Is not this an expression in the noblest language that it is possible to conceive of what all our space-theories would like to put into words? Is it not a metaphysic in stone by the side of which the written metaphysics of Kant seems but a helpless stammering? There is, however, another Culture that, different as it most fundamentally is from the Egyptian, yet found a closely-related prime symbol. This is the Chinese, with its intensely directional principle of the Tao.[206] But whereas the Egyptian treads to the end a way that is prescribed for him with an inexorable necessity, the Chinaman _wanders_ through his world; consequently, he is conducted to his god or his ancestral tomb not by ravines of stone, between faultless smooth walls, but by friendly Nature herself. Nowhere else has the _landscape_ become so genuinely the material of the architecture. “Here, on religious foundations, there has been developed a grand lawfulness and unity common to all building, which, combined with the strict maintenance of a north-south general axis, always holds together gate-buildings, side- buildings, courts and halls in the same homogeneous plan, and has led finally to so grandiose a planning and such a command over ground and space that one is quite justified in saying that the artist builds and reckons with the landscape itself.”[207] The temple is not a self- contained building but a lay-out, in which hills, water, trees, flowers, and stones in definite forms and dispositions are just as important as gates, walls, bridges and houses. This Culture is the only one in which the art of gardening is a grand religious art. There are gardens that are reflections of particular Buddhist sects.[208] It is the architecture of the landscape, and only that, which explains the architecture of the buildings, with their flat extension and the emphasis laid on the roof as the really expressive element. And just as the devious ways through doors, over bridges, round hills and walls lead at last to the end, so the paintings take the beholder from detail to detail whereas Egyptian relief masterfully points him in the one set direction. “The whole picture is _not_ to be taken at once. Sequence in time presupposes a sequence of space-elements through which the eye is to wander from one to the next.”[209] Whereas the Egyptian architecture dominates the landscape, the Chinese espouses it. But in both cases it is direction in depth that maintains the _becoming_ of space as a continuously-present experience. ----- Footnote 202: This refers to the diaphonic chant of Church music in the eleventh and twelfth centuries. The form of this chant is supposed to have been an accompaniment of the “plain chant” by voices moving parallel to it at a fourth, fifth, or octave.—_Tr._ Footnote 203: Hölscher, _Grabdenkmal des Königs Chephren_; Borchardt, _Grabdenkmal des Sahurê_; Curtius, _Die Antike Kunst_, p. 45. Footnote 204: