The Moors in their earlier buildings in Spain show traces of Roman influence, and even of Byzantine influence; for, as we have seen, they admired the handiwork of the Visigoths, and often adapted it to their own uses. The art of Granada is in reality the result of a fusion of Roman, Byzantine, and Arab influences. Moorish relief work is much deeper than that of Rome or Constantinople; that is to say, their sculptured designs project much farther from their base. The Moors, in the words of Lamperez, did not bring a new style of architecture with them into Spain, but, by the peculiar way in which they adapted to their own temperament the art which they found waiting there, a new style was produced.[114] Neither under the Visigoths nor under the Moors can Spanish soil be said to have produced a national architecture. The Spaniards of the Middle Ages were great transformers, but they were not originators or inventors. Lamperez seems to think that Spain would have produced from the days of the Visigoths onward a distinctly original and national style of architecture had she been allowed sufficient time. A glance at her history is enough to show us that this was not permitted to her. As we have said, the Moors did not conquer Galicia; her examples of the Latino-Byzantine and Romanesque styles are consequently free from Moorish influences;[115] but they are nevertheless hybrid in character, as all art which is nothing but a combination of several foreign styles must necessarily be. The widespread belief that the world would come to an end in the year 1000, having been proved erroneous, the building of churches and monasteries suddenly increased, and a period of remarkable architectural development was the result.[116] The monasteries represented a sort of reaction against the brutality of feudalism, by offering refuge to the oppressed, and to those who sought a safe retreat in which to dedicate themselves to intellectual pursuits. The immense power to which the monasteries afterwards attained began in this way. Cluny became, as it were, the focus of that power, and from its sheltering walls there poured forth armies of monks, who propagated their arts along with their religion in all parts of Europe. Thus the Latino-Byzantine or the Romanic styles of architecture reached from Rome to Scandinavia and from Palestine to Galicia. It is to Galicia that we must bend our steps if we wish to look upon the chief monument of Romanic architecture in Spain, for that monument is no other than the Cathedral of Santiago de Compostela.