+SPAIN.+ During the Romanesque period a large part of Spain was under Moorish dominion. The capture of Toledo, in 1062, by the Christians, began the gradual emancipation of the country from Moslem rule, and in the northern provinces a number of important churches were erected under the influence of French Romanesque models. The use of domical pendentives (as in the +Panteon+ of +S. Isidoro+, at Leon, and in the _cimborio_ or dome over the choir at the intersection of nave and transepts in old Salamanca cathedral) was probably derived from the domical churches of Aquitania and Anjou. Elsewhere the northern Romanesque type prevailed under various modifications, with long nave and transepts, a short choir, and a complete _chevet_ with apsidal chapels. The church of +St. Iago+ at Compostella (1078) is the finest example of this class. These churches nearly all had groined vaulting over the side-aisles and barrel-vaults over the nave, the constructive system being substantially that of the churches of Auvergne and the Loire Valley (p. 165). They differed, however, in the treatment of the crossing of nave and transepts, over which was usually erected a dome or cupola or pendentives or squinches, covered externally by an imposing square lantern or tower, as in the +Old Cathedral+ at +Salamanca+, already mentioned (1120-78) and the +Collegiate Church+ at +Toro+. Occasional exceptions to these types are met with, as in the basilican wooden-roofed church of S. Millan at Segovia; in +S. Isidoro+ at Leon, with chapels and a later-added square eastern end, and the circular church of the Templars at Segovia. The architectural details of these Spanish churches did not differ radically from contemporary French work. As in France and England, the doorways were the most ornate parts of the design, the mouldings being carved with extreme richness and the jambs frequently adorned with statues, as in +S. Vincente+ at Avila. There was no such logical and reasoned-out system of external design as in France, and there is consequently greater variety in the façades. Perhaps the most remarkable thing about the architecture of this period is its apparent exemption from the influence of the Moorish monuments which abounded on every hand. This may be explained by the hatred which was felt by the Christians for the Moslems and all their works.