(The bulls are shown in Fig. 18 in the article Egypt in the Encyclopædia Britannica, XI Edition, Vol. IX, pp. 65-66.—Tr.)
[239]. Frankl, Baukunst des Mittelalters (1918), pp. 16 et seq.
[240]. See Vol. II, pp. 361 et seq. The lack of any vertical tendency in the Russian life-feeling is perceptible also in the saga-figure of Ilya Murometz (see Vol. II, p. 231). The Russian has not the smallest relation with a Father-God. His ethos is not a filial but purely a fraternal love, radiating in all directions along the human plane. Christ, even, is conceived as a Brother. The Faustian, wholly vertical, tendency to strive up to fulfilment is to the real Russian an incomprehensible pretension. The same absence of all vertical tendency is observable in Russian ideas of the state and property.
[241]. The cemetery church of Kishi has 22.
[242]. J. Grabar, “History of Russian Art” (Russian, 1911), I-III. Eliasberg, Russ. Baukunst (1922), Introduction.
[243]. The disposition of Egyptian and that of Western history are so clear as to admit of comparison being carried right down into the details, and it would be well worth the expert’s while to carry out such an investigation. The Fourth Dynasty, that of the strict Pyramid style, B.C. 2930-2750 (Cheops, Chephren), corresponds to the Romanesque (980-1100), the Fifth Dynasty (2750-2625, Sahu-rê) to the early Gothic (1100-1230), and the Sixth Dynasty, prime of the archaic portraiture (2625-2475, Phiops I and II), to the mature Gothic of 1230-1400.
[244]. That which differentiates the Japanese harakiri from this suicide is its intensely purposeful and (so to put it) active and demonstrative character.—Tr.
[245]. See Vol. II, p. 626.
[246]. Koldewey-Puchstein, Die griech. Tempel in Unter-Italien und Sizilien, I, p. 228.
[247]. See Vol. II, Chapter III.