Nevertheless, that architecture, in one point, by its chambers and its halls, its tombs, begins to approach the following class, which exhibits a more positive design, and of which the type is a house. A third rank marks the transition of symbolic to classic architecture. Architecture already presents a character of utility, of conformity to an end. The monument has a precise design; it serves for a particular use taken aside from the symbolic sense. It is a temple or a tomb. Such, in the first place, is the subterranean architecture of the Indians, those vast excavations which are also temples, species of subterranean cathedrals, the caverns of Mithra, likewise filled with symbolic sculpture. But this transition is better characterized by the double architecture, (subterranean and above ground) of the Egyptians, which is connected with their worship of the dead. An individual being, who has his significance and his proper value; the dead one, distinct from his habitation which serves him only for covering and shelter, resides in the interior. The most ancient of these tombs are the pyramids, species of crystals, envelopes of stone which enclose a kernel, an invisible being, and which serve for the preservation of the bodies. In this concealed dead one, resides the significance of the _monument_ which is subordinate to him. Here, then, _Architecture_ ceases to be independent. It divides itself into two elements—the end and the means; it is the means, and it is subservient to an end. Further, sculpture separates itself from it, and obtains a distinct office—that of shaping the image within, and its accessories. Here appears clearly the special design of architecture, conformity to an end; also it assumes inorganic and geometric forms, the abstract, mathematical form, which befits it in particular. The pyramid already exhibits the design of a house, the rectangular form. (_b_) Classic architecture has a two-fold point of departure—symbolic architecture and necessity. The adaptation of parts to an end, in symbolic architecture, is accessory. In the house, on the contrary, all is controlled, from the first, by actual necessity and convenience. Now classic architecture proceeds both from the one and from the other principle, from necessity and from art, from the useful and from the beautiful, which it combines in the most perfect manner. Necessity produces regular forms, right angles, plane surfaces. But the end is not simply the satisfaction of a physical necessity; there is also an idea, a religious representation, a sacred image, which it has to shelter and surround, a worship, a religious ceremonial. The temple ought then, like the temple fashioned by sculpture, to spring from the creative imagination of the artist. There is necessary a dwelling for the god, fashioned by art and according to its laws.