(_γγ_) This is not the place to enter into a general discussion of the _arabesque_ for the reason that notionally it marks precisely the transition from the architecture which adopts as its basic form the natural organism to that which by its adoption of a more severe regularity is more strictly architectonic. When, however, the art of building has become free in its definitive character it relegates arabesques to the function of decoration and ornament. They are then preeminently forms of plants strained off, so to speak, or forms which originate from plants together with entwined forms of animals and human beings, or forms of animals in their passage over to plant-life. In so far as they purport to authenticate a symbolical significance the transitional passage between the different spheres of the animal kingdom hold good for it. Apart from such an interpretation they are simply the play of the imagination in the selection, combination and articulation of the most diverse forms of Nature. For architectural ornamentation of this kind, in the invention of which the imagination finds scope for its activity in the most varied creations of every kind, not even excluding utensils and drapery, the fundamental determinant and type is this, that whether it be plants, leaves, flowers, or animals, all are made to approximate to the abstract figures of science, in other words the inorganic. For this reason we frequently find arabesques to be stiff, untrue to organic life; and it is on this account that they are not unfrequently condemned and art is blamed for the use of them. This is exceptionally true of painting, though Raphael himself did not scruple to paint arabesques in great profusion, characterized with the highest charm, nobility of feeling, variety, and grace. No doubt arabesques are an antithesis to nature, whether we compare them with organic forms or the rigid laws of mechanics; but an opposition of this kind is not merely a right of art generally, but even an obligation under which architecture is bound. It is only by this means that living forms in other respects unfitted for the art of building are made adaptable to the truly architectural style and brought into harmony with it. Such an adaptability is offered in an exceptionally close degree by vegetable Nature, which is also in the East utilized to an extravagant extent in arabesques; in other words plants are not as yet individual objects which possess feeling, but naturally present themselves as adapted to architectural design, by virtue of the fact that they form coverings and protection against rain, sunlight, and wind, and, generally speaking, do not possess the free oscillation[73] of lines which breaks forth from the regularity of scientific conceptions[74]. Architecturally used the regularity of leaves already present is yet further subjected to rule in the definition of rondure and straight line, so that by this means