Certainly the Greeks at the time when they advanced from the Antæ to the Peripteros were under the mighty influence of the Egyptian _series_-columns—it was at this time that their sculpture in the round, indisputably following Egyptian models, freed itself from the relief manner which still clings to the Apollo figures. But this does not alter the fact that the motive of the Classical column and the Classical application of the rank-principle were wholly and peculiarly Classical. Footnote 234: The surface of the space-volume itself, not that of the stone. Dvorák, _Hist. Ztschr._, 1918, pp. 17 et seq. Footnote 235: Dehio, _Gesch. der deutschen Kunst_, I, p. 16. Footnote 236: For descriptions and illustrations of types of Doming and Vaulting, see the article _Vault_ in Ency. Brit., XI Ed.—_Tr._ Footnote 237: “Mosque of Omar.”—_Tr._ ----- VI The phenomenon of the _great style_, then, is an emanation from the essence of the Macrocosm, from the prime-symbol of a _great_ culture. No one who can appreciate the connotation of the word sufficiently to see that it designates not a form-aggregate but a form-history, will try to aline the fragmentary and chaotic art-utterances of primitive mankind with the comprehensive certainty of a style that consistently develops over centuries. Only the art of great Cultures, the art that has ceased to be only art and has begun to be an effective unit of expression and significance, possesses style.