Bibliography for HART30029 Artistic Exchange in the Mediterranean BETA

Alcouffe, D. (1984). Islamic Hardstone Carving. In D. Buckton (Ed.), The Treasury of San Marco, Venice (pp. 202–227). Olivetti. https://www.metmuseum.org/art/metpublications/The_Treasury_of_San_Marco_Venice

Alicia Walker. (2008). Meaningful Mingling: Classicizing Imagery and Islamicizing Script in a Byzantine Bowl. The Art Bulletin, 90(1), 32–53. http://www.jstor.org.bris.idm.oclc.org/stable/20619587

Alicia Walker. (2010). Patterns of Flight: Middle Byzantine Adoptions of the Chinese Feng Huang Bird. Ars Orientalis, 38, 188–216. http://www.jstor.org.bris.idm.oclc.org/stable/29550024

Allan, J. W. (1994). The influence of the metalwork of the Arab Mediterranean on that of medieval Europe. In The Arab influence in Medieval Europe: Vol. Middle East cultures series (pp. 44–62). Ithaca Press.

Anderson, G. (2014). Sign of the Cross: contexts for the Ivory Cross of San Millán de la Cogolla. Journal of Medieval Iberian Studies, 6(1), 15–41. https://doi.org/10.1080/17546559.2014.889321

Anderson, G. D. (2013). Architecture and Ornament. In The Islamic villa in early medieval Iberia: architecture and court culture in Umayyad Cordoba (pp. 47–104). Ashgate.

Armando, S. (2015). Fatimid Ivories in Ifrīqiya: the Madrid and Mantua caskets between construction and decoration. Journal of Islamic Archaeology, 2.2, 195–228.

Avinoam Shalem. (2011). Histories of Belonging and George Kubler’s Prime Object. Getty Research Journal, 3, 1–14. http://www.jstor.org.bris.idm.oclc.org/stable/23005384

Bacci, M. (2008). Chapter 7 Byzantium and the West. In Byzantium, 330-1453 (pp. 275–305). Royal Academy of Arts.

Baer, E. (2014). Chapter 4 Ayyubid Metalwork with Christian Images. In Ayyubid metalwork with Christian images: Vol. Studies in Islamic art and architecture (pp. 41–49). Brill.

Ballian, A. (2010). Three Islamic inlaid brasses and the Mosul tradition of inlaid metalwork. Mouseio Benakē, 113–140.

Beech, G. T. (1993). The Eleanor of Aquitaine Vase, William IX of Aquitaine, and Muslim Spain. Gesta, 32(1), 3–10. https://doi.org/10.2307/767013

Behrens-Abouseif, D. (2004). European Arts and Crafts at the Mamluk Court. Muqarnas Online, 21(1), 45–54. https://doi.org/10.1163/22118993-90000053

Belting, H. (1994a). Chapter 16 'In the Greek Manner’: Imported Icons in the West. In Likeness and presence: a history of the image before the era of art (pp. 330–348). University of Chicago Press.

Belting, H. (1994b). Chapter 17 Icons in the Age of the Tuscan Cities. In Likeness and presence: a history of the image before the era of art. University of Chicago Press.

Bettini, S. (1984). Venice, the Pala d’Oro and Constantinople. In D. Buckton (Ed.), The Treasury of San Marco, Venice (pp. 35–64). Olivetti.

Boehm, B. D., & Holcomb, M. (Eds.). (2016a). Jerusalem, 1000-1400: every people under heaven. The Metropolitan Museum of Art.

Boehm, B. D., & Holcomb, M. (Eds.). (2016b). Jerusalem, 1000-1400: every people under heaven. The Metropolitan Museum of Art.

Boehm, B. D., & Holcomb, M. (Eds.). (2016c). Jerusalem, 1000-1400: every people under heaven. The Metropolitan Museum of Art.

Booms, D., & Higgs, P. (2016). Sicily: culture and conquest. The British Museum Press.

Borsook, E. (1990). The Cappella Palatina at Palermo: A coronation commemorated. In Messages in mosaic: the royal programmes of Norman Sicily (1130-1187) (pp. 17–41). Clarendon.

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Brubaker, L. (2004). The Elephant and the Ark: Cultural and Material Interchange across the Mediterranean in the Eighth and Ninth Centuries. Dumbarton Oaks Papers, 58. https://doi.org/10.2307/3591385

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Buckton, D., & Osborne, J. (2000). The Enamel of Doge Ordelaffo Falier on the Pala d’Oro in Venice. Gesta, 39(1), 43–49. https://doi.org/10.2307/767152

Bush, O. (2018). Reframing the Alhambra: Architecture, poetry, textiles and court ceremonial. Edinburgh University Press. https://doi.org/10.3366/edinburgh/9781474416504.001.0001

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Carboni, S. (Ed.). (2007a). Venice and the Islamic world, 828-1797. Yale University Press.

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Carr, A. W. (1995). Byzantines and Italians on Cyprus: Images from Art. Dumbarton Oaks Papers, 49. https://doi.org/10.2307/1291718

CECILY J. HILSDALE. (2010). The Imperial Image at the End of Exile: The Byzantine Embroidered Silk in Genoa and the Treaty of Nymphaion (1261). Dumbarton Oaks Papers, 64, 151–199. http://www.jstor.org.bris.idm.oclc.org/stable/41480885

Contadini, A. (1999). The cutting edge: problems of history, identification and technique of Fatimid rock crystals. In M. Barrucand (Ed.), L’Egypte fatimide. Son art et son histoire (pp. 319–329). Presses Universitaires de Paris-Sorbonne. http://eprints.soas.ac.uk/4508/1/Contadini_1999_CuttingEdge.pdf

Contadini, A. (2002). Beasts that roared: the Pisa Griffin and the New York Lion. In W. Ball & L. Harrow (Eds.), Cairo to Kabul: Afghan and Islamic Studies Presented to Ralph Pinder-Wilson (pp. 65–83). Melisende. https://eprints.soas.ac.uk/4219/

Contadini, A. (2010). Translocation and transformation: some Middle Eastern objects in Europe. In L. E. Saurma-Jeltsch & A. Eisenbeiss (Eds.), The power of things and the flow of cultural transformations: art and culture between Europe and Asia (pp. 42–64). Deutscher Kunstverlag.

