Pliny records that this region was rich in temples. It is probable that the type of the transept-basilica—i.e., with the entrance in one of the long sides—which is found in Hauran and is distinctly marked in the tranverse direction of the altar space of St. Paul Without at Rome, is derived from a South Arabian archetype. (For the Hauran type of church see Ency. Brit., XI Ed., Vol. II, p. 390; and for St. Paul Without, Vol. III, p. 474.—_Tr._ Footnote 262: Neither technically nor in point of space-feeling has this piece of purely _interior_ architecture any connexion whatever with Etruscan round-buildings. (Altmann, _Die ital. Rundbauten_, 1906.) With the cupolas of Hadrian’s Villa at Tibur (Tivoli), on the contrary, its affinity is evident. Footnote 263: Probably synagogues of domical type reached these regions, and also Morocco, long before Islam, through the missionary enterprise of Mesopotamian Judaism (see Vol. II, p. 253), which was closely allied in matters of taste to Persia. The Judaism of the Pseudomorphosis, on the contrary, built basilicas; its Roman catacombs show that artistically it was entirely on a par with Western Christianity. Of the two, it is the Judæo-Persian style coming from Spain that has become the pattern for the synagogues of the West—a point that has hitherto entirely escaped the notice of art-research. Footnote 264: Generally called the “Basilica of Constantine.”—_Tr._ Footnote 265: The Grail legend contains, besides old Celtic, well-marked Arabian elements; but where Wolfram von Eschenbach goes beyond his model Chrestien de Troyes, his Parzival is entirely Faustian. (See articles _Grail_ and _Perceval_, Ency. Brit., XI Ed.)—_Tr._ Footnote 266: The relation of column and arch spiritually corresponds to that of wall and cupola, and the interposition of the drum between the rectangle and the dome occurs “simultaneously” with that of the impost between the column and the arch. Footnote 267: A. Riegl, _Stilfragen_ (1893), pp. 248 et seq., 272 et seq. Footnote 268: The Ghassanid Kingdom flourished in the extreme North-west of Arabia during the sixth century of our reckoning. Its people were essentially Arab, and probably came from the south; and an outlying cousinry inhabited Medina in the time of the Prophet.—_Tr._ Footnote 269: Dehio, _Gesch. der deutschen Kunst_, I, pp. 16 et seq. Footnote 270: Wulff, _Altchristl.-byzant. Kunst_, pp. 153 et seq. Footnote 271: See Vol. II, p. 315, Geffcken, _Der Ausgang des griech-röm. Heidentums_ (1920), p. 113. ----- ------------------------------------------------------------------------ CHAPTER VII | | MUSIC AND PLASTIC I THE ARTS OF FORM CHAPTER VII MUSIC AND PLASTIC