but space gives death to time.[232] In the beginning, rigid symbolism had petrified everything alive; the Gothic statue was not permitted to be a living body, but was simply a set of lines disposed in human form. But now Ornament loses all its sacred rigour and becomes more and more decoration for the architectural setting of a polite and mannered life. It was purely as this, namely _as a beautifying_ element, that Renaissance taste was adopted by the courtly and patrician world of the North (and by it alone!). Ornament meant something quite different in the Egyptian Old Kingdom from what it meant in the Middle; in the geometric period from what it meant in the Hellenistic; at the end of the 12th Century from what it meant at the end of Louis XIV’s reign. And architecture too becomes pictorial and makes music, and its forms seem always to be trying to imitate something in the picture of the world- around. From the Ionic capital we proceed to the Corinthian, and from Vignola through Bernini to the Rococo. At the last, when Civilization sets in, true ornament and, with it, great art as a whole are extinguished. The transition consists—in every Culture—in Classicism and Romanticism of one sort or another, the former being a sentimental regard for an Ornamentation (rules, laws, types) that has long been archaic and soulless, and the latter a sentimental Imitation, not of life, but of an older Imitation. In the place of architectural style we find architectural taste. Methods of painting and mannerisms of writing, old forms and new, home and foreign, come and go with the fashion. The inward necessity is no longer there, there are no longer “schools,” for everyone selects what and where it pleases him to select. _Art becomes craft-art_ (_Kunstgewerbe_) in all its branches— architecture and music, poetry and drama—and in the end we have a pictorial and literary stock-in-trade which is destitute of any deeper significance and is employed according to taste. This final or industrial form of Ornament—no longer historical, no longer in the condition of “becoming”—we have before us not only in the patterns of oriental carpets, Persian and Indian metal work,` Chinese porcelain, but also in Egyptian (and Babylonian) art as the Greeks and Romans met it. The Minoan art of Crete is pure craft-art, a northern outlier of Egyptian post-Hyksos taste; and its “contemporary,” Hellenistic-Roman art from about the time of Scipio and Hannibal, similarly subserves the habit of comfort and the play of intellect. From the richly-decorated entablature of the Forum of Nerva in Rome to the later provincial ceramics in the West, we can trace the same steady formation of an unalterable craft-art that we find in the Egyptian and the Islamic worlds, and that we have to presume in India after Buddha and in China after Confucius. V