Chapter VI: Makrokosmos (3)

Frauberger, _Die Akropolis von Baalbek_, plate 22. (See Ency. Brit.,
XI Edition, art. “Baalbek,” for plan, etc.—_Tr._)

Footnote 259:

Diez, _Die Kunst der islamischen Völker_, pp. 8 et seq. In old Sabæan
temples the altar-court (mahdar) is in front of the oracle chapel
(makanat).

Footnote 260:

Wulff, _Altchristliche und byzantinische Kunst_, p. 227.

Footnote 261:

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.

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CHAPTER VII | | MUSIC AND PLASTIC
I
THE ARTS OF FORM