a people incorporates them in its form-language, but a house-type is only transplanted along with its race. The disappearance of an ornament means no more than a change of language, _but when a house-type vanishes it means that race is extinguished_. It follows that art-history, besides taking care to begin properly with the Culture, must not neglect even in its course to separate the race side carefully from the language proper. At the outset of a Culture two well-defined forms of a higher order rise up over the peasant village, as expressions of being and language of waking-being. They are the _castle_ and the _cathedral_.[172] In them the distinction between Totem and Taboo, longing and fear, blood and intellect, rises to a grand symbolism. The ancient Egyptian, the ancient Chinese, the Classical, the South-Arabian, and the Western castle stands, as the home of continuing generations, very near to the peasant cottage, and both, as copies of the realities of living, breeding, and dying, lie outside all art-history. The history of the German _Burgen_ is a piece of race-history throughout. On them both, early ornament does indeed venture to spread itself, beautifying here the beams, there the door, and there again the staircase, but it can be so, or so, at choice, or omitted altogether, for there is no inward bond between the structure and the ornament. The cathedral, on the other hand, is not ornamented, but _is itself ornament_. Its history is coincident with that of the Gothic style, and the same is true of the Doric temple and all other Early Culture buildings. So complete is the congruence, in the Western and every other Culture whose art we know at all, that it has never occurred to anyone to be astonished at the fact that strict architecture (which is simply the highest form of pure ornament) is entirely confined to religious building. All the beauty of architecture that there is in Gelnhausen, Goslar, and the Wartburg has been _taken over_ from cathedral art; it is decoration and not essence. A castle or a sword or a pitcher can do without this decoration altogether without losing its meaning or even its form.[173] But in a Cathedral, or an Egyptian pyramid-temple, such a distinction between essence and art is simply inconceivable.