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Saturday, October 3, 2026

Life in the Crusader States: Language

Language has a powerful yet often subconscious impact on identity and culture. When the crusaders arrived in the Holy Land, the languages most commonly spoken by the region’s natives were Arabic and Syriac. Greek, which had been the official and commercial language for roughly a thousand years, was also still spoken by some in urban areas, at least as a second language. In the north, particularly in Edessa, Armenian was the dominant language. Despite their diverse backgrounds, the crusaders spoke French as a common language supported by Latin, particularly among the clerics, and French remained the language of the Franks of Outremer for the next 200 years -- but not as people did in France and not exclusively.

 

While the Franks spoke French well and could communicate with Europeans in this tongue, the spoken French of Outremer developed its own character. The residents of the Holy Land rapidly began ‘to use the eloquence and idioms of diverse languages in conversing back and forth [and] words of different languages [became] common property known to each nationality’.[i]

In rural areas, settlers generally moved into existing towns and villages, working the land on the periphery and cultivating land that had lain fallow; they were initially heavily dependent on the help and advice of the natives to cope with an alien climate and unfamiliar crops. In urban areas, too, the local population far outnumbered the Franks, at least in the first half-century. The Franks frequented local shops, employed local craftsmen, drank in taverns and bathed in bathhouses, all run by natives. The Franks’ dependence on the native population created an urgent need to communicate and fostered friendships and marriage.

Among the lower classes of the second and third generation, many Franks were the product of mixed marriages; that is, they had mothers who had grown up speaking Armenian, Syriac or Arabic. Fulcher of Chartres, writing before 1130, notes: ‘For we who were occidentals have now become orientals… . Some [of us] have taken wives not only of [our] own people but Syrians or Armenians or even Saracens who have obtained the grace of baptism. One has his father-in-law as well as his daughter-in-law living with him, or … his stepson or stepfather’.[ii] Such arrangements fostered bilingualism as children grew up speaking their mother and father’s tongues.

Even among the feudal elite, intermarriage was strikingly common in the First Kingdom. Baldwin I and Baldwin II both married Armenian women, as did Joscelyn I of Edessa. Kings Baldwin III and Amalric took Greek Byzantine brides. Isabella I of Jerusalem, from whom all the thirteenth-century ruling monarchs of the kingdom descended, was one-half Greek, one-quarter Armenian, and only one-quarter Frankish.

While there is no recorded incident of a knight or lord marrying a Saracen (despite what Fulcher of Chartres says about men of lower rank doing so), surprisingly there is substantial, if anecdotal, evidence that many of the ruling feudal elite spoke fluent Arabic. Various chronicles record, usually without comment, how Frankish lords communicated in Arabic. We know that both Humphrey de Toron II and III spoke Arabic, as did Raymond of Tripoli and Hugh of Caesarea. Some of these lords, such as Renard de Sidon and Nicolas of Acre, read Arabic well enough to translate it. Baldwin d’Ibelin translated Arabic poetry into French. William of Tyre wrote a history of Islam based on Arab primary sources. Some historians allege that the Franks of the second and third generation spoke and read Arabic ‘better than their European vernaculars’, although the basis for this assertion is unclear.[iii] Nevertheless, we know that the sons of John of Beirut, who spent at least half their lives in Greek-speaking Cyprus, were sufficiently fluent in Arabic to translate what the Mamluks were saying in Arabic among themselves to Jean de Joinville during the Seventh Crusade. Indeed, some of the Ibelins spoke French, Arabic, Greek and Latin by this point.

The linguistic situation in Cyprus was different. Arabic had never taken hold on the island, and the majority of the native population spoke Greek. Despite the influx of Syriac and Arabic-speaking refugees from the mainland in the latter half of the thirteenth century, Greek remained the dominant language. French was spoken at the Lusignan court and among the Frankish feudal elite, but Greek was used for various administrative purposes, in diplomatic correspondence and to communicate with tenants, peasants, workers and the like. Consequently, the immigrants were forced to learn Greek, and within a few generations, Cyprus had evolved its own Greek dialect with strong influence from French and Italian. Indeed, one thirteenth-century Greek intellectual complained of the ‘barbarisation’ of Greek and claimed that ‘people learned ‘Frankish’, so that no one knew what their language was any more’. [iv]



[i] Fulcher of Chartres’ History, Book III, quoted in The Crusades: A Reader, eds. S.J. Allen and Emilie Amt (Toronto: University of Toronto Press, 2014), 88-89.

[ii] Fulcher of Chartres, A History of the Expedition to Jerusalem, 1095-1127, Book III, translated by F.R. Ryan (Knoxville: University of Tennessee Press, 1969), 152. Reproduced in The Crusades: A Reader, eds. S.J. Allen and Emilie Amt (Toronto: University of Toronto Press, 2014), 88.

[iii] Urban Tignor Holmes, ‘Life among the Europeans in Palestine and Syria in the Twelfth and Thirteenth Century’ in A History of the Crusades Volume 4: The Art and Architecture of the Crusader States, ed. Harry W. Hazard (Madison: University of Wisconsin Press, 1977), 41.

