{'fraction_non_alphanumeric': 0.02327586206896552, 'fraction_numerical': 0.01896551724137931, 'mean_word_length': 5.015544041450777, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Jerusalem at the Met

JERUSALEM 1000–1400: Every People under Heaven names an impressive exhibition at the Metropolitan Museum of Art that ran from September 26, 2016 to January 8, 2017; it was organized by Barbara Boehm and Melanie Holcomb. The fact that so many people have made art that relates to this city holy to the three Abrahamic faiths—Judaism, Christianity, and Islam—testifies to its draw and the reasons for which such an exhibition is not just important but essential to educate the world on its traditions.1 The colorful illustrated catalogue is a sumptuous record of the format of the exhibition and the wealth of objects included. One of the most striking and significant elements of this exhibition on the perception of Jerusalem in the Middle Ages was its multicultural approach. Scholars often treat the culture of only one faith of this region because of limited training or the fear of venturing out of their academic siloes. Yet, as the exhibition’s curators assert, medieval Jerusalem was an environment in which “variety occurred across multiple dimensions: religious, linguistic, ethnic, and cultural” (p. 65), and thus it deserves to