Exhibition itinerary : Santa Barbara Museum of Art, Jan. 29-May 31, 1998; University of New Mexico Art Museum, Oct. 13-Dec. 13, 1999; St. Louis Art Museum, Feb. 23-May 23, 1999.

Medieval Jerusalem was a vibrant international center, home to multiple cultures, faiths, and languages. Harmonious and dissonant voices from many lands, including Persians, Turks, Greeks, Syrians, Armenians, Georgians, Copts, Ethiopians, Indians, and Europeans, passed in the narrow streets of a city not much larger than midtown Manhattan. Patrons, artists, pilgrims, poets, and scholars from Christian, Jewish, and Islamic traditions focused their attention on the Holy City, endowing and enriching its sacred buildings, creating luxury goods for its residents, and praising its merits. This artistic fertility was particularly in evidence between the eleventh and fourteenth centuries, notwithstanding often devastating circumstances—from the earthquake of 1033 to the fierce battles of the Crusades. So strong a magnet was Jerusalem that it drew out the creative imagination of even those separated from it by great distance, from as far north as Scandinavia to as far east as present-day China. This publication is the first to define these four centuries as a singularly creative moment in a singularly complex city. Through absorbing essays and incisive discussions of nearly 200 works of art, Jerusalem, 1000–1400: Every People Under Heaven explores not only the meaning of the city to its many faiths and its importance as a destination for tourists and pilgrims but also the aesthetic strands that enhanced and enlivened the medieval city that served as the crossroads of the known world.

There could be no better illustration of coexistence than the extensive history of religious sites shared by members of different beliefs and backgrounds. Chronicles of the three Abrahamic religions are full of examples of cohabitation, hospitality, and tolerance despite a world torn apart by cultural, ethnic, and spiritual struggles. Maps of the Mediterranean and Near East are strewn with shrines that have long been the sites of convergence for prayers, wishes, and contemplation, yet their origins of sharing differ. Often local populations perceive a benefit of another group's sacred space, either recognized by open-minded leaders who preach unity or by members of different religious groups who share said space for pragmatic reasons. Our contemporary world contains numerous cases of such crossings, many of which are documented in this catalogue. Shared Sacred Sites is published on the occasion of the eponymous exhibition, which was organized as a contemporary "pilgrimage" in Manhattan through three venues. At The New York Public Library, the exhibition shares the history of the Holy Land with a look at Jerusalem as both holy city and center of pilgrimage for three faiths. The Morgan Library & Museum brings an altogether different aspect of the story of coexistence in a display of the celebrated Morgan Picture Bible produced in Paris around 1250, which offers the most exquisite visualizations of the events of the Old Testament. The Graduate Center of The City University of New York gathers contemporary examples compiled by an international team with various explorations and experiences in sanctuaries, presenting a medley of artifacts, contemporary art, multimedia, and photographs.

The dream of building Jerusalem in England's green and pleasant land has long been a quintessential part of English identity and culture: but how did this vision shape the Victorian encounter with the actual Jerusalem in the Middle East? The Holy Land in English Culture 1799-1917 offers a new cultural history of the English fascination with Palestine in the long nineteenth century, from Napoleon's failed Mediterranean campaign of 1799, which marked a new era in the British involvement in the land, to Allenby's conquest of Jerusalem in 1917. Bar-Yosef argues that the Protestant tradition of internalizing Biblical vocabulary - 'Promised Land', 'Chosen People', 'Jerusalem' - and applying it to different, often contesting, visions of England and Englishness evoked a unique sense of ambivalence towards the imperial desire to possess the Holy Land. Popular religious culture, in other words, was crucial to the construction of the orientalist discourse: so crucial, in fact, that metaphorical appropriations of the 'Holy Land' played a much more dominant role in the English cultural imagination than the actual Holy Land itself. As it traces the diversity of 'Holy Lands' in the Victorian cultural landscape - literal and metaphorical, secular and sacred, radical and patriotic, visual and textual - this study joins the ongoing debate about the dissemination of imperial ideology. Drawing on a wide array of sources, from Sunday-school textbooks and popular exhibitions to penny magazines and soldiers' diaries, the book demonstrates how the Orientalist discourse functions - or, to be more precise, malfunctions - in those popular cultural spheres that are so markedly absent from Edward Said's work: it is only by exploring sources that go beyond the highbrow, the academic, or the official, that we can begin to grasp the limited currency of the orientalist discourse in the metropolitan centre, and the different meanings it could hold for different social groups. As such, The Holy Land in English Culture 1799-1917 provides a significant contribution to both postcolonial studies and English social history.

This collection of essays analyzes film representations of the Crusades, other medieval East/West encounters, and the modern inheritance of encounters between orientalist fantasy and apocalyptic conspiracy. From studies of the filmic representations of popular figures such as El Cid, Roland, Richard I, and Saladin to examinations of such topics as Templar romance and the role of set design, location and landscape, the essays make significant contributions to our understanding of orientalist medievalism in film. Instructors considering this book for use in a course may request an examination copy here.

The art and history of the Holy Land are presented here by distinguished members of the curatorial staff of the Israel Museum, Jerusalem. A series of essays examines this land's rich complexity from prehistory through the Islamic conquest of A.D. 640, and almost two hundred works of art are discussed in texts that explore their cultural, historical, religious, and aesthetic significance. Maps, site photographs, and comparative illustrations add to the reader's appreciation of a land whose great intellectual force continues to mold today's world.