Cormack, R., & Mihalarias, S. (1984). A Crusader painting of St George: ‘maniera greca’ or ‘lingua franca’. The Burlington Magazine, 126(972), 132–141. https://www-jstor-org.bris.idm.oclc.org/stable/881572?seq=1#metadata_info_tab_contents

Cormack, R., Vasilakē, M., & Royal Academy of Arts. (2008). Byzantium, 330-1453. Royal Academy of Arts.

Cruikshank Dodd, E. (2011). Siculo-Arabic ivories: Christian motifs in Islamic painting. In D. Knipp (Ed.), Siculo-Arabic ivories and Islamic painting, 1100-1300: proceedings of the international conference, Berlin, 6-8 July 2007: Vol. Band 36 (pp. 151–167). Hirmer Verlag GmbH.

Curcic, S. (1987). Some Palatine Aspects of the Cappella Palatina in Palermo. Dumbarton Oaks Papers, 41. https://doi.org/10.2307/1291551

Cutler, A. (1995). From Loot to Scholarship: Changing Modes in the Italian Response to Byzantine Artifacts, ca. 1200-1750. Dumbarton Oaks Papers, 49. https://doi.org/10.2307/1291714

Cutler, A. (2001). Gifts and Gift Exchange as Aspects of the Byzantine, Arab, and Related Economies. Dumbarton Oaks Papers, 55. https://doi.org/10.2307/1291821

Cynthia Robinson. (2003). Mudéjar Revisited: A Prologoména to the Reconstruction of Perception, Devotion, and Experience at the Mudéjar Convent of Clarisas, Tordesillas, Spain (Fourteenth Century A.D.). RES: Anthropology and Aesthetics, 43, 51–77. http://www.jstor.org.bris.idm.oclc.org/stable/20167590

Dale, T. (2010). Reinventing the East at San Marco after the Fourth Crusade. In San Marco, Byzantium, and the myths of Venice (pp. 151–191). Dumbarton Oaks Research Library and Collection.

Dale, T. E. A. (1994). Inventing a Sacred Past: Pictorial Narratives of St. Mark the Evangelist in Aquileia and Venice, ca. 1000-1300. Dumbarton Oaks Papers, 48. https://doi.org/10.2307/1291722

Dell’Acqua, F. (Ed.). (2016). The Salerno ivories: objects, histories, contexts. Gebr. Mann.

Derbes, A. (1989). Siena and the Levant in the Later Dugento. Gesta, 28(2), 190–204. https://doi.org/10.2307/767068

Derbes, A. (1996). Picturing the Passion in late medieval Italy: narrative painting, Franciscan ideologies, and the Levant. Cambridge University Press.

Derbes, A., & Neff, A. (2004). Italy, the Mendicant Orders, and the Byzantine Sphere. In Byzantium: faith and power (1261-1557) (pp. 449–461). Metropolitan Museum of Art in conjunction with Yale University Press.

Detailed record for Egerton 1139. (n.d.). http://www.bl.uk/catalogues/illuminatedmanuscripts/record.asp?MSID=8095

Dittelbach, T. (2005). The image of the private and public king in Norman Sicily. In Römisches Jahrbuch der Bibliotheca Hertziana: Band 35: 2003/4. Hirmer Verlag.

Dodd, E. C. (2011). Siculo-Arabic ivories: Christian motifs in Islamic painting’. In D. Knipp (Ed.), Siculo-Arabic ivories and Islamic painting, 1100-1300: proceedings of the international conference, Berlin, 6-8 July 2007: Vol. Band 36 (pp. 151–167). Hirmer Verlag GmbH.

Dodds, J. (Ed.). (1992). Al-Andalus: the Art of Islamic Spain. Metropolitan Museum of Art. https://www.metmuseum.org/art/metpublications/Al_Andalus_The_Art_of_Islamic_Spain

Dodds, J. (1993). Islam, Christianity and the problem of religious art. In The art of medieval Spain, A.D. 500-1200 (pp. 27–37). The Metropolitan Museum of Art.

Dodds, J. D. (2008). Union. In The arts of intimacy: Christians, Jews, and Muslims in the making of Castilian culture (pp. 113–161). Yale University Press.

Dodds, J. D., Menocal, M. R., & Balbale, A. K. (2008). The arts of intimacy: Christians, Jews, and Muslims in the making of Castilian culture. Yale University Press.

Dolezalek, I. (2012). Fashionable Form and Tailor-made Message: Transcultural Approaches to Arabic Script on the Royal Norman Mantle and Alb. The Medieval History Journal, 15(2), 243–268. https://doi.org/10.1177/097194581201500202

Dolezalek, I. (2013). Textile Connections? Two Ifrīqiyan Church Treasuries in Norman Sicily and the Problem of Continuity across Political Change. Al-Masāq, 25(1), 92–112. https://doi.org/10.1080/09503110.2013.767009

Dolezalek, I. (2017). Arabic Script on Christian Kings: Textile Inscriptions on Royal Garments from Norman Sicily (Vol. 5). De Gruyter.

Dorothy G. Shepherd. (1978). A Treasure from a Thirteenth-Century Spanish Tomb. The Bulletin of the Cleveland Museum of Art, 65(4), 111–134. http://www.jstor.org.bris.idm.oclc.org/stable/25159577

Duggan, T. M. P. (2009). Diplomatic Shock and Awe: Moving, Sometimes Speaking, Islamic Sculptures. Al-Masaq, 21(3), 229–267. https://doi.org/10.1080/09503110903343267

E. Jane Burns. (2006). Saracen Silk and the Virgin’s ‘Chemise’: Cultural Crossing in Cloth. Speculum, 81(2), 365–397. http://www.jstor.org.bris.idm.oclc.org/stable/20463715

Eastmond, A. (2011). The St Petroc casket, a certain mutilated man, and the trade in ivories. In D. Knipp (Ed.), Siculo-Arabic ivories and Islamic painting, 1100-1300: proceedings of the international conference, Berlin, 6-8 July 2007: Vol. Band 36 (pp. 82–97). Hirmer Verlag GmbH.

