Crusader Art

The scarcity of artwork dating from the crusader period found in the Holy Land today does not reflect — as some commentators suggest — a lack of artistic accomplishment or interest in the arts on the part of the elites in the crusader kingdoms. Rather is it the result of the the ravages of war and time, combined with systematic destruction and theft of crusader art by the Muslim conquerors of the Christian kingdoms. Today, Dr. Schrader provides a brief overview of some of the artistic achievements of the crusaders.

A medieval window seat with delicate tracery; crusader castle of St. Hilarion on Cyprus

 

We know from the written record and from the few fragments of art that survive that the Kings of Jerusalem and other Christian rulers invested huge sums in the construction/re-construction and decoration of churches first and foremost. We also know the luxury in which the elites in the crusader states lived attracted censure as well as awe from Western pilgrims, suggesting that secular buildings were likewise beautifully decorated.

Cloisters at the Church of the Nativity, Bethlehem

The best surviving evidence of crusader art is in the architecture and above all sculpture from the Church of the Holy Sepulcher and the Church of the Annunciation at Nazareth.  Fragments of crusader sculpture have also been found at Sebaste, Montfort and St. Mary Major in Jerusalem. However, except where Christian motifs or location make the dating of sculpture unassailable, many works of crusader sculpture is hard to identify because it was incorporated into buildings that were subsequently modified and overlaid with work of later centuries. The covered markets of Jerusalem are largely crusader in origin, but have been used continuously and added to and modified by successive generations. 

One of Jerusalem's covered markets, some of which date back to the reign of Queen Melusinde

From the few pieces of art that have been identified unequivocally as crusader sculpture, a clear mix of Byzantine and Romanesque influences has been identified, suggesting either Byzantine artists working for Latin patrons, or Frankish craftsmen under Byzantine masters or combinations of the above.

The Church of Nativity in Bethlehem houses magnificent mosaics from the crusader period. Very extensive wall mosaics depict the life of Christ, the Ecumenical Councils and the ancestors of Christ. These mosaics are carried out in the Byzantine style and were probably executed by Byzantine artists, but they were commissioned by the Kings of Jerusalem, probably Baldwin III or Amalric I, who were both married to Byzantine princesses and maintained close ties to the Byzantine Empire. The choice of Greek artists may also have been guided by the fact that the Church of the Nativity was one of the best preserved churches in the Holy Land, having survived destruction at the hands of the Persians and Muslims. The floor tiles date from the reign of Constantine and were allegedly commissioned by St. Helena. They are still in place today.

Mosaics in the Church of the Nativity, Bethlehem, dating from the Reign of Baldwin III or Amalric I (apologies for the poor quality; I took the photo myself in March 2014)

Wall painting was almost certainly popular in the crusader states as it was in the South of France, whence so many of the early crusaders came, but it is particularly vulnerable to obliteration as it is easily painted over — a method of eliminating unwanted decoration that also inadvertently preserves it for the archaeologist. At least four important frescos from the crusader period have been found in the last half century, including at Crac de Chevaliers.  The style of most wall-painting from the crusader period found to date suggests that Byzantine artists, or craftsmen trained in the Byzantine school, were used for such painting, although the choice of subject was dictated by Western traditions.

 

Two examples of Byzantine Art; St. George was a particularly popular subject in the Crusader Kingdoms

 In contrast, manuscript illustration appears to have been dominated by Western craftsmen. We know from written sources that a Scriptorium was established by the canons of the Church of the Holy Sepulcher. This workshop is said to have produced a large number of works of very high quality, very little of which has survived. One exception is a psalter made for Queen Melisende of Jerusalem. 

The ivory cover of Queen Melisende's Psalter

After the fall of Jerusalem, there appears to have been an attempt to re-establish a Scriptorium in the Holy Land, this time in Acre, but the quality of the work is notably inferior to that from the Holy Sepulcher. Furthermore, whereas the illustrations of the Melisdende psalter and other works from the 12^th century demonstrate strong Byzantine influence, the works from the Acre scriptorium are French and Italian in style.

The fragments of crusader art that survive are pitiably little, a mere whisper of what must have been a rich and distinct artistic heritage formed by the cross-fertilization of various cultures and artistic traditions at the ancient cross-roads of civilization on the eastern edge of the Mediterranean.

Recommended further reading:

Boas, Adrian J., Crusader Archaeology: The Material Culture of the Latin East, Routledge, London & New York, 1999.

Dr. Helena P. Schrader holds a PhD in History.

She is the Chief Editor of the Real Crusades History Blog.

She is an award-winning novelist and author of numerous books both fiction and non-fiction. Her three-part biography of Balian d'Ibelin won a total of 14 literary accolades. Her most recent release is a novel about the founding of the crusader Kingdom of Cyprus. You can find out more at: http://crusaderkingdoms.com

Queen Melisende is a major character in J. Stephen Robert's novel Why Does the Heathen Rage: 

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