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 12thand 13thcenturies 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. Female involvement Until the requirement was abolished by InnocentIII, married men needed to obtain their wives' consent before taking the cross, which was not always readily forthcoming. Muslim and Byzantine observers viewed with disdain the many women who joined the armed pilgrimages, including female fighters. Western chroniclers indicated that female crusaders were wives, merchants, servants and sex workers. Attempts were made to control the women's behaviour in ordinances of 1147 and 1190. Aristocratic women had a significant impact: Ida of Formbach-Ratelnberg led her own force in 1101; Eleanor of Aquitaine conducted her own political strategy; and Margaret of Provence negotiated her husband LouisIX's ransom with an opposing womanthe Egyptian sultana Shajar al-Durr. Misogyny meant that there was male disapproval; chroniclers tell of immorality and Jerome of Prague