[229]. The combination of scrolls and “Greek keys” with the Dragon or other emblem of storm-power.—Tr.
[230]. Dvorák, Idealismus und Naturalismus in der got. Skulptur u. Malerei (Hist. Zeitschrift, 1918, pp. 44 et seq.).
[231]. And, finally, ornament in the highest sense includes script, and with it, the Book, which is the true associate of the cult-building, and as an art-work always appears and disappears with it. (See Vol. II, pp. 182. et seq., pp. 298 et seq.) In writing, it is understanding as distinct from intuition that attains to form: it is not essences that those signs symbolize but notions abstracted therefrom by words, and as for the speech-habituated human intellect rigid space is the presented objective, the writing of a Culture is (after its stone-building) the purest of all expressions of its prime-symbol. It is quite impossible to understand the history of Arabesque if we leave the innumerable Arabian scripts out of consideration, and it is no less impossible to separate Egyptian and Chinese style-history from the history of the corresponding writing-signs and their arrangement and application.
[233]. Certainly the Greeks at the time when they advanced from the Antæ to the Peripteros were under the mighty influence of the Egyptian series-columns—it was at this time that their sculpture in the round, indisputably following Egyptian models, freed itself from the relief manner which still clings to the Apollo figures. But this does not alter the fact that the motive of the Classical column and the Classical application of the rank-principle were wholly and peculiarly Classical.
[234]. The surface of the space-volume itself, not that of the stone. Dvorák, Hist. Ztschr., 1918, pp. 17 et seq.
[235]. Dehio, Gesch. der deutschen Kunst, I, p. 16.
[236]. For descriptions and illustrations of types of Doming and Vaulting, see the article Vault in Ency. Brit., XI Ed.—Tr.
[237]. “Mosque of Omar.”—Tr.
[238]. H. Schäfer, Von Aegyptischer Kunst, I, pp. 15 et seq.