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Cambridge University Press 978-0-521-83583-1 - Crusader Art in the Holy Land, From the Third Crusade to the Fall of Acre, 1187-1291 Jaroslav Folda Excerpt More information 1 reflections on the historiography of the art of the crusaders in the thirteenth century The beginnings of the modern European, and especially French, he was able to launch his son on a diplomatic career. It was rediscovery of Syria-Palestine can be conveniently dated to while he was posted in St. Petersburg in 1850 that the young Napoleon’s campaigns in the Near East from May 1798 to de Vogu¨ e´ discovered his interest in archaeology. He first went August 1799. Shortly thereafter, J. F. Michaud began publi- to the Levant in 1853–4, just at the time of the Crimean War in cation of his Histoire des Croisades, starting in 1811, drawing which France was a major protagonist against Russia. One of attention to the history of the Crusaders in the Levant.1 This the issues in dispute, of course, concerned privileges at the holy was followed by the great project sponsored by the Academie´ sites in Palestine. On 19 November 1853, Melchior saw the des Inscriptions et Belles-Lettres to publish the major medieval Holy City for the first time. It made a tremendous impression texts dealing with the Crusades, starting in 1841.2 Study of the on him, as he records in a letter to his father: material culture of the Crusaders was begun in terms of coinage and the first attempt at a comprehensive study appeared in 1847 J’ai aperc¸u pour la premierefois...la` ville sainte...etjen’ai ´ ` ´ ´ ´ by Louis Felicien de Saulcy.3 Interest in the Crusaders was indi- pu contenir mon emotion a la vue de ses murailles venerees. Depuis le matin j’avais comme une fievre` qui me poussait en rectly intensified in France during the Crimean War (1853–6), avant, a` la grande stupefaction´ de ma monture derang´ ee´ dans in which one of the major issues was French protection of ses allures pacifiques: et sitotˆ que j’ai vu poindre au loin et Christian pilgrims to Jerusalem and Catholic rights and privi- briller au soleil les domesˆ de Sion, l’emotion´ a eclat´ eetjeme´ leges at the holy sites under the Capitulations of 1740.4 Four suis jete´ en bas de mon cheval pour remercier le Seigneur de years after the war ended, in 1860, the count Charles-Jean- m’avoir amene´ jusqu’ici.5 Melchior de Vogu¨ e,´ eventually the Marquis de Vogu¨ e(´ 1829– Thereafter he returned frequently to Jerusalem up to his last 1916), published a pioneering study titled Les Eglises de la Terre visit in 1911, only a few years before he died.6 Sainte. This book marked the beginning of modern research I have already discussed the context for and the argument into the art and architecture of the Crusaders in the Holy in de Vogu¨ e’s´ book elsewhere, as well as his methodological Land. approach.7 The view he took of the Crusader experience is Historiographically, therefore, the origins of the study of summed up as follows: Crusader architecture and art can clearly be located in the con- text of French scholarship of the nineteenth century. The issue Les Croises´ avaient transporte´ en Palestine la societ´ edu´ relevant to our current inquiry is, to what extent did these early moyen ageˆ tout d’une piece,` avec ses hierarchies´ militaires scholars recognize both Crusader architecture and Crusader et ecclesiastiques,´ ses coutumes feodales,´ et jusqu’a ses artistic work of the thirteenth century and how did they differ- denominations.´ Les constructeurs venus a` leur suite ou pris entiate this work from that of the twelfth? What criteria did dans leurs rangs firent de meme;ˆ ils transplanterent` au mi- they use to identify the work? How did they date it? In view lieu des edifices´ byzantins et arabes les eglises´ franc¸aises de la mere` patrie, avec leur nefs hautes et allongees,´ leur of the fact that the holy sites of Jerusalem, Bethlehem, and bas cotes,´ leur systemes` de voutes,ˆ enfin tous leurs el´ ements´ Nazareth, even when accessible, were largely out of Crusader essentiels.8 control in the period between 1187 to 1291 and that these sites had been major centers for the production of the art of the But what is especially relevant to examine here is his perception Crusaders in the twelfth century, how did scholars character- of thirteenth-century architecture, its nature, and its develop- ize the nature and development of Crusader art in the thirteenth ment, in contrast to that of the twelfth century, in the Crusader century? States. De Vogu¨ e´ approached the study of Crusader churches as the work of French architects who produced buildings in three phases: phase 1, from 1099 to 1187; phase 2, from 1187 i to 1291; and phase 3, on Cyprus from the thirteenth to the De Vogu¨ e’s´ father was a friend of Alexis de Tocqueville, the