Ebitz, D. (1986a). Fatimid Style and Byzantine Model in a Venetian Ivory Carving Workshop. In The Meeting of two worlds: cultural exchange between East and West during the period of the Crusades: Vol. Studies in medieval culture (pp. 309–329). Medieval Institute Publications.

Ebitz, D. (1986b). Secular to Sacred: The Transformation of an Oliphant in the Musée de Cluny. Gesta, 25(1), 31–38. https://doi.org/10.2307/766895

Ecker, H. L. (1997). The Conversion of Mosques to Synagogues in Seville: The Case of the Mezquita de la Judería. Gesta, 36(2), 190–207. https://doi.org/10.2307/767238

Evans, H. C., Wixom, W. D., & Metropolitan Museum of Art (New York). (1997). The glory of Byzantium: art and culture of the Middle Byzantine era, A.D. 843-1261.

Flood, F. B. (2001). The medieval trophy as an art historical trope: Coptic and Byzantine ‘Altars’ in Islamic Contexts. Muqarnas Online, 18(1), 41–72. https://doi.org/10.1163/22118993-90000016

Flood, F. B. (2006). Image against Nature. The Medieval History Journal, 9(1), 143–166. https://doi.org/10.1177/097194580500900108

Folda, J. (1992). Reflections on art in Crusader Jerusalem about the time of the Second Crusade: c. 1140 – c.1150. In The Second Crusade and the Cistercians (pp. 171–182). St. Martin’s Press.

Folda, J. (1995). Chapter 6 Crusader Art in the Reign of King Fulk and Queen Melisende 1131-1143. In The art of the crusaders in the Holy Land, 1098-1187 (pp. 119–174). Cambridge University Press.

Folda, J. (1997). Crusader Art. In The glory of Byzantium: art and culture of the Middle Byzantine era, A.D. 843-1261 (pp. 389–401).

Folda, J. (2004). The Figural Arts in Crusader Syria and Palestine, 1187-1291: Some New Realities. Dumbarton Oaks Papers, 58. https://doi.org/10.2307/3591390

Folda, J. (2005a). ch 7 Acre and the art of the Crusaders: the final years, 1268-89. In Crusader art in the Holy Land: from the Third Crusade to the fall of Acre, 1187-1291. Cambridge University Press.

Folda, J. (2005b). Chapter 6 Turmoil in the Holy Land: 1244-1268. In Crusader art in the Holy Land: from the Third Crusade to the fall of Acre, 1187-1291 (pp. 230–368). Cambridge University Press.

Folda, J. (2005c). Crusader art in the Holy Land: from the Third Crusade to the fall of Acre, 1187-1291. Cambridge University Press.

Folda, J. (2006). East meets West: the art and architecture of the Crusader States [Electronic resource]. In A companion to Medieval art: Romanesque and Gothic in Northern Europe (Vol. 2, pp. 488–509). Blackwell. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=243612&ppg=512

Folda, J. (2007). Mounted Warrior Saints in Crusader Icons: Images of the Knighthoods of Christ. In N. Housley (Ed.), Knighthoods of Christ: essays on the history of the Crusades and the Knights Templar, presented to Malcolm Barber (pp. 87–107). Ashgate.

Folda, J. (2008a). Crusader art: the art of the Crusaders in the Holy Land, 1099-1291. Lund Humphries.

Folda, J. (2008b). Crusader art: the art of the Crusaders in the Holy Land, 1099-1291. Lund Humphries.

Folda, J. (2012). Melisende of Jerusalem: queen and patron of art and architecture in the Crusader kingdom. In T. Martin (Ed.), Reassessing the Roles of Women as ‘Makers’ of Medieval Art and Architecture (2 vol. set) (pp. 429–477). Brill. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=934338&ppg=471

Folda, J. (2015). Twelfth-century crusader art in Bethlehem and Jerusalem: points of contact between Europe and the Crusader Kingdom. In Romanesque and the Mediterranean: patterns of exchange across the Latin, Greek and Islamic Worlds c.1000-c.1250 (pp. 1–14). Maney.

G. Fehérvári. (1977). Working in Metal: Mutual Influences between the Islamic World and the Medieval West. The Journal of the Royal Asiatic Society of Great Britain and Ireland, 1, 3–16. http://www.jstor.org.bris.idm.oclc.org/stable/25210849

Gaudette, H. A. (2010). The spending power of a Crusader queen: Melisende of Jerusalem. In T. Earenfight (Ed.), Women and wealth in late medieval Europe (pp. 135–148). Palgrave Macmillan. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=623799&ppg=145

George T. Beech. (1992). The Eleanor of Aquitaine Vase: Its Origins and History to the Early Twelfth Century. Ars Orientalis, 22, 69–79. http://www.jstor.org.bris.idm.oclc.org/stable/4629425

Georgopoulou, M. (1999). Orientalism and Crusader Art: Constructing a New Canon. Medieval Encounters, 5(3), 289–321. https://doi.org/10.1163/157006799X00097

Georgopoulou, M. (2001). Venice’s Mediterranean colonies: architecture and urbanism. Cambridge University Press.

Georgopoulou, M. (2004). The Artistic World of the Crusaders and Oriental Christians in the Twelfth and Thirteenth Centuries. Gesta, 43(2), 115–128. https://doi.org/10.2307/25067099

Gerevini, S. (n.d.). The Grotto of the Virgin in San Marco: artistic reuse and cultural identity in medieval Venice. Gesta, 197–220. http://www.journals.uchicago.edu.bris.idm.oclc.org/doi/full/10.1086/677346

Golombek, L. (2007). The draped universe of Islam. In Late antique and medieval art of the Mediterranean world (Vol. 5, pp. 97–114). Blackwell.

