In every springtime, consequently, there are _two_ definitely ornamental and non-imitative arts, that of building and that of decoration. In the longing and pregnant centuries before it, elemental expression belongs exclusively to Ornamentation in the narrow sense. The Carolingian period is represented only by its ornament, as its architecture, for want of the _Idea_, stands between the styles. And similarly, as a matter of art-history, it is immaterial that no buildings of the Mycenæan age have survived.[228] But with the dawn of the great Culture, _architecture as ornament_ comes into being suddenly and with such a force of expression that for a century mere decoration-as-such shrinks away from it in awe. The spaces, surfaces and edges of stone speak _alone_. The tomb of Chephren is the culmination of mathematical simplicity—everywhere right angles, squares and rectangular pillars, nowhere adornment, inscription or desinence—and it is only after some generations have passed that Relief ventures to infringe the solemn magic of those spaces and the strain begins to be eased. And the noble Romanesque of Westphalia-Saxony (Hildesheim, Gernrode, Paulinzella, Paderborn), of Southern France and of the Normans (Norwich and Peterborough) managed to render the whole sense of the world with indescribable power and dignity in _one_ line, _one_ capital, _one_ arch. When the form-world of the springtime is at its highest, and not before, the ordained relation is that architecture is lord and ornament is vassal. And the word “ornament” is to be taken here in the widest possible sense. Even conventionally, it covers the Classical _unit_- motive with its quiet poised symmetry or meander supplement, the _spun surface_ of arabesque and the not dissimilar surface-patterning of Mayan art, and the “Thunder-pattern”[229] and others of the early Chóu period which prove once again the landscape basis of the old Chinese architecture without a doubt. But the warrior figures of Dipylon vases are also conceived in the spirit of ornament, and so, in a far higher degree still, are the statuary _groups_ of Gothic cathedrals. “The figures were composed pillarwise from the spectator, the figures of the pillar being, with reference to the spectator, ranked upon one another like rhythmic figures in a symphony that soars heavenward and expands its sounds in every direction.”[230] And besides draperies, gestures, and figure-types, even the structure of the hymn-strophe and the parallel motion of the parts in church music are ornament in the service of the all-ruling architectural idea.[231] The spell of the great Ornamentation remains unbroken till in the beginning of a “late” period architecture falls into a _group_ of civic and worldly special arts that unceasingly devote themselves to pleasing and clever imitation and become _ipso facto_ personal. To Imitation and Ornament the same applies that has been said already of time and space. Time gives birth to space,