section_path: Art and architecture
section_name: Art and architecture
paragraph_text: Art and architecture
  
  According to the historian Joshua Prawer no major European poet, theologian, scholar or historian settled in the crusader states. Some went on pilgrimage, and this is seen in new imagery and ideas in western poetry. Although they did not migrate east themselves, their output often encouraged others to journey there on pilgrimage.
  
  Historians consider the crusader military architecture of the Middle East to demonstrate a synthesis of the European, Byzantine and Muslim traditions and to be the most original and impressive artistic achievement of the crusades. Castles were a tangible symbol of the dominance of a Latin Christian minority over a largely hostile majority population. They also acted as centres of administration. Modern historiography rejects the 19th-century consensus that Westerners learnt the basis of military architecture from the Near East, as Europe had already experienced rapid development in defensive technology before the First Crusade. Direct contact with Arab fortifications originally constructed by the Byzantines did influence developments in the east, but the lack of documentary evidence means that it remains difficult to differentiate between the importance of this design culture and the constraints of situation. The latter led to the inclusion of oriental design features such as large water reservoirs and the exclusion of occidental features such as moats.
  
  Typically, crusader church design was in the French Romanesque style. This can be seen in the 12th-century rebuilding of the Holy Sepulchre. It retained some of the Byzantine details, but new arches and chapels were built to northern French, Aquitanian, and Provençal patterns. There is little trace of any surviving indigenous influence in sculpture, although in the Holy Sepulchre the column capitals of the south facade follow classical Syrian patterns.
  
  In contrast to architecture and sculpture, it is in the area of visual culture that the assimilated nature of the society was demonstrated. Throughout the 12th and 13th centuries the influence of indigenous artists was demonstrated in the decoration of shrines, paintings and the production of illuminated manuscripts. Frankish practitioners borrowed methods from the Byzantines and indigenous artists and iconographical practice leading to a cultural synthesis, illustrated by the Church of the Nativity. Wall mosaics were unknown in the west but in widespread use in the crusader states. Whether this was by indigenous craftsmen or learnt by Frankish ones is unknown, but a distinctive original artistic style evolved.
  
  Manuscripts were produced and illustrated in workshops housing Italian, French, English and local craftsmen leading to a cross-fertilisation of ideas and techniques. An example of this is the Melisende Psalter, created by several hands in a workshop attached to the Holy Sepulchre. This style could have both reflected and influenced the taste of patrons of the arts. But what is seen is an increase in stylised, Byzantine-influenced content. This extended to the production of icons, unknown at the time to the Franks, sometimes in a Frankish style and even of western saints. This is seen as the origin of Italian panel painting. While it is difficult to track illumination of manuscripts and castle design back to their origins, textual sources are simpler. The translations made in Antioch are notable, but they are considered of secondary importance to the works emanating from Muslim Spain and from the hybrid culture of Sicily.