Gonnella, J. (2011). Columns and Hieroglyphs: Magic Spolia in Medieval Islamic Architecture of Northern Syria. Muqarnas Online, 27(1), 103–120. https://doi.org/10.1163/22118993-90000161

Goss, V. P., & Bornstein, C. V. (1986). The Meeting of two worlds: cultural exchange between East and West during the period of the Crusades (Vol. 21). Medieval Institute Publications.

Grabar, O. (2002). About a Bronze Bird. In Reading medieval images: the art historian and the object (pp. 117–126). University of Michigan Press.

Grabar, O. (2005a). Chapter 1 The Experience of Islamic Art on the Margins of Islam. In I. A. Bierman (Ed.), The experience of Islamic art on the margins of Islam: Vol. Giorgio Levi Della Vida Conference Papers (pp. 11–59). Ithaca Press in association with the Gustav E. von Grunebaum Center for Near Eastern Studies.

Grabar, O. (2005b). The Ceiling of the Cappella Palatina. In I. A. Bierman (Ed.), The experience of Islamic art on the margins of Islam: Vol. v. 15 (pp. 48–55). Ithaca Press in association with the Gustav E. von Grunebaum Center for Near Eastern Studies.

Grabar, O. (2006a). The Shared Culture of Objects. In Islamic visual culture, 1100-1800 (Vol. 2, pp. 51–67). Ashgate Variorum.

Grabar, O. (2006b). The Shared Culture of Objects. In Islamic visual culture, 1100-1800: Vol. Constructing the study of Islamic art (pp. 51–67). Ashgate Variorum.

Grossman, H. E., & Walker, A. (Eds.). (2012). Medieval Encounters - special issue on Mechanisms of Exchange: Transmission in Medieval Art and Architecture of the Mediterranean, ca. 1000-1500. 18(4–5). http://booksandjournals.brillonline.com.bris.idm.oclc.org/content/journals/15700674/18/4-5

Guérin, S. M. (2013). Forgotten Routes? Italy, Ifrīqiya and the Trans-Saharan Ivory Trade. Al-Masaq, 25(1), 70–91. https://doi.org/10.1080/09503110.2013.767012

Guy le Strange. (1897). A Greek Embassy to Baghdād in 917 A.D. The Journal of the Royal Asiatic Society of Great Britain and Ireland, 35–45. http://www.jstor.org.bris.idm.oclc.org/stable/25207823

Hamilton, B. (2000). Our Lady of Saidnaya: An Orthodox Shrine Revered By Muslims and Knights Templars at the Time of the Crusades. In The Holy Land, holy lands, and Christian history: papers read at the 1998 Summer meeting and the 1999 Winter meeting of the Ecclesiastical History Society: Vol. Studies in church history (pp. 207–215). Published for the Ecclesiastical History Society by the Boydell Press.

Hannah Baader and Gerhard Wolf. (2014). A Sea-to-Shore Perspective: Littoral and Liminal Spaces of the Medieval and Early Modern Mediterranean. Mitteilungen Des Kunsthistorischen Institutes in Florenz, 2–15. http://www.jstor.org.bris.idm.oclc.org/stable/23890551

Harris, J. (1995). Muslim ivories in Christian hands: the Leire Casket in context. Art History, 18(2), 213–221.

Harris, J. A. (1997). Mosque To Church Conversions in the Spanish Reconquest. Medieval Encounters, 3(2), 158–172. https://doi.org/10.1163/157006797X00116

Hoffman, E. (2011). Translation in ivory: interactions across cultures and media in the Mediterranean during the twelfth and thirteenth centuries. In D. Knipp (Ed.), Siculo-Arabic ivories and Islamic painting, 1100-1300: proceedings of the international conference, Berlin, 6-8 July 2007: Vol. Band 36 (pp. 99–119). Hirmer Verlag GmbH.

Hoffman, E. R. (2001). Pathways of Portability: Islamic and Christian Interchange from the Tenth to the Twelfth Century. Art History, 24(1), 17–50. https://doi.org/10.1111/1467-8365.00248

Hoffman, E. R. (2004). Christian-Islamic Encounters on Thirteenth-Century Ayyubid Metalwork: Local Culture, Authenticity, and Memory. Gesta, 43(2), 129–142. https://doi.org/10.2307/25067100

Hoffman, E. R. (2012). Translating Image and Text in the Medieval Mediterranean World between the Tenth and Thirteenth Centuries. Medieval Encounters, 18(4–5), 584–623. https://doi.org/10.1163/15700674-12342120

Howard, D. (1991). Venice and Islam in the Middle Ages: Some Observations on the Question of Architectural Influence. Architectural History, 34. https://doi.org/10.2307/1568594

Howard, D. (2000). Venice & the East: the impact of the Islamic world on Venetian architecture 1100-1500. Yale University Press.

Howard, D. (2007). Venice as an Eastern city. In S. Carboni (Ed.), Venice and the Islamic world, 828-1797 (pp. 58–71). Yale University Press.

Hunt, L.-A. (1991). Art and Colonialism: The Mosaics of the Church of the Nativity in Bethlehem (1169) and the Problem of ‘Crusader’ Art. Dumbarton Oaks Papers, 45. https://doi.org/10.2307/1291693

Hunt, L.-A. (2007). Artistic interchange in old Cairo in the thirteenth to early fourteenth century: the role of painted and carved icons. In Interactions: artistic interchange between the Eastern and Western worlds in the Medieval period (Vol. 9, pp. 48–66). Index of Christian Art, Dept. of Art and Archaeology.

Hunt, L.-A. (2011). Ceiling and casket at the Cappella Palatina and Christian Arab art between Sicily and Egypt in the twelfth and thirteenth centuries’. In D. Knipp (Ed.), Siculo-Arabic ivories and Islamic painting, 1100-1300: proceedings of the international conference, Berlin, 6-8 July 2007: Vol. Band 36 (pp. 170–197). Hirmer Verlag GmbH.

