Scholars studying texts, works of art, and other material belonging to Christian and Muslim, eastern and western communities affected by the crusader phenomenon share findings and views. A dozen papers present perspectives of the western Latin community, various indigenous Christian communities, travel reports characterized by strong personal and even intimate observations, and crafts and arts. Distributed by The David Brown Book Company. Annotation : 2004 Book News, Inc., Portland, OR (booknews.com).

The county of Tripoli in what is now North Lebanon is arguably the most neglected of the so-called ‘crusader states’ established in the Middle East at the beginning of the twelfth century. The present work is the first monograph on the county to be published in English, and the first in any western language since 1945. What little has been written on the subject previously has focused upon the European ancestry of the counts of Tripoli: a specifically Southern French heritage inherited from the famous crusader Raymond IV of Saint-Gilles. Kevin Lewis argues that past historians have at once exaggerated the political importance of the counts’ French descent and ignored the more compelling signs of its cultural impact, highlighting poetry composed by troubadours in Occitan at Tripoli’s court. For Lewis, however, even this belies a deeper understanding of the processes that shaped the county. What emerges is an intriguing portrait of the county in which its rulers struggled to exert their power over Lebanon in the face of this region’s insurmountable geographical forces and its sometimes bewildering, always beguiling diversity of religions, languages and cultures. The counts of Tripoli and contemporary Muslim onlookers certainly viewed the dynasty as sons of Saint-Gilles, but the county’s administration relied upon Arabic, its stability upon the mixed loyalties of its local inhabitants, and its very existence upon the rugged mountains that cradled it. This book challenges prevailing knowledge of this little-known crusader state and by extension the medieval Middle East as a whole. .

Now available in paperback, this Companion offers an unparalleled survey of the history, theology, doctrine, worship, art, culture and politics that make up the churches of Eastern Christianity. Covers both Byzantine traditions (such as the Greek, Russian and Georgian churches) and Oriental traditions (such as the Armenian, Coptic and Syrian churches) Brings together an international team of experts to offer the first book of its kind on the subject of Eastern Christianity Contributes to our understanding of recent political events in the Middle East and Eastern Europe by providing much needed background information May be used alongside The Blackwell Dictionary of Eastern Christianity (1999) for a complete student resource

The fall of the Byzantine capital of Constantinople to the Latin West in 1204 during the Fourth Crusade abruptly interrupted nearly nine hundred years of artistic and cultural traditions. In 1261, however, the Byzantine general Michael VIII Palaiologos triumphantly re-entered Constantinople and reclaimed the seat of the empire, initiating a resurgence of art and culture that would continue for nearly three hundred years, not only in the waning empire itself but also among rival Eastern Christian nations eager to assume its legacy. Byzantium: Faith and Power (1261–1557), and the groundbreaking exhibition that it accompanies, explores the artistic and cultural flowering of the last centuries of the "Empire of the Romans" and its enduring heritage. Conceived as the third of a trio of exhibitions dedicated to a fuller understanding of the art of the Byzantine Empire, whose influence spanned more than a millennium, "Byzantium: Faith and Power (1261–1557)" follows the 1997 landmark presentation of "The Glory of Byzantium," which focused on the art and culture of the Middle Byzantine era—the Second Golden Age of the Byzantine Empire (843–1261). In the late 1970s, "The Age of Spirituality" explored the early centuries of Byzantium's history. The present concluding segment explores the exceptional artistic accomplishments of an era too often considered in terms of political decline. Magnificent works—from splendid frescoes, textiles, gilded metalwork, and mosaics to elaborately decorated manuscripts and liturgical objects—testify to the artistic and intellectual vigor of the Late and Post-Byzantine era. In addition, forty magnificent icons from the Holy Monastery of Saint Catherine, Sinai, Egypt, join others from leading international institutions in a splendid gathering of these powerful religious images. While the political strength of the empire weakened, the creativity and learning of Byzantium spread father than ever before. The exceptional works of secular and religious art produced by Late Byzantine artists were emulated and transformed by other Eastern Christian centers of power, among them Russia, Serbia, Bulgaria, and Cilician Armenia. The Islamic world adapted motifs drawn from Byzantium's imperial past, as Christian minorities in the Muslin East continued Byzantine customs. From Italy to the Lowlands, Byzantium's artistic and intellectual practices deeply influenced the development of the Renaissance, while, in turn, Byzantium's own traditions reflected the empire's connections with the Latin West. Fine examples of these interrelationships are illustrated by important panel paintings, ceramics, and illuminated manuscripts, among other objects. In 1557 the "Empire of the Romans," as its citizens knew it, which had fallen to the Ottoman Turks in 1453, was renamed Byzantium by the German scholar Hieronymus Wolf. The cultural and historical interaction and mutual influence of these major cultures—the Latin West and the Christian and Islamic East—during this fascinating period are investigated in this publication by a renowned group of international scholars in seventeen major essays and catalogue discussions of more than 350 exhibited objects.