Erhard Reuwich in the context of Woodcut

The word "Saracen" (/ˈsærəsən/ SARR-ə-sən) was commonly used in medieval Europe to refer to a person who lived in or near what the ancient Romans knew as Arabia Petraea and Arabia Deserta. Its original meaning in Greek and Latin is not known with certainty. By the early medieval period, it had come to be associated with the Arabian tribes. Following the rise of Islam, which occurred in Arabia, the word's definition evolved to refer not only to Arabs, but to Muslims as well. It eventually became the standard adjective among European Christians for all people and things from the Muslim world, regardless of whether they were Arab in origin.

The oldest known source mentioning "Saracens" in association with Muslims is the Greek-language Christian tract Doctrina Jacobi, which was compiled in the Byzantine Empire amidst the Muslim conquest of the Levant. The word became particularly widespread in European societies during the Crusades, when it was used by the Roman Catholic Church and by several European Christian political and military figures.

Hatching (French: hachure) is an artistic technique used to create tonal or shading effects by drawing, painting, or scribing closely spaced parallel lines. When lines are placed at an angle to one another, it is called cross-hatching. Hatching is also sometimes used to encode colours in monochromatic representations of colour images, particularly in heraldry.

Hatching is especially important in essentially linear media, such as drawing and many forms of printmaking, such as engraving, etching, and woodcut. In Western art, hatching originated in the Middle Ages and developed further into cross-hatching, especially in the old master prints of the fifteenth century. Master ES and Martin Schongauer in engraving and Erhard Reuwich and Michael Wolgemut in woodcut were pioneers of both techniques. Albrecht Dürer in particular perfected the technique of crosshatching in both media.

Maps of Jerusalem can be categorised between original factual maps, copied maps and imaginary maps, the latter being based on religious books. The maps were produced in a variety of materials, including parchment, vellum, mosaic, wall paintings and paper. Most extant maps known to scholars from the pre-modern era were prepared by Christian mapmakers for a Christian European audience. All maps marking milestones in the cartography of Jerusalem are listed here following the cartographic histories of the city, from Titus Tobler and Reinhold Röhricht's studies in the 19th century to those of Hebrew University of Jerusalem academics Rehav Rubin and Milka Levy-Rubin in recent decades. The article lists maps that progressed the cartography of Jerusalem before the rise of modern surveying techniques, showing how mapmaking and surveying improved and helped outsiders to better understand the geography of the city. Imaginary maps of the ancient city and copies of existing maps are excluded.

The Madaba Map discovered in modern-day Jordan is the oldest known map of Jerusalem, in the form of a mosaic in a Greek Orthodox Church. At least 12 maps survive from the Catholic mapmakers of the Crusades; they were drawn on vellum and mostly show the city as a circle. Approximately 500 maps are known between the late-1400s and the mid-1800s; the significant increase in number is due to the advent of the printing press. The first printed map of the city was drawn by Erhard Reuwich and published in 1486 by Bernhard von Breydenbach in his Peregrinatio in Terram Sanctam, based on his pilgrimage of 1483. Few of the mapmakers had travelled to Jerusalem – most of the maps were either copies of others' maps or were imaginary (i.e. based on reading of religious texts) in nature. The first map based on actual field measurements was published in 1818 by the Czech mapmaker Franz Wilhelm Sieber. The first map based on modern surveying techniques was published by Charles Wilson in 1864–65 for the British Ordnance Survey.