Hutcheson, G. S. (2014). Contesting the Mezquita del Cristo de la Luz. La Corónica: A Journal of Medieval Hispanic Languages, Literatures, and Cultures, 43(1), 201–229. https://doi.org/10.1353/cor.2014.0030

Ila Nicole Sheren. (2011). Transcultured Architecture: Mudéjar’s Epic Journey Reinterpreted. Contemporaneity: Historical Presence in Visual Culture, 1, 137–151. https://doi.org/https://doi.org/10.5195/contemp.2011.5

Immerzeel, M. (2004). Holy horsemen and Crusader banners. Equestrian Saints in wall paintings in Lebanon and Syria. Eastern Christian Art, 1, 29–60.

Immerzeel, M. (2007). Icon Painting in the County of Tripoli in the thirteenth century. In Interactions: artistic interchange between the Eastern and Western worlds in the Medieval period (Vol. 9, pp. 67–83). Index of Christian Art, Dept. of Art and Archaeology.

IMMERZEEL, M. (2007). The Monastery of Our Lady of Saydnaya and Its Icon. Eastern Christian Art, 4, 13–26. https://doi.org/10.2143/ECA.4.0.2024664

Jacoby, D. (2004). Silk Economics and Cross-Cultural Artistic Interaction: Byzantium, the Muslim World, and the Christian West. Dumbarton Oaks Papers, 58. https://doi.org/10.2307/3591386

Jacoby, Z. (1986). The Composition of the Nazareth Workshop and the Recruitment of Sculptors for the Holy Land in the Twelfth Century. In The Meeting of two worlds: cultural exchange between East and West during the period of the Crusades (Vol. 21, pp. 145–159). Medieval Institute Publications.

Jacoff, M. (1993). The horses of San Marco & the quadriga of the lord. Princeton University Press.

Jan de Hond and Luitgard Mols. (2011). A Mamluk Basin for a Sicilian Queen. The Rijksmuseum Bulletin, 59(1), 6–33. http://www.jstor.org.bris.idm.oclc.org/stable/23074620

Jansen, K. L., Drell, J. H., & Andrews, F. (2009). Ibn Jubayr’s account of Messina and Palermo (1184-85). In Medieval Italy: texts in translation (pp. 234–240). University of Pennsylvania Press. https://www-jstor-org.bris.idm.oclc.org/stable/j.ctt3fhhzb.66

Jennifer Kingsley. (2011). Reconsidering the medieval oliphant: the ivory horn in the Walters Art Museum. The Journal of the Walters Art Museum, 68, 9–20. http://www.jstor.org.bris.idm.oclc.org/stable/24412670

Jewish Museum. (1992). Convivencia: Jews, Muslims, and Christians in medieval Spain (V. B. Mann, T. F. Glick, & J. D. Dodds, Eds.). George Braziller in association with the Jewish Museum.

Johns, J. (2015a). Arabic Inscriptions in the Cappella Palatina: Performativity, Audience, Legibility and Illegibility. In A. Eastmond (Ed.), Viewing Inscriptions in the Late Antique and Medieval World (pp. 124–147). Cambridge University Press. https://www-cambridge-org.bris.idm.oclc.org/core/books/viewing-inscriptions-in-the-late-antique-and-medieval-world/arabic-inscriptions-in-the-cappella-palatina-performativity-audience-legibility-and-illegibility/C113561C55CDE401F110F6542698C722/core-reader

Johns, J. (2015b). Muslim artists and Christian models in the painted ceilings of the Cappella Palatina. In Romanesque and the Mediterranean: patterns of exchange across the Latin, Greek and Islamic Worlds c.1000-c.1250: Vol. The British Archaeological Association conference transactions (pp. 59–89). Maney.

Johnson, M. J. (1994). The Episcopal and Royal Views at Cefalù. Gesta, 33(2), 118–131. https://doi.org/10.2307/767163

Johnson, M. J. (1999). The Lost Royal Portraits of Gerace and Cefalu Cathedrals. Dumbarton Oaks Papers, 53. https://doi.org/10.2307/1291803

Jonathan M. Bloom. (1987). The Introduction of the Muqarnas into Egypt. Muqarnas Online, 5(1), 21–28. https://doi.org/10.1163/22118993-90000219

Jotischky, A. (1994). Manuel Comnenus and the Reunion of the Churches: the Evidence of the Conciliar Mosiacs in the Church of the Nativity in Bethlehem. Levant, 26(1), 207–223. https://doi.org/10.1179/lev.1994.26.1.207

Kalavrezou, I. (2007). The Cup of San Marco and the ‘Classical’ in Byzantium. In Late antique and medieval art of the Mediterranean world (Vol. 5, pp. 273–284). Blackwell.

Kalavrezou, I. (2014). The Byzantine Peplos in Genoa: "the object as event”. In A. A. Payne (Ed.), Dalmatia and the Mediterranean: portable archaeology and the poetics of influence: Vol. volume 1 (pp. 213–245). Brill. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1632919&ppg=235

Kana’an, R. (2013). The biography of a thirteenth-century brass ewer from Mosul. In S. S. Blair & J. M. Bloom (Eds.), God is beautiful and loves beauty: the object in Islamic art and culture. Yale University Press in association with The Qatar Foundation, Virginia Commonwealth University, and Virginia Commonwealth University School of the Arts in Qater.

Kapitaikin, L. (2005). The paintings of the aisle-ceilings of the Cappella Palatina, Palermo. In Römisches Jahrbuch der Bibliotheca Hertziana: Band 35: 2003/4. Hirmer Verlag.

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Kitzinger, E. (1989). Mosaic Decoration in Sicily under Roger II and the Classical Byzantine System of Church Decoration. In Italian church decoration of the Middle Ages and early Renaissance: functions, forms and regional traditions : ten contributions to a colloquium held at the Villa Spelman, Florence: Vol. Villa Spelman colloquia (pp. 147–165). Nuova Alfa.

Klein, H. A. (2004). Eastern Objects and Western Desires: Relics and Reliquaries between Byzantium and the West. Dumbarton Oaks Papers, 58. https://doi.org/10.2307/3591389

Klein, H. A. (2010). Refashioning Byzantium in Venice, ca. 1200-1400. In San Marco, Byzantium, and the myths of Venice (pp. 193–225). Dumbarton Oaks Research Library and Collection. https://arthistory.columbia.edu/sites/default/files/content/faculty/pdfs/klein/SanMarco-offprint.pdf

Knipp, D. (2005). Some aspects of style and heritage in the Norman stanza. In Römisches Jahrbuch der Bibliotheca Hertziana: Band 35: 2003/4 (pp. 175–207). Hirmer Verlag.

