Publisher Description

This work tells the story of Crusader art, focusing on the full range of Crusader painting (manuscript illumination, frescos, mosaics and icon painting) as providing the most significant continuous surviving evidence for the development of Crusader art.

Osprey's study of the battle at Acre, one of the last campaigns of the Crusages (1095-1291). In April 1291, a Mamluk army laid siege to Acre, the last great Crusader fortress in the Holy Land. For six weeks, the siege dragged on until the Mamluks took the outer wall, which had been breached in several places. The Military Orders drove back the Mamluks temporarily, but three days later the inner wall was breached. King Henry escaped, but the bulk of the defenders and most of the citizens perished in the fighting or were sold into slavery. The surviving knights fell back to their fortress, resisting for ten days, until the Mamluks broke through. This book depicts the dramatic collapse of this great fortress, whose demise marked the end of the Crusades in the Holy Land.

The Art of the Crusaders in the Holy Land, 1098-1187 examines the art and architecture produced for the Crusaders in Syria-Palestine during the first century of their quest to recapture Jerusalem. Commissioned by kings and queens, patriarchs and bishops, knights and merchants, who came as pilgrims or settlers to the Holy Land, it is an art of manuscript illumination, fresco painting, mosaics, stone sculpture, metalwork, ivory carving, coins and seals by artists trained in the Latin West, and the Byzantine and Islamic East. Combining the stylistic and iconographic traditions of these regions, Crusader art defies easy categorization: indeed, it is a unique phenomenon within the spectrum of medieval art.

Mater Misericordiae?Mother of Mercy?emerged as one of the most prolific subjects in central Italian art from the late thirteenth through the sixteenth centuries. With iconographic origins in Marian cult relics brought from Palestine to Constantinople in the fifth century, the amalgam of attributes coalesced in Armenian Cilicia then morphed as it spread to Cyprus. An early concept of Mary of Mercy?the Virgin standing with outstretched arms and a wide mantle under which kneel or stand devotees?entered the Italian peninsula at the ports of Bari and Venice during the Crusades, eventually converging in central Italy. The mendicant orders adopted the image as an easily recognizable symbol for mercy and aided in its diffusion. In this study, the author?s primary goals are to explore the iconographic origins of the Madonna della Misericordia as a devotional image by identifying and analyzing key attributes; to consider circumstances for its eventual overlapping function as a secular symbol used by lay confraternities; and to discuss its diaspora throughout the Italian peninsula, Western Europe, and eastward into Russia and Ukraine. With over 100 illustrations, the book presents an array of works of art as examples, including altarpieces, frescoes, oil paintings, manuscript illuminations, metallurgy, glazed terracotta, stained glass, architectural relief sculpture, and processional banners.

The cutting-edge papers in this collection reflect the wide areas to which John Pryor has made significant contributions in the course of his scholarly career. They are written by some of the world's most distinguished practitioners in the fields of Crusading history and the maritime history of the medieval Mediterranean. His colleagues, students and friends discuss questions including ship construction in the fourth and fifteenth centuries, navigation and harbourage in the eastern Mediterranean, trade in Fatimid Egypt and along the Iberian Peninsula, military and social issues arising among the crusaders during field campaigns, and wider aspects of medieval warfare. All those with an interest in any of these subjects, whether students or specialists, will need to consult this book.