The architecture of the central-dome, in which the Magian world-feeling achieved its purest expression, extended beyond the limits of the Roman Empire. For the Nestorian Christianity that extended from Armenia even into China it was the only form, as it was also for the Manichæns and the Mazdaists, and it also impressed itself victoriously upon the Basilica of the West when the Pseudomorphosis began to crumble and the last cults of Syncretism to die out. In Southern France—where there were Manichæan sects even as late as the Crusades—the form of the East was domesticated. Under Justinian, the interpenetration of the two produced the domical basilica of Byzantium and Ravenna. The pure basilica was pushed into the Germanic West, there to be transformed by the energy of the Faustian depth-impulse into the cathedral. The domed basilica, again, spread from Byzantium and Armenia into Russia, where it came by slow degrees to be felt as an element of exterior architecture belonging to a symbolism concentrated in the roof. But in the Arabian world Islam, the heir of Monophysite and Nestorian Christianity and of the Jews and the Persians, carried the development through to the end. When it turned Hagia Sophia into a mosque it only resumed possession of an old property. Islamic domical building followed Mazdaist and Nestorian along the same tracks to Shan-tung and to India. Mosques grew up in the far West in Spain and Sicily, where, moreover, the style appears rather in its East-Aramæan-Persian than in its West-Aramæan-Syrian mode.[263] And while Venice looked to Byzantium and Ravenna (St. Mark), the brilliant age of the Norman-Hohenstaufen rule in Palermo taught the cities of the Italian west coast, and even Florence, to admire and to imitate these Moorish buildings. More than one of the motives that the Renaissance thought were Classical—e.g., the court surrounded by halls and the union of column and arch—really originated thus. What is true as regards architecture is even more so as regards ornamentation, which in the Arabian world very early overcame all figure-representation and swallowed it up in itself. Then, as “arabesque,” it advanced to meet, to charm and to mislead the young art- intention of the West.