[iv] Gilles Grivaud, ‘Literature’, in Cyprus: Society and Culture 1191-1374, eds. Angel Nicolaou-Konnari and Chris Schabel (Leiden: Brill, 2005), 223.

 

The bulk of this entry is an excerpt from Dr. Schrader's comprehensive study of the crusader states.

Dr. Helena P. Schrader is also the author of six books set in the Holy Land in the Era of the Crusades.

                         


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Saturday, September 26, 2026

Life in the Crusader States: Music and Performing Arts

Because music, dance and the performing arts are ephemeral art forms, they generally elude historical documentation. Yet we know from the written record that all these art forms thrived in the crusader states.

We know that an early form of drama was part of the cultural life of Outremer’s nobility. Performances of episodes from the legend of King Arthur, for example, were part of the festivities surrounding the knighting of the Lord of Beirut’s eldest sons. 

We know that music was part of the culture through Novare’s tales of singing satirical ballads outside besieged castles. Organs are mentioned in the inventory of the Lusignan palace at Nicosia. Richard the Lionheart wrote songs and allegedly heard a female slave of al-Adil give a musical performance. More generally, this was an age when polyphonic music was flourishing, music was notated, and musical instruments became more sophisticated. Given the constant pilgrim traffic to the Latin East, musical trends from the West presumably arrived in Outremer with each sailing season. 

However, Western musical innovations would have confronted powerful native traditions emanating from Constantinople. It is likely Outremer’s music was as multifaceted and diverse as its other art forms and was a unique hybrid, drawing on varied musical traditions. Unfortunately, we will never know it, much less enjoy it.

 

The bulk of this entry is an excerpt from Dr. Schrader's comprehensive study of the crusader states.

Dr. Helena P. Schrader is also the author of six books set in the Holy Land in the Era of the Crusades.

                         


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Saturday, September 19, 2026

Life in the Crusader States: Icons

 It was not merely in the production of miniatures on parchment that Frankish painters excelled. Acre and Frankish Cyprus both developed into centres for icon painting, that is, larger-scale paintings on wood, while Tripoli and Antioch appear to have engaged in icon production on a smaller scale. The popularity of private icons to hang in one's home was taken back from the Latin East to Italy where the tradition evolved into what we know as paintings -- images on square of canvas that serve a decorative rather than devotional purpose.

 

Cyprus was particularly famous for its ‘vita’ icons, in which a central image of a saint was surrounded by smaller scenes depicting his or her life. Like Frankish sculpture, Frankish icons fused elements from the artistic heritage of the culturally diverse population of Outremer. Frankish knights and ladies (based on their dress) pray to Eastern saints; dedications were often bilingual in Latin and Greek.

Surviving Frankish icons reveal their high quality and distinctive features. One of their particularly telling features was the popularity of ‘soldier saints’ — St. George, St. Theodore, St. Demetrios, St. Bacchus and St. Minas. These were invariably depicted in armour and mounted on high-stepping or rearing horses. Some carry lances, while others — significantly — are armed with bows, suggesting native Christian patronage of substantial means. Another notable feature of Frankish icons is the frequent inclusion of female patrons — a distinctly Western tradition incorporated into an Eastern art form.

These icons highlight the degree to which icons had become popular for private devotion among the Frankish elites and the Italians. The inhabitants of Outremer increasingly wanted to own and hang icons in their homes. Unlike sculptures or frescoes anchored to the buildings they decorated, icons could be packed away, transported or given as gifts. They even made their way to Italy, where the icon evolved into paintings as we know them today — images painted on canvas or wood hung on walls.[i]



[i] Andrew Jotischky, Crusading and the Crusader States (London: Pearson Longman, 2004), 149.

 

The bulk of this entry is an excerpt from Dr. Schrader's comprehensive study of the crusader states.

Dr. Helena P. Schrader is also the author of six books set in the Holy Land in the Era of the Crusades.

                         


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Saturday, September 12, 2026

Life in the Crusader States: Manuscript Illustrations

 The Church of the Holy Sepulchre’s scriptorium was founded in the first decades of the Kingdom of Jerusalem by monks from Europe, who brought their skills and understanding of the medium with them. For roughly 200 years, they produced illustrated manuscripts in the Holy Land. Their products exhibited exceptionally high quality and also evinced a unique hybrid style mixing elements from a variety of artistic traditions from Byzantium to the Mongols.

 

A portrait of King Louis IX of France from a bible produced for him in Acre.

By 1134, the Jerusalem workshop produced one of the most remarkable works of Frankish art still extant today: Queen Melisende’s Psalter. While this work created for royalty is the finest example of the quality of work performed in Jerusalem’s scriptorium, other works show it was no aberration. Throughout the half-century that followed, high-quality liturgical books were produced for those who could afford them. All testify to the hybrid artistic culture evolving at this time in which Western artists borrowed native and Byzantine Orthodox techniques, motifs and saints. Unsurprisingly, Byzantine influence was at its height in the latter two decades of this period, when the Kingdom of Jerusalem was allied with the Byzantine Empire, and Byzantine queens resided in the Frankish capital.

