger than any constructed before, either locally or in Europe.
The crusaders encountered a long and rich artistic tradition in the lands they conquered at the end of the 11th century and the beginning of the 12th. Byzantine and Islamic art (that of both the Arabs and the Turks) were the dominant styles in the Crusader states, although there were also the styles of the indigenous Syrians and Armenians. These indigenous styles were incorporated into styles brought by the crusaders from Europe, which were themselves highly varied, stemming from France, Italy, Germany, England, and elsewhere. On the whole the Eastern Christian styles were more significant influences than Islamic art; the artists working in the Crusader lands are assumed to have had the same variety of backgrounds. Many art historians attempt to guess the backgrounds, in terms of ethnicity, place of birth and training, of the artists involved with particular works, an effort treated with caution by Kurt Weitzmann, Doula Mouriki, and Jaroslav Folda, author of the most recent detailed survey. [1]
Crusader art in the Levant, like the history of the Crusader kingdoms in general, falls clearly into two, or three, periods. The first begins with the First Crusade which culminated in 1099 with the bloody taking of Jerusalem and the establishment of the Kingdom of Jerusalem and other states to the north. The following decades were turbulent but artistically productive, until the catastrophe of 1187 saw the Crusader defeat at the Battle of Hattin and the fall of Jerusalem to Saladin. In the second period the Kingdom of Jerusalem was now hugely reduced in size to control only a few coastal towns and the areas around them, which were gradually whittled away by the Muslims until the final Siege of Acre (1291) ended Crusader presence in the Levant. However the kingdom still controlled Cyprus, taken from the Byzantine Empire, and the House of Lusignan continued to rule there, and later the Armenian Kingdom of Cilicia, until respectively 1489 and the late 14th century, representing the third period of Crusader art, not counted as such by all sources; in Cyprus the Gothic style is often found. [2]
There is a further sense of "Crusader art" to cover the art produced in the Latin Empire that usurped much of the Byzantine Empire, ruled by the Crusaders between the Sack of Constantinople in 1204 by the Fourth Crusade and 1261. Saint Catherine's Monastery in Sinai was also a centre during this time, and perhaps later. This art had a larger impact in Europe, to which many artists probably returned after the collapse of the regime, influencing Italo-Byzantine painting there. The crusades were also important as a subject in Western art, mainly in illuminated luxury versions of the many histories that were popular reading with Western elites.
An example of the mixture of different styles is the Melisende Psalter, an illuminated manuscript produced in the mid-12th century, perhaps for Queen Melisende of Jerusalem. It reflects her European and Armenian heritage, and is also influenced by Byzantine and Islamic techniques. The Saint Catherine's Monastery in Egypt was an important centre where a school of manuscript and icon painting that blended European and local influences emerged. Fortunately it has also been a very secure home for its collection of icons (but not manuscripts in Latin, all of which were later destroyed, apparently under Russian influence), so a good number have survived there. Artists who can be identified on stylistic grounds as originating in France and Italy (Venice and Apulia) worked there, producing work mixing Byzantine and Western conventions, but usually with lettering in Greek. This was possible because by a quirk of Orthodox history the church there was in communion with both the Catholic and the other Orthodox churches, and so the normal sectarian divides that separated the crusaders from even the local Christians did not operate.
There was also a scriptorium in Acre which produced many well known manuscripts such as missals and the Arsenal Bible, [3] especially noted for commissions by King Louis IX of France. [4] The frontispiece to Proverbs 1 in the Arsenal Bible shows Solomon wearing the traditional insignia and clothing of a Byzantine emperor, in a mixture of the Gothic and Franco-Byzantine Crusader styles, and also shows French architecture. [4] Most of the significant surviving illuminated manuscripts were produced in the 13th century, about half in the last forty years of the Latin kingdom; to what extent this is an accident of survival is unclear. [4]
An example of the mixture of styles is the Church of the Holy Sepulchre in Jerusalem, the renovation and rebuilding of which was completed in 1149; however only fragments of the large programme of mosaics now survive. This was until the loss of Jerusalem in 1187 the institution with the main Crusader scriptorium, from which six manuscripts survive, made in a mixture of royal and church commissions. [5] Most of the significant surviving illuminated manuscripts were produced in the 13th century, about half in the last forty years of the Latin kingdom; to what extent this is an accident of survival is unclear. [6] Some icons in wall painting and mosaic survive from the Church of the Nativity in Bethlehem. [5] The Hospitaller church at Abu Ghosh, apparently then regarded as the biblical Emmaus, was abandoned in 1187 but has good remains of frescos. Some wall paintings and mosaic sections survive from the Church of the Nativity in Bethlehem, [5] and there are frescoes at Lagoudhera on Cyprus. [3]
Figurative monumental sculpture in relief was, some earlier Armenian work apart, not part of local Christian traditions, so the Romanesque sculpture of Europe, especially France, was much the largest influence. Discussion of the varied styles by art historians typically involves only various areas in Europe, mostly in France. Many elements were re-used in later buildings, and have now re-appeared, often badly damaged. Original work has survived at the Church of the Holy Sepulchre, whose carved lintels are now in the Rockefeller Museum in the city, and was removed from the destroyed Church of Santa Maria Latina nearby.
