Thirdly, this symbolical art of building begins to present the transitional stage to the classic type. In other words it excludes sculpture from its immediate province, and sets about constructing itself as a receptacle for other significances, which are themselves not merely expressed under an architectonic mode. That the reader may better understand the process thus indicated I will recall to memory a few famous examples of such buildings.
1. ARCHITECTURAL WORKS ERECTED WITH THE OBJECT OF UNITING PEOPLES
"What is holy?" is a question raised by Goethe in a certain distich, and the answer he gives is: "that which binds together many souls." In this sense we may affirm that what is sacred, together with the end expressed in the above association, and as such association, has actually formed the primary content of self-subsistent building and the art of such. The earliest example of this we may take from the story of the building of the tower of Babylon. In the broad expanse of the Euphrates valley we are told that mankind erected an enormous architectural work. It is built by the labour of a community, and this public character of its construction is at the same time the end and content of the work itself. And what is equally true is this, that this foundation of an association of communal labour is no mere unity of a patriarchal stamp; on the contrary we find here that the mere unity of the family is precisely that which is set on one side, and this building, which is raised to the heavens, is the objective presentment of the dissolution of the more primitive type of unity and the realization of another of more expansive range. The collective activity of peoples belonging to that age worked in it; and, in proportion as they came together in order to accomplish a building of prodigious size, the product of their activity came to be the band, which, on the ground and soil they had thus selected, and by means of the accumulated mass of stone and the architectural construction on the land—just as in our case morality, custom, and the lawful constitution of State-life—bound them in unity together. A building of this kind is in consequence also symbolical for the reason that it merely suggests the band of unity which it is, because it is only able, by means of its form and content, to express the sacred unity which unites men in an external way. It is also equally a part of this tradition that the communities have once more split apart from the centre of attraction which united them on a work of this external character.
A further and yet more important building, which has, too, already a more reliable historical basis, is the temple of Belus, of which Herodotus informs us[37]. We will not here inquire in what relation this stands to that of Biblical tradition. It is impossible to call this structure, taking it as a whole, a temple in any ordinary meaning of that term; rather we should call it a temple enclosure in the form of a square, each side of which was two stadia long, with brazen gates for means of entry. In the centre of this sacred place, according to Herodotus, who had actually seen this colossal work, a tower of thick walls (with no interior, solid throughout, in other words a πέργος στερεός) was built, both in length and breadth a stadium: on this was placed yet another, and again another on that, and so on, eight towers in all. On the outside of this a roadway was made to the top; and it appears that halfway up to the summit was a place of rest with benches on which all who ascended could rest themselves. On the summit, however, of the last tower there was a huge temple, and in the temple was a great bench, well cushioned, and before it stood a gold table. No statue, however, was placed in the temple. No one was permitted to be there at night with the exception of the attendant women, who, according to the statements of the Chaldaeans, the priests of this god, were selected by him pre-eminently for service. The priests further maintained (c. 182) that the temple was visited by the god, who rested on the bench made for him. Herodotus, it is true, also states (c. 183) that below within this sanctuary there was yet another temple, in which was placed a great image of the god of gold, together with a huge golden table before it, and at the same time refers to two great altars outside the temple on which the sacrifices were made. Notwithstanding these facts it is impossible to picture this gigantic building as a temple either in the Greek or modern sense of the term. For the first seven cubic towers are solid throughout, and it is only the eighth one at the summit which serves as a resting-chamber for the invisible god, who received therein no obeisance either from priesthood or the community. His image was below outside the building, so that the entire construction was raised in really independent and self-contained form, and did not subserve the objects of religious ritual, although it is no longer a purely abstract point of unity that we find here but a sanctuary. The form remains no doubt subject to accidental causes, or it receives its determinate character purely on account of the material security of the cube form; at the same time we have evidence of a demand which seeks for a significance which may supply a determinate relation to it more directly symbolical and applicable to the work taken as a whole. We must look for this, though this is not a point expressly adverted to by Herodotus, in the number of the massive floors. There are seven of them with an eighth superposed for the nightly abode of the god. This number of seven in all probability symbolizes the seven planets and spheres of heaven.
We find also in Media cities built in accordance with such a symbolism. There is, for example, Ecbatana with its seven encircling walls, of which Herodotus[38] states that in part by virtue of the height of the elevation on the slope of which the city was built, and in part intentionally and by artificial means, they were higher one than the other, and their battlements were coloured differently. White was on the first, black on the second, purple on the third, blue on the fourth, red on the fifth; the sixth, however, was coated with silver, and the seventh with gold, and within this last stood the royal stronghold and its treasure. "Ecbatana," remarks Creuzer, in his work on Symbolism, when referring to this type of building[39], "that Median city, and its royal stronghold in the centre, with its seven circles of walls and its battlements of seven different colours, represents the spheres of heaven which enclose the stronghold of the sun."
