With the new style of building, were derived from the Romans the habit of consecrating ground so as entirely to withdraw it from secular purposes; the sprinkling of holy water; the burning of tapers at the altar; offerings to propitiate the Deity; the worship of divers saints and martyrs; and even the insignia and dress of the bishops and priests. Many of the pagan symbols also were adopted in the decoration of the new churches; a different signification being attached to them. For example, the palm-branch of Bacchus, the corn of Ceres, dove of Venus, Diana's stag, Juno's peacock, Jupiter's eagle, Cybele's lion, and Cupids changed into cherubs, were so copied from the ancients, and made emblematic of Christian doctrines. Orientation, or the elevation of a church with particular reference to the cardinal points was never regarded in Italy; but in moving westward the special law was increasingly observed, until arriving in England where every great mediæval front looks full at the setting sun. The eastern style of that age is doubtless related to Greek antiquity, but in the same way as the Latin Christian rhymes of the same period are to be classed with ancient literature. To refer all the wonders of Teutonic art to that primal origin is as unreasonable as it would be to consider the verses of Leoine latinists the source of the highest poetry from Dantè to Shakspeare. The simple fact is that from Carnac to Winchester there was perpetual development of increasing excellence; each remove being a monument of augmented good, and the last always the best.