Another major pilgrimage basilica, the Church of the Annunciation in Nazareth, was just nearing the completion of a major rebuilding in 1187. Saladin in fact left the Christians in place and does not seem to have damaged the building. However the church was seriously damaged in the next major upheaval in the area, the invasion in 1267 by the Mamluk ruler Baybars, and the sculptures remaining from the church all suffered. In 1908 five extra capitals were excavated, having, it is presumed, been buried in 1187 soon after they were made but before they were put in place, when news of Saladin's approach reached the town. These are in excellent condition, and some of the most famous sculptures of the Crusader period. [7]
The situation is rather different with decorative sculpture, where local influence is much stronger. The beautifully carved and complex decoration on the arches and cornices over the doors into the Church of the Holy Sepulchre is unlike anything in France from this period and reflects local development of Syrian late Roman styles; some parts are probably re-used Roman material. The neighbouring capitals, "based on Justinianic models, are probably the work of local Christian sculptors working for the Latins". [8]
After the rapid collapse of the Kingdom of Jerusalem in 1187, which must have destroyed a great part of the artwork the crusaders produced, [9] they were mostly confined to a few cities on the Mediterranean coast until Acre was conquered in 1291. Their artistic output did not cease during the 13th century, and shows further influences from the art of the Mamluks and Mongols.
In Cyprus, the Lusignan kingdom continued to produce work, including the Gothic cathedrals of Famagusta (Lala Mustafa Pasha Mosque) and Nicosia (Haydarpasha Mosque/Saint Catherine and Selimiye Mosque/Saint Sophia Cathedral), all later used as mosques and relatively well-preserved (minus their figurative sculpture).
There was also crusade-related art produced back in Europe, from the many illuminated crusade chronicles such as the Old French translation of William of Tyre, to architecture such as the round churches built by the Knights Templar in the style of the Holy Sepulchre, and the Sainte-Chapelle in Paris built to accommodate relics brought back from the East. Luxurious printed textiles began to be produced in Europe at around the end of the Crusades, and may well have been another influence. In general, it is often not possible to say with certainty whether influences or new types of objects arriving in Europe at this period did so via Islamic Spain, the Byzantine world, or the Crusader states. Historians tend to discount the importance of the Crusader States in this regard, despite the very well developed Italian trading networks there. European castle-building was certainly decisively influenced by the crusaders.
The Kingdom of Jerusalem, also known as the Crusader Kingdom, was one of the Crusader states established in the Levant immediately after the First Crusade. It lasted for almost two hundred years, from the accession of Godfrey of Bouillon in 1099 until the fall of Acre in 1291. Its history is divided into two periods with a brief interruption in its existence, beginning with its collapse after the siege of Jerusalem in 1187 and its restoration after the Third Crusade in 1192.
The Latin Patriarchate of Jerusalem is the Latin Catholic ecclesiastical patriarchate in Jerusalem, officially seated in the Church of the Holy Sepulchre. It was originally established in 1099, with the Kingdom of Jerusalem encompassing the territories in the Holy Land newly conquered by the First Crusade. From 1374 to 1847 it was a titular see, with the patriarchs of Jerusalem being based at the Basilica di San Lorenzo fuori le Mura in Rome. Pope Pius IX re-established a resident Latin patriarch in 1847.
The Crusader states, or Outremer, were four Catholic polities that existed in the Levant from 1098 to 1291. Following the principles of feudalism, the foundation for these polities was laid by the First Crusade by the European Christians, which was proclaimed by the Latin Church in 1095 in order to reclaim the Holy Land after it was lost to the 7th-century Arab Muslim conquest. Situated on the Eastern Mediterranean, the four states were, in order from north to south: the County of Edessa (1098–1144), the Principality of Antioch (1098–1268), the County of Tripoli (1102–1289), and the Kingdom of Jerusalem (1099–1291).
The medieval art of the Western world covers a vast scope of time and place, with over 1000 years of art in Europe, and at certain periods in Western Asia and Northern Africa. It includes major art movements and periods, national and regional art, genres, revivals, the artists' crafts, and the artists themselves.
