Having spoken of plan as the basis of design, I should wish to conclude this lecture by suggesting also, what has never to my knowledge been prominently brought forward, that the plan itself, apart from any consideration of what we may build up upon it, is actually a form of artistic thought, of architectural poetry, so to speak. If we take three such plans as those shown in Figs. 26, 27, and 28, typical forms respectively of the Egyptian, Greek, and Gothic plans, we certainly can distinguish a special imaginative feeling or tendency in each of them. In the Egyptian, which I have called the type of "mystery," the plan continually diminishes as we proceed inward. In the third great compartment the columns are planted thick and close, so as to leave no possibility of seeing through the building except along a single avenue of columns at a time. The gloom and mystery of a deep forest are in it, and the plan finally ends, still lessening as it goes, in the small and presumably sacred compartment to which all this series of colonnaded halls leads up. In the Greek plan there is neither climax nor anti-climax, only the picturesque feature of an exterior colonnade encircling the building and surrounding a single oblong compartment. It is a rationalistic plan, aiming neither at mystery nor aspiration. In the plan of Rheims (Fig. 28) we have the plan of climax or aspiration; as in the Egyptian, we approach the sacred portion through a long avenue of piers; but instead of narrowing, the plan extends as we approach the shrine. I think it will be recognized, putting aside all considerations of the style of the superstructure on these plans, that each of them in itself represents a distinct artistic conception. So in the plan of the Pantheon (Fig. 29), this entrance through a colonnaded porch into a vast circular compartment is in itself a great architectural idea, independently of the manner in which it is built up. [Illustration: Figs. 29 through 34]