Here, it should be observed, we have direct expression of the fact that writing is above everything a matter of status, and more particularly an ancient privilege of priesthood. The peasantry is without history _and therefore without writing_. But, even apart from this, there is in Race an unmistakable antipathy to script. It is, I think, a fact of the highest importance to graphology that the more the writer has race (breed), the more cavalierly he treats the ornamental structure of the letters, and the more ready he is to replace this by personal line-pictures. Only the Taboo-man evidences a certain respect for the proper forms of the letters and ever, if unconsciously, tries to reproduce them. It is the distinction between the man of action, who makes history, and the scholar, who merely puts it down on paper, “eternalizes” it. In all Cultures the script is in the keeping of the priesthood, in which class we have to count also the poet and the scholars. The nobility despises writing; it has people to write for it. From the remotest times this activity has had something intellectual-sacerdotal about it. Timeless truths came to be such, not at all through speech, but only when there came to be script for them. It is the opposition of castle and cathedral over again: which shall endure, deed or truth? The archivist’s “sources” preserve facts, the holy scripture, truths. What chronicles and documents mean in the first-named, exegesis and library mean in the second. And thus there is something besides cult-architecture that is not decorated with ornament, but _is_ ornament[212]--the _book_. The art-history of all Cultural springtimes ought to begin with the script, and the cursive script even before the monumental. Here we can observe the essence of the Gothic style, or of the Magian, at its purest. No other ornament possesses the inwardness of a letter-shape or a manuscript page; nowhere else is arabesque as perfect as it is in the Koran texts on the walls of a mosque. And, then, the great art of initials, the architecture of the marginal picture, the plastic of the covers! In a Koran in the Kufi script every page has the effect of a piece of tapestry. A Gothic book of the Gospels is, as it were, a little cathedral. As for Classical art, it is very significant that the one thing that it did not beautify with its touch was the script and the book-roll--an exception founded in its steady hatred of that which endures, the contempt for a technique which insists on being more than a technique. Neither in Hellas nor in India do we find an art of monumental inscription as in Egypt. It does not seem to have occurred to anybody that a sheet of handwriting of Plato was a relic, or that a fine edition of the dramas of Sophocles ought to be treasured up in the Acropolis.