fifteenth centuries. Essentially he argues for the importation French minister of foreign affairs, and through this connection of Romanesque architecture from western Europe as the basis 1 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-83583-1 - Crusader Art in the Holy Land, From the Third Crusade to the Fall of Acre, 1187-1291 Jaroslav Folda Excerpt More information crusader art in the holy land of Crusader architecture, and he sees the development of Les edifices´ du second et surtout du troisieme` groupe ont Crusader art as controlled by French artistic ideals. Although he un caractere` tout different;´ ils offrent un imitation par- championed the view that the Crusaders brought Romanesque faite, comme construction et comme ornementation, des architecture with them he was, however, well aware of two as- eglises´ elev´ ees´ en France alam` emeˆ epoque,´ avec cette seule difference:´ que les toits pointus sont remplaces´ par des ter- pects that influenced it in its new setting. He noted that the rasses horizontales.12 local climate, materials, and local masons were different from those of France; he also recognized that local Christians had De Vogu¨ e´ is important because he gives us our first histor- their own architectural traditions that were quite distinct from ical perspective on the developments in Crusader architecture those of the Crusaders. One, of course, was the tradition of in the period from 1187 to 1291, remembering always that Byzantine architecture with domed centralized churches, at that church architecture was his focus. It is evident that in doing point little studied, and the other derived from the Early Chris- this he depends heavily on the written sources, not archaeolog- tians with longitudinal, basilican-plan churches. Nonetheless, ical examination for these buildings, but he is mindful of the his idea was that however certain parts or details of Crusader need to study the standing monuments where possible. He fo- architecture were altered by local conditions, the basic charac- cuses methodologically on the churches in terms of architecture ter of the Romanesque was not. and interior decoration, and he also sees his basic approach to De Vogu¨ e´ identifies the great period of church building in the be one of comparing churches in the East with those in the Latin Kingdom as the years between 1140 and 1180. The bulk West as a source of dating and development. Nonetheless, he of his large and impressive book deals with that phase. By con- finds little important Crusader church architecture in this pe- trast, on the basis of pilgrim’s accounts, chronicles, and letters, riod and asserts that fortifications constituted most of what he says that little was built between 1187 and 1229. He points was being built by the Crusaders. Unfortunately he does not out that it was only in 1192, at the intervention of the bishop of seriously discuss the major, mostly thirteenth-century church Salisbury with Saladin, that permission was given for two Latin still largely intact at Tartus, and apparently he was unable to priests and their deacons to return to the towns of Jerusalem, investigate in any detail the old city of Acre with its numer- Bethlehem, and Nazareth, who served in these locations along ous thirteenth-century buildings, including some churches. He with a small number of indigenous clergy. In 1211, he notes apparently assumed that the churches were destroyed by the that four Syrian priests alone said their office in the church of Muslims. His focus is maintained on the holy places in the thir- the Holy Sepulchre according to Wilbrand von Oldenburg, and teenth century, as it was in the twelfth, and he finds nothing in 1217, Thietmar found Jerusalem closed to Christian access. new in these locations. De Vogu¨ e´ also cites a collective letter written c.1220 to King On the issue of thirteenth-century Crusader architectural Philippe II Augustus from the refugee bishops and abbots of style and design for churches, de Vogu¨ e´ deals with the problem the Latin Kingdom living in Acre. They said the Holy Land of the ogival arch and French Gothic style with a perceptive ar- was deserted and destroyed, reduced to a poverty that could gument. He proposes that the ogival arch originally developed not be expressed in words. The Crusaders, they said, only pos- in France independent of Eastern influence but that it also was sessed two cities, Tyre and Acre, and what few resources they found in early Arab architecture in the East. He asserts that had were being diverted to Damietta.9 the Gothic architecture found in the Levant was primarily that In 1229, with the treaty arranged by Frederick II, Christians which is found today on Cyprus and was derived from French were once again granted open access to Jerusalem.

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