We distinguish, then, the building that _has a style_ and the building _in which_ men have a style. Whereas in monastery and cathedral it is the stone that possesses form and communicates it to the men who are in its service, in farmhouse and feudal stronghold it is the full strength of the countryman’s and the knight’s life that forms the building forth from itself. Here the man and not the stone comes first, and here, too, there is an ornamentation; it is an ornament which is proper to man and consists in the strict nature and stable form _of manners and customs_. We might call this living, as distinct from rigid, style. But, just as the power of this living form lays hands on the priesthood also, creating in Gothic and in Vedic times the type of the knightly priest, so the Romanesque-Gothic _sacred_ form-language seizes upon everything pertaining to this secular life--costume, arms, rooms, implements, and so forth--and stylizes their surface. But art-history must not let itself lose its bearings in this alien world--it is only the surface. In the early cities it is the same; nothing new supervenes. Amongst the race-made houses, which now form streets, there are scattered the handful of cult-buildings that _have_ style. And, as having it, they are the seats of art-history and the sources whence its forms radiate out on to squares, façades, and house-rooms. Even though the castle develops into the urban palace and patrician residence, and the _palatium_ and the men’s hall, into guild-house and town-hall, one and all they receive and carry a style, they do not _have_ it. True, at the stage of real burgherdom the metaphysical creativeness of the early religion has been lost. It develops the ornament further, _but not the building as ornament_, and from this point art-history splits up into the histories of the separate arts. The picture, the statue, the house, become particular objects to which the style is to be applied. Even the church itself is now such a house. A Gothic cathedral _is_ ornament, but a Baroque hall-church is a building clothed with ornament. The process begun in the Ionic style and the sixteenth century is completed in the Corinthian and Rococo, wherein the house and its ornament are separated for good and all, so completely that even the master-works amongst eighteenth-century churches and monasteries cannot mislead us--we know that all this art of theirs is secular, is adornment. With Empire the style transforms itself into a “taste,” and with the end of this mode architecture turns into a craft-art. And that is the end of the ornamental expression-language, and of art-history with it. But the peasant-house, with its unaltered race-form, lives on. III