Byzantine art comprises the body of artistic products of the Eastern Roman Empire, as well as the nations and states that inherited culturally from the empire. Though the empire itself emerged from the decline of western Rome and lasted until the Fall of Constantinople in 1453, the start date of the Byzantine period is rather clearer in art history than in political history, if still imprecise. Many Eastern Orthodox states in Eastern Europe, as well as to some degree the Islamic states of the eastern Mediterranean, preserved many aspects of the empire's culture and art for centuries afterward.
The Melisende Psalter is an illuminated manuscript commissioned around 1135 in the crusader Kingdom of Jerusalem, probably by King Fulk for his wife Queen Melisende. It is a notable example of Crusader art, which resulted from a merging of the artistic styles of Roman Catholic Europe, the Eastern Orthodox Byzantine Empire and the art of the Armenian illuminated manuscript.
The king or queen of Jerusalem was the supreme ruler of the Kingdom of Jerusalem, a Crusader state founded in Jerusalem by the Latin Catholic leaders of the First Crusade, when the city was conquered in 1099. Most of them were men, but there were also five queens regnant of Jerusalem, either reigning alone suo jure, or as co-rulers of husbands who reigned as kings of Jerusalem jure uxoris.
The Cenacle, also known as the Upper Room, is a room in Mount Zion in Jerusalem, just outside the Old City walls, traditionally held to be the site of the Last Supper, the final meal that, in the Gospel accounts, Jesus held with the apostles.
The siege of Acre took place in 1291 and resulted in the Crusaders' losing control of Acre to the Mamluks. It is considered one of the most important battles of the period. Although the crusading movement continued for several more centuries, the capture of the city marked the end of further crusades to the Levant. When Acre fell, the Crusaders lost their last major stronghold of the Crusader Kingdom of Jerusalem. They still maintained a fortress at the northern city of Tartus, engaged in some coastal raids, and attempted an incursion from the tiny island of Ruad; but, when they lost that, too, in a siege in 1302, the Crusaders no longer controlled any part of the Holy Land.
The Crusades were a series of religious wars initiated, supported, and sometimes directed by the Christian Latin Church in the medieval period. The best known of these military expeditions are those to the Holy Land between 1095 and 1291 that had the objective of reconquering Jerusalem and its surrounding area from Muslim rule after the region had been conquered by the Rashidun Caliphate centuries earlier. Beginning with the First Crusade, which resulted in the conquest of Jerusalem in 1099, dozens of military campaigns were organised, providing a focal point of European history for centuries. Crusading declined rapidly after the 15th century.
Jaroslav Thayer Folda III is a medievalist, in which field he is a Haskins Medal winner; he is a scholar in the history of the art of the Crusades and the N. Ferebee Taylor Professor of the History of Art at the University of North Carolina. His area of interest for teaching and research is the art of the Middle Ages in Europe and the Mediterranean world.
Burchard of Mount Sion, was a German priest, Dominican friar, pilgrim and author probably from Magdeburg in northern Germany, who travelled to the Middle East at the end of the 13th century. There he wrote his book called: Descriptio Terrae Sanctae or "Description of the Holy Land" which is considered to be of "extraordinary importance".
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The Cathedral of Our Lady of Tortosa was a Catholic cathedral in the city of Tartus, Syria. Erected during the 12th century, it has been described by historians as "the best-preserved religious structure of the Crusades." The cathedral was popular among pilgrims during the Crusades because Saint Peter was said to have founded a small church there dedicated to the Virgin Mary. After it was captured by the Mamluks, the cathedral was turned into a mosque. Today, the building serves as the National Museum of Tartus.
The siege of Tyre took place from 12 November 1187 to 1 January 1188. An Ayyubid army commanded by Saladin made an amphibious assault on the city, defended by Conrad of Montferrat. After two months of continuous struggle, Saladin dismissed his army and retreated to Acre.
The History of Jerusalem during the Kingdom of Jerusalem began with the capture of the city by the Latin Christian forces at the apogee of the First Crusade. At that point it had been under Muslim rule for over 450 years. It became the capital of the Latin Kingdom of Jerusalem, until it was again conquered by the Ayyubids under Saladin in 1187. For the next forty years, a series of Christian campaigns, including the Third and Fifth Crusades, attempted in vain to retake the city, until Emperor Frederick II led the Sixth Crusade and successfully negotiated its return in 1229.
Koz Castle, or Kürşat Castle is a castle in the Altınözü district of the Hatay Province of Turkey, built on a small hill where the Kuseyr Creek starts. It was built by the Principality of Antioch out of ashlar. The castle used to have a gate to the north, but this gate no longer exists and the eastern side of the castle has been leveled, with some original barns left. Some bastions of the castle stand to this day.
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