Furthermore, in the _second_ place, such an architecture is unable to remain fixed within the limits of this incipient determination of its _entire_ content; the symbolical images tend to become _isolated_; the symbolical content of their signification is more closely defined, and by this means we find that the distinctions of their forms tend to come into more assured prominence, as for instance we see in the case of the Lingam columns, obelisks, and other examples of this kind. From another point of view the art of building, in the spirit of such isolated self-subsistency, presses forward in its passage to _sculpture_, its acceptance of organic animal forms or human figures, its enlargement of either and association of both of them, however, on a prodigious scale, in its further addition of walls, doors and passages, and throughout in its treatment of what is adapted to sculpture in such objects in an entirely architectonic manner. The Sphinxes, Memnons, and enormous temples of Egypt come under this category. _Thirdly_, this symbolical art of building begins to present the transitional stage to the classic type. In other words it excludes sculpture from its immediate province, and sets about constructing itself as a receptacle for other significances, which are themselves not merely expressed under an architectonic mode. That the reader may better understand the process thus indicated I will recall to memory a few famous examples of such buildings. 1. ARCHITECTURAL WORKS ERECTED WITH THE OBJECT OF UNITING PEOPLES