Take, further, the history of the Acanthus motive.[267] In the form in which it appears, for example, on the Monument of Lysicrates at Athens, it is one of the most distinctive in Classical ornamentation. It has body, it is and remains individual, and its structure is capable of being taken in at one glance. But already it appears heavier and richer in the ornament of the Imperial Fora (Nerva’s, Trajan’s) and that of the temple of Mars Ultor; the organic disposition has become so complicated that, as a rule, it requires to be studied, and the tendency to _fill up_ the surfaces appears. In Byzantine art—of which Riegl thirty years ago noticed the “latent Saracenic character” though he had no suspicion of the connexion brought to light here—the acanthus leaf was broken up into endless tendril-work which (as in Hagia Sophia) is disposed quite inorganically over whole surfaces. To the Classical motive are added the old-Aramæan vine and palm leaves, which have already played a part in Jewish ornamentation. The interlaced borders of “Late-Roman” mosaic pavements and sarcophagus-edges, and even geometrical plane-patterns are introduced, and finally, throughout the Persian-Anatolian world, mobility and _bizarrerie_ culminate in the Arabesque. _This_ is the genuine Magian motive—anti-plastic to the last degree, hostile to the pictorial and to the bodily alike. Itself bodiless, it disembodies the object over which its endless richness of web is drawn. A masterpiece of this kind—a piece of architecture completely opened out into Ornamentation—is the façade of the Castle of Mashetta in Moab built by the Ghassanids.[268] The craft-art of Byzantine-Islamic style (hitherto called Lombard, Frankish, Celtic or Old-Nordic) which invaded the whole youthful West and dominated the Carolingian Empire, was largely practised by Oriental craftsmen or imported as patterns for our own weavers, metal-workers and armourers.[269] Ravenna, Lucca, Venice, Granada, Palermo were the efficient centres of this then highly- civilized form-language; in the year 1000, when in the North the forms of a new Culture were already being developed and established, Italy was still entirely dominated by it.