The negotiated surrender of Jerusalem in 1187 enabled the canons of the Holy Sepulchre to survive with their skills (and probably most of their unfinished works) intact. After the establishment of the Second Kingdom, the scriptorium was re-established in Acre. Other ateliers grew up around it, making Acre a centre for book production. One of the most outstanding books produced and illustrated in Acre is the ‘Arsenal’ bible produced for King Louis IX of France. This and other works testify to the continued existence of the Frankish or ‘crusader style’ of book illustration that incorporated Eastern and Western elements. Surprisingly, many of the existing examples of Acre’s manuscript workshops are secular works. William of Tyre’s ‘History of Deeds Done Beyond the Sea’ was evidently popular, and multiple illustrated versions of this history have survived. More unusual is an illustrated version of John of Jaffa’s ‘Assizes of Jerusalem’.

Astonishingly, manuscript production continued right up to the fall of Acre. In one surviving manuscript, all the illustrations but the last are done in the distinctive Frankish style; the final illustration is distinctively Venetian. One can imagine this manuscript being rescued aboard a Venetian ship in the final days of Acre, while the artist remained behind to fight and die in the Mamluk onslaught.

The bulk of this entry is an excerpt from Dr. Schrader's comprehensive study of the crusader states.

Dr. Helena P. Schrader is also the author of six books set in the Holy Land in the Era of the Crusades.

                         


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Saturday, September 5, 2026

LIfe in the Crusader States: Architectural Decoration

The most important remnants of Frankish art dating from the twelfth century are the decorations of the key crusader shrines: The Church of the Holy Sepulchre (Jerusalem), the Church of the Nativity (Bethlehem) and the Church of the Annunciation (Nazareth), as well as lesser crusader structures such as the Church of St. Anne, the Baptistry on the Temple Mount and the Templar and Hospitaller Headquarters.

Mosaics in the Church of the Nativity, Bethlehem

The Church of the Holy Sepulchre was dedicated on the fiftieth anniversary of the crusader capture of Jerusalem on 15 July 1149. The decorations which adorned the new structure reflected Roman, early Christian, Byzantine, Romanesque and even Arab decorative motifs along with Franco-Italian imagery. This was achieved by employing artists and craftsmen from the West and East, sculptors, masons, masters of mosaic work, and painters. Altogether, ‘it was a magnificent ecumenical statement of East and West unified in this unique Crusader sculptural ensemble’.[i]

The Church of the Nativity, the next spectacular renovation of the Frankish era, exhibits even more Eastern influence primarily because the Byzantine Emperor Manuel I was a joint sponsor of the project along with King Amalric. Here, mosaics dominated the decorative scheme, building on the remnants of the sixth-century church while adding new mosaic panels. The latter were designed and executed under the guidance of a Byzantine master by Frankish, Venetian and Byzantine craftsmen. Texts worked into the mosaics are in Greek, Latin and Syriac. In addition to the extensive mosaics, the columns were painted.

Work on a major church in Nazareth to mark the site of the Annunciation did not begin until after 1170. It was an ambitious project, with a 73-metre nave. The decoration differed dramatically from Bethlehem and Jerusalem, emphasizing sculpture rather than mosaics or frescoes. Work was not completed before Saladin’s invasion in 1187, and five of the column capitals intended for the church were buried for safekeeping. These have since been discovered and the outstanding quality of these figures initially led scholars to suspect a sculptor from southern France. Now, however, it is widely accepted that the artist was local — bearing witness to the high standard achieved by local artists in this period. The figures of the portals, tragically, have survived only as broken fragments because Baybars razed the church in 1263.

Much of the stonework done for Templar headquarters in Jerusalem, on the other hand, survived through reuse in Islamic structures because human figures were not depicted. It can be seen today, particularly in the Al-Aqsa mosque. In addition, based on sixteenth-century sketches, it appears the tombs of the first seven rulers of Jerusalem were excellent works of art. Unfortunately, the tombs themselves were severely damaged when Jerusalem fell to the Khwarazmians in 1244 and later utterly destroyed in an a fire in 1808.

Likewise, nothing remains of the furnishings and decorations of Frankish dwellings. Nevertheless, visitors from the West frequently commented on the interior adornment and paintings of the houses in the Latin East, albeit without providing descriptions precise enough to enable us to visualise them. The account of the hall in Beirut’s palace cited earlier informs us that artisans capable of producing everything from water-spewing dragons to polychrome marble that imitated flowers or hanging curtains and paving stones that mimicked ripples in the sand could be found in the crusader states. For those who could not afford polychrome marble, there was glazed and painted ceramics, wood, and plaster. The two latter media could be painted in monochrome colours or with patterns, foliage or entire scenes.



[i] See note 10, Folda, Crusader Art, 44.

The bulk of this entry is an excerpt from Dr. Schrader's comprehensive study of the crusader states.

Dr. Helena P. Schrader is also the author of six books set in the Holy Land in the Era of the Crusades.

                         


           Buy Now!                                                  Buy Now!                                                    Buy Now!
 

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