From Cairo to Istanbul, the ancient cities of the eastern Mediterranean tell a story of conquest, trade and coexistence written in stone. Jerusalem’s seventh-century Dome of the Rock and its surroundings are dotted with recycled Persian, Greek, Hasmonean and Roman stonework, along with choice fragments from churches. In Damascus, the eighth-century Umayyad Mosque features intricately carved capitals from a Roman temple and relics of St John the Baptist transferred from the church it replaced. The cross-pollination extended from design and materials to people – the shimmering gold mosaics that cover the interiors of both buildings are attributed to the Byzantine master craftsmen whose forerunners decorated the churches of Constantinople and Ravenna.
This sun-drenched historical patchwork could seem a long way from the gloom of early medieval Europe. But in Islamesque, cultural historian Diana Darke sets out to show Islamic art’s influence on Europe’s Romanesque monasteries, churches and castles, via a very similar story of surprising borrowings and occasional thefts. It is a companion to Darke’s previous book, Stealing from the Saracens, which argued that European masterpieces from Notre-Dame to St Paul’s took inspiration from the Muslim world, and whose eye-catching examples included Big Ben’s resemblance to the 11th-century minaret of the Great Mosque of Aleppo.
