Argues that the iconographic program of the mosaics was an ecumenical statement which played a specific role in crystallizing theological debate between the Orthodox, Latin and eastern Christian churches at a time when politics was being played out within a theological and cultural arena. Emphasizes the role of Emperor Manuel and his ecumenical aspirations. Inscriptions suggest the mosaics may be attributed to indigenous artist-theologians representing the resident Christian communities. This interpretation challenges the concept of an exclusively bipolar western-Byzantine "Crusader" art.
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