The influence of the arts and taste of Byzantium, communicated through the channels of commerce, the interchange of civilities, and the frequent intercourse between the courts of Constantinople and Toledo, appears in the mural ornamentation of the temples and in the vessels of their shrines, as well as in the habitations, utensils, and trinkets of the people. Geometric forms and floral designs--afterwards so popular among the Moors, who unquestionably derived them largely from this source--were almost exclusively employed by the Gothic goldsmiths and architects. Vines, leaves, buds, and quatrefoils enter into almost every combination in great variety and with charming effect. The churches were dimly lighted by means of marble slabs pierced with intersecting cruciform apertures, which increased the mystery and awe of the interior, devices which are visible to-day in places of worship as widely separated and of as originally diverse character as the chapels of the Asturias and the Mosque of Cordova. As soon as the rage and hatred inspired by the resistance of their enemies--and which was wreaked upon the edifices of the latter with hardly less vindictiveness than upon the ranks of their legions--had been allayed, a desire to profit by the skill and experience of their Roman subjects became paramount; new structures of simple design and enduring materials arose in the cities; the ancient monuments were spared; and the superior state of preservation which distinguishes the Roman remains in the Peninsula affords incontrovertible evidence of the enlightened appreciation of the Visigoths.