Knipp, D. (2006). Image, presence and ambivalence: the Byzantine tradition of the painted ceiling in the Cappella Palatina, Palermo. In F. A. Bauer (Ed.), Visualisierungen von Herrschaft: frühmittelalterliche Residenzen : Gestalt und Zeremoniell : internationales Kolloquium 3./4. Juni 2004 in Istanbul (Vol. 5, pp. 283–328). Ege Yayınları.

Knipp, D. (2011). Form and ornament in Siculo-Arabic ivory painting: the track leads to Norman principality of Antioch. In D. Knipp (Ed.), Siculo-Arabic ivories and Islamic painting, 1100-1300: proceedings of the international conference, Berlin, 6-8 July 2007: Vol. Band 36 (pp. 200–222). Hirmer Verlag GmbH.

Komaroff, L., Blair, S., Los Angeles County Museum of Art, & Museum of Fine Arts, Houston. (2011). Gifts of the Sultan: the arts of giving at the Islamic courts (1st ed). Los Angeles County Museum of Art.

Kominko, Maja. (2010). Byzantine, Syriac, Armenian and Latin: a note on artistic interaction in eastern Mediterranean manuscripts. Eastern Christian Art, 59–70. https://doi.org/10.2143/ECA.7.0.2136905

Kopytoff, I. (1986). Chapter 2 The Cultural Biography of Things: Commoditization as Process. In The Social life of things: commodities in cultural perspective (pp. 64–91). Cambridge University Press. https://doi.org/10.1017/CBO9780511819582.004

Kühnel, B. (1994). Crusader art of the twelfth century: a geographical, an historical, or an art historical notion? Mann.

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Laura T. Schneider. (1973). The Freer Canteen. Ars Orientalis, 9, 137–156. http://www.jstor.org.bris.idm.oclc.org/stable/4629276

Lenia Kouneni. (2008). The Kykkotissa Virgin and Its Italian Appropriation. Artibus et Historiae, 29(57), 95–107. http://www.jstor.org.bris.idm.oclc.org/stable/20067183

Lucy-Anne Hunt. (n.d.). A woman’s prayer to St Sergios in Latin Syria: interpreting a thirteenth-century icon at Mount Sinai. Byzantine and Modern Greek Studies. http://www-tandfonline-com.bris.idm.oclc.org/doi/abs/10.1179/byz.1991.15.1.96

Mack, R. (2002). Chapter 9: Inlaid brass. In Bazaar to piazza: Islamic trade and Italian art, 1300-1600. University of California Press.

Mack, R. E. (2002a). Bazaar to piazza: Islamic trade and Italian art, 1300-1600. University of California Press.

Mack, R. E. (2002b). Patterned silks. In Bazaar to piazza: Islamic trade and Italian art, 1300-1600. University of California Press.

Maguire, H. (2010). The Aniketos icon and the display of relics in the decoration of San Marco’. In San Marco, Byzantium, and the myths of Venice (pp. 91–111). Dumbarton Oaks Research Library and Collection.

Maguire, H., Nelson, R. S., & Dumbarton Oaks Research Library and Collection. (2010). San Marco, Byzantium, and the myths of Venice. Dumbarton Oaks Research Library and Collection.

Mahoney, L. (2015). The Frankish Icon: Art and Devotion in the Latin Kingdom of Jerusalem. In E. Lapina, A. J. Morris, S. A. Throop, & L. J. Whatley (Eds.), The Crusades and visual culture (pp. 15–34). Ashgate.

Maria Judith, F. (2005). Muslim Shrouds for Christian Kings? a Reassessment of Andalusi Textiles in Thirteenth-Century Castilian Life and Ritual. In C. Robinson & L. Rouhi (Eds.), Under the influence: questioning the comparative in medieval Castile: Vol. volume 22 (pp. 101–131). Brill. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=280856&ppg=151

Mathews, K. R. (2012). Plunder of war or objects of trade? The reuse and reception of Andalusi objects in medieval Pisa. Journal of Medieval Iberian Studies, 4(2), 233–258. https://doi.org/10.1080/17546559.2012.727242

Mathews, K. R. (2014). Other peoples’ dishes: Islamic bacini on eleventh-century churches in Pisa. Gesta, 53/1, 5–23. http://www.journals.uchicago.edu.bris.idm.oclc.org/doi/abs/10.1086/675415

Menocal, M. R. (2008). Just what is Mudéjar really. In A. L. Martin & C. Martinez-Carazo (Eds.), Spain’s Multicultural Legacies. Studies in Honor of Samuel G. Armistead (pp. 144–157). Juan de la Cuesta. http://mariarosamenocal.com/uploads/3/0/8/9/3089194/2008_article_just_what_is_mudejar_really.pdf

Mogollón Cano-Cortés, M. P. (2006). Manifestations of Power and Visual Culture: Some Examples in Extremaduran Mudejar Architecture. Medieval Encounters, 12(3), 341–359. https://doi.org/10.1163/157006706779166039

Muthesius, A. (2008). Studies in Byzantine, Islamic and Near Eastern silk weaving. Pindar.

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Nelson, R. (2005). Letters and language: ornament and identity in Byzantium and Islam. In I. A. Bierman (Ed.), The experience of Islamic art on the margins of Islam: Vol. v. 15 (pp. 61–88). Ithaca Press in association with the Gustav E. von Grunebaum Center for Near Eastern Studies.

Nelson, R. (2010). The history of legends and the legends of history: the Pilastri Acritani in Venice. In San Marco, Byzantium, and the myths of Venice (pp. 63–90). Dumbarton Oaks Research Library and Collection.

