Ch. 1. Reflections on the Historiography of "Crusader Art"
Ch. 2. The First Crusaders and Their Artistic Context: 1095-1099
Ch. 3. The Beginnings of Crusader Art: 1099-1100
Ch. 4. Crusader Art in the Reign of King Baldwin I of Jerusalem: 1100-1118
Ch. 5. Crusader Art in the Reign of King Baldwin II of Jerusalem: 1118-1131
Ch. 6. Crusader Art in the Reign of King Fulk and Queen Melisende: 1131-1143
Ch. 7. Crusader Art in the Reign of Queen Melisende and King Baldwin III: 1143-1163
Ch. 8. Crusader Art in the Reign of Queen Melisende and King Baldwin III: 1143-1163
Ch. 9. Crusader Art in the Reign of King Amaury I: 1163-1174
Ch. 10. Crusader Art at the Time of King Baldwin IV and King Baldwin V to the Fall of Jerusalem in 1187
Ch. 11. Conclusions.
The Art of the Crusaders in the Holy Land, 1098-1187 examines the art and architecture produced for the invading Crusaders in Syria-Palestine during the first century of their quest to recapture and control the holy sites of Jerusalem, Bethlehem, and Nazareth. Commissioned by kings and queens, patriarchs, bishops, knights, and merchants who came as pilgrims or settlers to the Holy Land, it is an art of manuscript illumination, icons, fresco painting, mosaics, stone sculpture, metalwork, ivory carving, embroidery, coins, and seals by artists trained in the Latin West and the Crusader, Byzantine, and Islamic East. Combining the multicultural traditions of these regions, Crusader art defies easy categorization. Indeed, it is a unique phenomenon within the spectrum of medieval art. Based on years of research, The Art of the Crusaders in the Holy Land, the initial volume in a two-part survey, is the first comprehensive study of all the arts, which are considered together within their historical context. Charting stylistic and iconographic evolution, this study identifies the main phases of artistic development from the origins, through its flourishing era during the reigns of Queen Melisende (1131-1161) and King Amaury (1163-1174) to the final achievements before 1187. Defining a distinctive and important chapter in the history of medieval art, this groundbreaking work is illustrated with 700 halftone illustrations and 41 color plates.