Other nations have raised monuments of the same kind, sacred buildings as dwellings of the dead bodies, over whom they happen to be erected. As examples we may instance the mausoleum in Curia, and of more recent date that of Hadrian, the still existing Englesburg in Rome, a palace of careful construction raised in honour of a dead person, all of which were even in antiquity famous works. According to the description of Uhden[63] we may also mention in this connection a type of mortuary, which in its arrangement and environment imitated in its smaller aspects temples dedicate to gods. A temple of this kind possessed a garden, arbours, a spring, a vineyard, and moreover chapels, in which portrait statues of gods were placed. More particularly in the time of the Roman Empire were such monuments to the dead built with statues of the deceased under the image of gods such as Apollo, Venus, and Minerva. Figures like the above, no less than the entire construction, consequently received during that age the significance of an apotheosis and a temple in honour of the dead man, just as also among the Egyptians the process of embalming, the emblems placed thereby, and the sarcophagus attest that the deceased was treated as a god-like Osiris[64]. The most imposing and least complex constructions of this kind, however, are the Egyptian Pyramids. In this type we have the peculiar and essential line of the art of building, that is the straight one, and in general terms the uniformity and abstract simplicity[65] of forms. For architecture, as merely enclosure and inorganic Nature, or Nature that is not itself vitally and essentially suffused by the indwelling spirit in an independent mode, is unable to possess form except as one which is external to itself; external form, however, is not organic, but abstract and purely referable to the organs of sense[66]. However much the Pyramid already begins to receive the determining characteristics of the dwellings, yet the rectangular principle is still not throughout predominant, as it is in a real dwelling-house; it has still an independent determinacy, which is not merely of service to the purpose for which it is erected, and consequently closes up of itself by a process of gradation directly from the foundation to the apex. (_c_) It is from this point that we may make the transition from the independent type of building to that of an art of construction, which is serviceable of a _purpose._