Nelson, R. S. (1983). An Icon at Mt. Sinai and Christian Painting in Muslim Egypt during the Thirteenth and Fourteenth Centuries. The Art Bulletin, 65(2). https://doi.org/10.2307/3050318

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Ousterhout, R., & Ruggles, D. F. (2004). Encounters with Islam: The Medieval Mediterranean Experience Art, Material Culture, and Cultural Interchange. Gesta, 43(2), 83–85. https://doi.org/10.2307/25067096

Pace, V. (1986). Italy and the Holy Land: Import-Export. 1 The Case of Venice. In The Meeting of two worlds: cultural exchange between East and West during the period of the Crusades (Vol. 21, pp. 331–345). Medieval Institute Publications.

Pace, V. (2000). East and West. In Mother of God: representations of the Virgin in Byzantine art (pp. 425–449). Skira.

Pinder-Wilson, R. H. (1954). Some Rock Crystals of the Islamic Period. The British Museum Quarterly, 19(4). https://doi.org/10.2307/4422495

Porter, V., & Rosser-Owen, M. (Eds.). (2012). Metalwork and material culture in the Islamic world: art, craft and text : essays presented to James W. Allan. I.B Tauris. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=1208973

Prado-Vilar, F. (1997). Circular Visions of Fertility and Punishment: Caliphal Ivory Caskets from al-Andalus. Muqarnas, 14. https://doi.org/10.2307/1523234

Raizman, D. (1999). The Church of Santa Cruz and the Beginnings of Mudejar Architecture in Toledo. Gesta, 38(2), 128–141. https://doi.org/10.2307/767185

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Retford, S. (2004). Byzantium and the Islamic world. In Byzantium: faith and power (1261-1557) (pp. 389–396). Metropolitan Museum of Art in conjunction with Yale University Press.

Rosser-Owen, M. (2010). Ages of Empire (756-1238). In Islamic arts from Spain (pp. 18–47). V&A Publishing.

Rosser-Owen, M. (2011). Incrusted with ivory: observations on a casket in the Victoria and Albert Museum. In D. Knipp (Ed.), Siculo-Arabic ivories and Islamic painting, 1100-1300: proceedings of the international conference, Berlin, 6-8 July 2007: Vol. Band 36 (pp. 53–79). Hirmer Verlag GmbH.

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Rosser-Owen, M. (2015a). The Oliphant: A Call for a Shift of Persepctive. In Romanesque and the Mediterranean: patterns of exchange across the Latin, Greek and Islamic Worlds c.1000-c.1250: Vol. The British Archaeological Association conference transactions (pp. 15–58). Maney.

Rosser-Owen, M. (2015b). Islamic Objects in Christian Contexts: Relic Translation and Modes of Transfer in Medieval Iberia. Art in Translation, 7(1), 39–63. https://doi.org/10.2752/175613115X14235644692275

Rosser-Owen, M. & Victoria and Albert Museum. (2010). Islamic arts from Spain. V&A Publishing.

Ruggles, D. F. (2004). The Alcazar of Seville and Mudejar Architecture. Gesta, 43(2), 87–98. https://doi.org/10.2307/25067097

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Shalem, A. (1994). Fountains of Light: The Meaning of Medieval Islamic Rock Crystal Lamps. Muqarnas, 11. https://doi.org/10.2307/1523205

Shalem, A. (1995). From Royal Caskets to Relic Containers: Two Ivory Caskets from Burgos and Madrid. Muqarnas, 12. https://doi.org/10.2307/1523221

Shalem, A. (2004). The oliphant: Islamic objects in historical context: Vol. volume 54. Brill. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=3003961

Shalem, A. (2005). Objects as carriers of real or contrived memories in a cross-cultural context. Austausch Diplomatischer Geschenke in Spätantike Und Byzanz, Mitteilungen Zur Spätantiken Archäologie Und Byzantinischen Kunstgeschichte, 4, 101–109.

Shalem, A. (2014). The architecture for the body: some reflections on the mobility of textiles and the fate of the so-called Chasuble of Saint Thomas Becket in the cathedral of Fermo in Italy. In A. A. Payne (Ed.), Dalmatia and the Mediterranean: portable archaeology and the poetics of influence: Vol. volume 1 (pp. 246–267). Brill. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1632919&ppg=268

Silva Santa-Cruz, N. (2014). Ivory gifts for women in caliphal Córdoba: marriage, maternity and sensuality. Journal of Medieval Iberian Studies, 6(1), 103–125. https://doi.org/10.1080/17546559.2014.888091

Simon-Cahn, A. (1993). The Fermo Chasuble of St. Thomas Becket and Hispano-Mauresque Cosmological Silks: Some Speculations on the Adaptive Reuse of Textiles. Muqarnas, 10. https://doi.org/10.2307/1523166

Snelders, Bas; Immerzeel, Mat. (2004). The Thirteenth-Century Flabellum from Deir al-Surian in the Musée Royal de Mariemont (Morlanwelz, Belgium). Eastern Christian Art, 113–139. http://search.ebscohost.com.bris.idm.oclc.org/login.aspx?direct=true&db=rfh&AN=ATLAiGFE180328001656&site=ehost-live

Soucek, P. (1997). Byzantium and the Islamic East. In The glory of Byzantium: art and culture of the Middle Byzantine era, A.D. 843-1261.

Stanley, T. (2012). A Mamluk tray and its journey to the V&A. In V. Porter & M. Rosser-Owen (Eds.), Metalwork and material culture in the Islamic world: art, craft and text : essays presented to James W. Allan (pp. 187–200). I.B Tauris. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1208973&ppg=201

Steppan, T. (2000). The Artukid Bowl: courtly art in the Middle Byzantine Period and its relation to the Islamic East. In O. Z. Pevny (Ed.), Perceptions of Byzantium and its Neighbors (pp. 84–101). Metropolitan Museum of Art. https://www.metmuseum.org/art/metpublications/Perceptions_of_Byzantium_and_Its_Neighbors_843_1261

Thomas, T. K. (1997). Christians in the Islamic East. In The glory of Byzantium: art and culture of the Middle Byzantine era, A.D. 843-1261 (pp. 365–387).

