Reimagining Jerusalem’s Architectural Identities in the Later Middle Ages


How can medieval art explain Jerusalem’s centrality in the world faiths of Christianity and Islam? This book delves into that topic by examining how Jerusalem was creatively represented and reimagined in several intriguing Christian and Islamic artworks in the later Middle Ages (c. 1187 to 1356).
The book considers how European Catholic crusaders, Eastern Christian sects, and diverse Muslim factions displayed Jerusalem’s architecture to express their interpretation of the holy city’s sanctity and influence. These examples demonstrate how artworks can reflect Jerusalem’s importance to these faiths in the past and illuminate our understanding of its status into the modern era.

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Cathleen A. Fleck, Ph.D. (1999), The Johns Hopkins University, is Associate Professor (Art History) and Chair (Fine and Performing Arts) at Saint Louis University. She publishes on medieval Mediterranean art, including The Clement Bible at the Medieval Courts of Naples and Avignon: A Story of Papal Power, Royal Prestige, and Patronage (Ashgate, 2010).

Notes on Transcriptions and Dates

List of Figures


1Jerusalem in Relief A Crusader Pilaster Reexamined
 1.1 The Pilaster and Its Jerusalem Scenes
 1.1.1 The Church of the Holy Sepulcher

 1.1.2 The Dome of the Rock

 1.1.3 The Tower of David and ‘Curia Regis’

 1.2 A Context of Production
 1.2.1 The Temple Mount Setting in Jerusalem

 1.2.2 A Royal Display

 1.3 Conclusions

2Jerusalem as a Guide for Personal Deliverance The Riccardiana Psalter in the Thirteenth Century
 2.1 The Issues of the Riccardiana Psalter

 2.2 The Visual Content, Iconography, and Style
 2.2.1 The Annunciation and Visitation at Psalm 1

 2.2.2 The Adoration of the Magi at Psalm 26

 2.2.3 The Presentation in the Temple at Psalm 38

 2.2.4 The Entry of Christ into Jerusalem at Psalm 52

 2.2.5 The Last Supper and Washing of the Apostles’ Feet at Psalm 68

 2.2.6 The Harrowing of Hell and Three Marys at the Tomb at Psalm 80

 2.2.7 The Ascension at Psalm 97

 2.2.8 The Pentecost at Psalm 109

 2.3 The Place of Production

 2.4 A Devotional Prayer Book

 2.5 Conclusions

3Jerusalem on Souvenir Glass Beakers and Cross-Cultural Exchange
 3.1 The Architecture on the Beakers
 3.1.1 The Large Beaker The Dome of the Rock The Church of the Holy Sepulcher

 3.1.2 The Small Beaker The Golden Gate The Church of the Ascension

 3.2 The Figures on the Beakers

 3.3 Palm Sunday Liturgy in Jerusalem and the Beakers

 3.4 The Material, Context, and Inscriptions

 3.5 Conclusions

4A Multicultural View of Jerusalem on the Freer Canteen
 4.1 “Islamic” Metalware in the Thirteenth Century: Material, Imagery, and Form

 4.2 The Imagery on the Canteen’s Obverse Side
 4.2.1 The Virgin and Child

 4.2.2 The Christological Scenes The Nativity in Bethlehem—and Jerusalem: The Grotto in the Church of the Nativity and Cradle of Jesus The Presentation in the Temple: The Temple as Conflation of the Dome of the Rock and Church of the Holy Sepulcher The Entry into Jerusalem: Palm Sunday Liturgy and the Golden Gate The Combination of Scenes on the Obverse: A Christological Focus

 4.3 The Canteen’s Reverse: Sacred and Secular Models

 4.4 The Canteen’s Inscriptions

 4.5 Conclusions

5Jerusalem and King Solomon in the Clement Bible The Promotion of Robert  i of Naples as Symbolic King of Jerusalem in the Fourteenth Century
 5.1 A Description of the Clement Bible
 5.1.1 The Temple of Jerusalem in the Clement Bible

 5.2 Naples and the Holy Land: Related Scenes in the Clement Bible
 5.2.1 The Related Anjou Bible and Jerusalem

 5.3 The Clement Bible and the Discourse on Rome and Jerusalem

 5.4 King Robert i and Crusades

 5.5 Conclusions

6Jerusalem as a Symbol of Islamic Identity The Holy City Displayed in Mamluk Cairo
 6.1 The Jerusalem Theme on the Pilaster in Mamluk Cairo
 6.1.1 The Dome of the Rock

 6.1.2 The Tower of David

 6.1.3 The Church of the Holy Sepulcher

 6.2 The Jerusalemite Pilaster as Spolia

 6.3 The Pilaster’s Setting in Mamluk Cairo
 6.3.1 The Visual Evidence of the Portal in Cairo

 6.4 Sultan Hasan’s Complex and the Black Death

 6.5 Hasan’s Motivations for the Complex and the Use of the Jerusalemite Pilasters

 6.6 Conclusions




This book will have a scholarly audience in Europe, North America, and the Middle East among medieval art/architectural/crusader/Islamic historians and religion/liturgy (especially Islamic, Eastern Christian, and Roman Catholic) scholars.
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