The artistic centre of this Culture was very definitely—as Strzygowski has observed—in the triangle of cities Edessa, Nisibis, Amida. To the westward of it is the domain of the Late-Classical “Pseudomorphosis,”[255] the Pauline Christianity that conquered in the councils of Ephesus and Chalcedon,[256] Western Judaism and the cults of Syncretism. _The architectural type of the Pseudomorphosis_, both for Jew and Gentile, is the Basilica.[257] It employs the means of the Classical to express the opposite thereof, and is unable to free itself from these means—that is the essence and the tragedy of “Pseudomorphosis.” The more “Classical” Syncretism modifies a cult that is resident in a Euclidean place into one which is _professed by a community_ of indefinite estate, the more the interior of the temple gains in importance over the exterior without needing to change either plan or roof or columns very much. The space-feeling is different, but not—at first—the means of expressing it. In the pagan religious architecture of the Imperial Age there is a perceptible—though never yet perceived—movement from the wholly corporeal Augustan temple, in which the cella is the architectural expression of _nothingness_, to one in which the interior _only_ possesses meaning. Finally the external picture of the Peripteros of the Doric is transferred to the four inside walls. Columns ranked in front of a windowless wall are a denial of space beyond—that is, for the Classical beholder, of space within, and for the Magian, of space without. It is therefore a question of minor importance whether the entire space is covered in as in the Basilica proper, or only the sanctuary as in the Sun-temple of Baalbek with the great forecourt,[258] which later becomes a standing element of the mosque and is probably of South Arabian origin.[259] That the Nave originates in a court surrounded by halls is suggested not only by the special development of the basilica-type in the East Syrian steppe (particularly Hauran) but also by the basic disposition of porch, nave and choir as stages leading to the altar—for the aisles (originally the side-halls of the court) end blind, and only the nave proper corresponds with the apse. This basic meaning is very evident in St. Paul at Rome, albeit the Pseudomorphosis (inversion of the Classical temple) dictated the technical means, viz., column and architrave. How symbolic is the Christian reconstruction of the Temple of Aphrodisias in Caria, in which the cella within the columns is abolished and replaced by a new wall outside them.[260]