back to Rome, the latter offering a framework of reference throughout the medieval Mediterranean. Chapter 6 ascribes the reuse of marble columns to a shared aesthetic between Muslims and Christians, which was based on the combination of materials that reflected light and induced brightness. The author proposes that this organic connection to previous architecture normalised great mosques as members of the canon of exemplary buildings. Finally, Chapter 7 reiterates the dramatic change to the sacred landscape effected by the prominent Islamisation of urban centres and their populations in the fourth/tenth and fifth/ eleventh centuries, with many churches converted to mosques. This trend also had an impact on the post-fifth/eleventh-century narratives of the earlier creation of mosques. A few points require further comment. Guidetti uses the term “early medieval” throughout the book, illustrating his unease with the use of “Islamic” to cover non-Muslim artifacts. This is perhaps useful for the non-specialist reader; the benefit of avoiding dynastic or other chronological specificity is not always obvious, though, as is also the case with the book’s usage of “medieval” and “late medieval” interchangeably. Moreover, given the care taken to emphasise the fluidity of identities, a discussion of how terms such as Syrian Jacobite, Orthodox, or Melkite (the latter defined briefly on p. 80) can be understood for the period of focus would have been appropriate. Importantly, the author could be explicit about which translations from Arabic and Greek are his own. Given the significance of the primary written sources for the discussion, it might also have been handy to provide a table with the chronology of themost frequently cited sources. Lastly, the bibliography of primary sources unusually gives short forms of all names without giving the full name where it is known (for example, al-Bakrī and Ibn Hishām). The book is illustrated with high-quality photographs, although the quality of the line drawings sometimes detracts from the information they are meant to convey. It would also have benefitted from further editing, as there are unfortunate errors, such as Muh ammad conquering Mecca in 622 (p. 95) and many minor editorial idiosyncracies, such as the ambiguity of numbers referring to building ratios (p. 27) and the misspelling of names in the bibliography (Ierene instead of Irene Bierman). Of interest to historians, architectural historians and archaeologists of the medieval world both east and west, In the Shadow of the Church offers a valuable synthesis of the debates concerning the correspondence of the material remains of the early Islamic period to written narratives. The book also demonstrates powerfully the importance of the reuse of materials in the formation of a new society.

中文翻译：

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鲍德温二世的星座运势：拉丁拜占庭君士坦丁堡的政治和社会文化动态

回到罗马，后者提供了整个中世纪地中海的参考框架。第 6 章将大理石柱的再利用归因于穆斯林和基督徒之间的共同审美，这种审美基于反射光和诱导亮度的材料组合。作者提出，这种与以前建筑的有机联系使大清真寺成为典范建筑的经典成员。最后，第 7 章重申了 4/10 和 5/11 世纪城市中心及其人口显着伊斯兰化所造成的神圣景观的巨大变化，许多教堂被改建为清真寺。这种趋势也对早期清真寺创建的后 5/11 世纪叙事产生了影响。有几点需要进一步评论。Guidetti 在整本书中使用了“中世纪早期”一词，表明他对使用“伊斯兰”一词来涵盖非穆斯林文物感到不安。这可能对非专业读者有用；然而，避免王朝或其他年代特殊性的好处并不总是显而易见的，这本书中交替使用“中世纪”和“中世纪晚期”的情况也是如此。此外，考虑到强调身份的流动性，讨论如何在焦点时期理解诸如叙利亚雅各布派、东正教或梅尔基特（后者在第 80 页上进行了简要定义）等术语的讨论将是合适的。重要的是，作者可以明确说明阿拉伯语和希腊语的哪些翻译是他自己的。鉴于讨论的主要书面资料的重要性，提供一个包含最常引用来源的年表的表格可能也很方便。最后，主要来源的书目异常地给出所有名称的简短形式，而没有给出已知的全名（例如，al-Bakrī 和 Ibn Hishām）。这本书用高质量的照片说明，尽管线条图的质量有时会减损它们要传达的信息。它还可以从进一步编辑中受益，因为存在不幸的错误，例如 Muh ammad 在 622 年征服麦加（第 95 页）和许多小的编辑特性，例如指代建筑比率的数字含糊不清（第 27 页）以及参考书目中名字的拼写错误（Ierene 而不是 Irene Bierman）。历史学家感兴趣的，东西方中世纪世界的建筑历史学家和考古学家，在教堂的阴影中，提供了关于早期伊斯兰时期物质遗存与书面叙述对应的辩论的宝贵综合。这本书还有力地证明了材料再利用在新社会形成中的重要性。