Trilling, J. (1997). Daedalus and the nightingale: art and technology in the myth of the Byzantine court. In Byzantine court culture from 829 to 1204 (pp. 217–230). Dumbarton Oaks Research Library and Collection.

Tronzo, W. (1993). The Medieval Object-Enigma, and the Problem of the Cappella Palatina in Palermo. Word & Image, 197–228. http://linkserver.bristol.ac.uk:9003/prod?ctx_ver=Z39.88-2004&ctx_enc=info:ofi/enc:UTF-8&ctx_tim=2017-02-21T11:10:39IST&url_ver=Z39.88-2004&url_ctx_fmt=infofi/fmt:kev:mtx:ctx&rfr_id=info:sid/primo.exlibrisgroup.com:primo3-Journal-44BU_SFX_DS&rft_val_fmt=info:ofi/fmt:kev:mtx:journal&rft.genre=journal&rft.atitle=&rft.jtitle=Word%20&%20image&rft.btitle=&rft.aulast=&rft.auinit=&rft.auinit1=&rft.auinitm=&rft.ausuffix=&rft.au=&rft.aucorp=&rft.volume=&rft.issue=&rft.part=&rft.quarter=&rft.ssn=&rft.spage=&rft.epage=&rft.pages=&rft.artnum=&rft.issn=0266-6286&rft.eissn=1943-2178&rft.isbn=&rft.sici=&rft.coden=&rft_id=info:doi/&rft.object_id=954925500123&svc_val_fmt=info:ofi/fmt:kev:mtx:sch_svc&svc.fulltext=yes&rft_dat=%3C44BU_SFX_DS%3E954925500123%3C/44BU_SFX_DS%3E%3Cgrp_id%3E119948189%3C/grp_id%3E%3Coa%3E%3C/oa%3E%3Curl%3E%3C/url%3E&rft.eisbn=&rft_id=info:oai/&req.language=eng

Tronzo, W. (1997). The cultures of his kingdom: Roger II and the Cappella Palatina in Palermo. Princeton University Press.

Tronzo, W. (2001). Chapter 10 The Mantle of Roger II of Sicily. In S. Gordon (Ed.), Robes and honor: the medieval world of investiture: Vol. The new Middle Ages (pp. 241–254). Palgrave.

Tronzo, W. (2005). Regarding Norman Sicily: art, identity and court culture in the later Middle Ages. In Römisches Jahrbuch der Bibliotheca Hertziana: Band 35: 2003/4. Hirmer Verlag.

Tronzo, W. (2015). The artistic culture of twelfth-century Sicily, with a focus on Palermo. In C. Karagoz & G. Summerfield (Eds.), Sicily and the Mediterranean: migration, exchange, reinvention (pp. 61–76). Palgrave Macmillan. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=4001404&ppg=69

Truitt, E. R. & Project Muse. (2015). Medieval robots: mechanism, magic, nature, and art. University of Pennsylvania Press. https://bris.idm.oclc.org/login?url=http://www.jstor.org/stable/10.2307/j.ctt14jxw3m

Vernon, C. (2019). Dressing for Succession in Norman Italy: The Mantle of King Roger II. Al-Masāq, 31(1), 95–110. https://doi.org/10.1080/09503110.2018.1551699

VINCENZA GAROFALO. (2010). A Methodology for Studying Muqarnas: The Extant Examples in Palermo. Muqarnas, 27, 357–406. https://www.jstor.org/stable/25769702

von Folsach, K. (2013). A set of silk panels from the Mongol period. In S. S. Blair & J. M. Bloom (Eds.), God is beautiful and loves beauty: the object in Islamic art and culture (pp. 218–241). Yale University Press in association with The Qatar Foundation, Virginia Commonwealth University, and Virginia Commonwealth University School of the Arts in Qater.

Walker, A. (n.d.). Cross-cultural reception in the absence of texts: the Islamic appropriation of a Middle Byzantine rosette casket. Gesta, 99–122. http://www.journals.uchicago.edu.bris.idm.oclc.org/doi/abs/10.2307/20648966

Walker, A. (2015). Pseudo-Arabic ‘inscriptions’ and the pilgrims path at Hosios Loukas. In A. Eastmond (Ed.), Viewing Inscriptions in the Late Antique and Medieval World (pp. 99–123). Cambridge University Press. https://doi-org.bris.idm.oclc.org/10.1017/CBO9781316136034.006

Walker, A. & Cambridge Books Online (Online service). (2012). The Emperor and the World: Exotic Elements and the Imaging of Middle Byzantine Imperial Power, Ninth to Thirteenth Centuries C.E. [Electronic resource]. Cambridge University Press. https://bris.idm.oclc.org/login?url=http://dx.doi.org/10.1017/CBO9780511791895

Walker, R., & Batten, J. (2016). Art in Spain and Portugal from the Romans to the Early Middle Ages: routes and myths. Amsterdam University Press.

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Weitzmann, K. (1966). Icon Painting in the Crusader Kingdom. Dumbarton Oaks Papers, 20. https://doi.org/10.2307/1291242

Weyl Carr, A. (1986). East, West and icons in twelfth-century Outremer. In The Meeting of two worlds: cultural exchange between East and West during the period of the Crusades (Vol. 21, pp. 347–359). Medieval Institute Publications.

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Woodfin, W. U. (n.d.). Presents given and presence subverted: the Cunegunda Chormantel in Bamberg and the ideology of Byzantine textiles. Gesta, 33–50. http://www.journals.uchicago.edu.bris.idm.oclc.org/doi/abs/10.2307/20648959

Zeitler, B. (1994). Cross-Cultural Interpretations of Imagery in the Middle Ages. The Art Bulletin, 76(4). https://doi.org/10.2307/3046063

Zeitler, B. (2012). The Distorting Mirror: Reflections on the Queen Melisende Psalter. In R. Cormack & E. Jeffreys (Eds.), Through the looking glass: Byzantium through British eyes : papers from the Twenty-ninth Spring Symposium of Byzantine Studies, London, March 1995: Vol. Society for the Promotion of Byzantine Studies publication (pp. 69–83). Ashgate.