2. ARCHITECTURAL WORKS INTERMEDIATE BETWEEN THE ARTS OF BUILDING AND SCULPTURE
The first point we have to consider in the further development of our subject consists in this, that architecture accepts for its content significances that are more concrete, and aims at their more symbolical presentation in accordance with forms that are similarly more concrete, which, however, whether we take the case of their insulation[40], or collective accretion in gigantic buildings, they do not make use of in the way sculpture makes use of them, but architectonically in their own independent province. In the case of this present type we have to direct our attention to more specific facts, although all that we advance can put in no pretension to completeness, or an a priori development for the reason that art in so far as it proceeds in its products to embrace the full range of the actual, that is the historical ways of comprehending the world and its religious conceptions, is lost in aspects of a contingent character. The fundamental definition of the type is simply this, that we have a confused blend of sculpture and architecture, albeit the art of building is that which permeates all and predominates.
(a) We had occasion before, when discussing the symbolic type of art, to mention the fact that in the East it is frequently the universal living force of Nature, that is, not the spirituality and might of consciousness, but the productive energy of generation, which is emphasized and revered. More particularly in India this religious attitude was universal; also from its sources in Phrygia and Syria under the image of the great goddess, the fructifyer, a conception was derived which the Greeks themselves accepted. Still more closely considered this conception of the universally productive energy of Nature was represented and held sacred in the form of the organs of sex, Phallus and Lingam. This cultus was in the main promulgated in India, albeit also, as we learn from Herodotus, it was not wholly foreign to Egypt. At any rate we meet with something of the kind in the festivals of Dionysus. According to the statement of Herodotus, "they have invented other puppets as substitutes for the phalli of an ell's length, which the women draw about with a string, on which we find the sexual member no smaller in size than the rest of the body." The Greeks accepted a similar ministration, and Herodotus expressly informs us (c. 49) that Melampus had knowledge of the Egyptian sacrificial festival of Dionysus, and had introduced the phallus which was carried about in honour of the god. It was in India especially that the worship of the energy of generation assumed the exterior shape and significance of the organs of sex. Enormous columnar images were in this respect raised of stone as massive as towers and broadening out at the base. Originally they were themselves independently the aim and objects of such worship; only at a later time it became customary to make openings and hollow chambers within them and deposit in these divine images, a custom which was maintained in the Hermes figures of the Greeks, little temple shrines that could be carried. The point of departure, however, in India was the phallus pillars, which had no such hollows, and which only at a later date were divided into a shell and kernel, growing thus into pagodas. For the genuine Indian pagodas, which should be distinguished essentially from later Mohammedan or other imitations, do not originate in the form of the dwelling, but are narrow and lofty, and receive their fundamental type from these columnar constructions. We find a similar significance and form also once more in the conception of the mountain Meru as expanded by Hindoo imagination, which is conceived as twirling stick in the sea of milk, and is the creative source of the world. Herodotus mentions similar columns, some constructed in the shape of the male, others in that of the female organ. He ascribes their construction[41] to Sesostris, who erected them everywhere on his military expeditions against all the peoples he conquered. The majority of such pillars no longer existed in the days of Herodotus. It was only in Syria that the historian[42] had himself seen them. However, the fact that he ascribes them all to Sesostris is merely based on the tradition he adopts. Moreover, his explanation is wholly Greek in its colour; he converts the natural significance into one of ethical import and in this sense informs us: "In cases where Sesostris during his expedition crossed nations which were brave in battle, he set up pillars in their land together with inscriptions, which gave his own name and nation, and indicated that he had subdued these peoples. Where, on the contrary, he overcame without opposition, he indicated on such pillars the female organ of sex without attaching an inscription in order to declare the fact that these nations had been cowards in battle."
(b) We find further constructions of a similar nature, intermediate, that is, between sculpture and architecture, principally in Egypt. With these we may include, for example, the obelisks, which do not, it is true, borrow their form from the living organisms of Nature, such as plants, animals, or the human form, but are of a form wholly subject to geometrical rule, yet at the same time no longer constructed expressly as subservient to the human dwelling or temple, but are erected in free and independent self-subsistency, and possess the symbolical significance of the solar rays. "Mithras," maintains Creuzer, "the Mede or Persian, rules in the solar city of Egypt[43], and is there prompted by a dream to build obelisks, that is to say solar rays in stone, and to inscribe on them letters which are known as Egyptian." Pliny had already attached this import to obelisks[44]. They were dedicated to the sun's divinity, whose rays they were intended to catch and at the same time to reflect. Also we find that in the images set up in Persia we have rays of fire which ascend from columns[45].