(_αα_) Independent architecture, on account of the fact that it starts with organic images, makes use of human shapes, as, for example, we find in Egypt figures in some measure at least human, such as Memnons and the like, are utilized. This is, however, a mere superfluity, in so far, that is, as a definition of this character is not the true medium of support. We find among the Greeks that Caryatides are used in another mode and under a more severe obedience to rule to support superimposed weight, but such cannot be extensively employed. Moreover, we can only regard it as a misuse of the human form to crush it together under such burdens, and it is for this reason that Caryatides receive the character of the oppressed; their drapery suggests a state of slavery under which it is a degradation to carry such burdens. (_ββ_) The more natural organic form for pillars and supports which have to bear a weight is consequently the tree, plant-life generally, a stem, a thin stalk which strives upwards in a vertical direction. The hole of a tree already carries of its own nature its crown of branches, the blade of corn the ear, the stem the flower. These forms, too, the Egyptian art of building, which has not as yet attained the liberty of viewing them in their abstract intension, borrows directly from Nature. In this respect the grandiose quality which we discover in the style of Egyptian palaces or temples--the colossal proportions of its rows of columns, the huge number of them, and withal the imposing mutual relations of the entire structure, has ever filled the spectator with wonder and astonishment. In these colonnades we do not find that all columns have the same form; they alternate between one, two, or three types. Denon, in his work on the Egyptian expedition, has collected a great number of such types. The combined effect is not as yet any uniform shape based on abstract principles of selection; rather the foundation is the shape of an onion, a reed-like efflorescence of leaf from the bulb, or, in other examples, a compression together of the root-leaves according to the manner of several kinds of plant. From this base, then, the thin stem breaks upwards straight, or mounts as column with twisted coils, and the capital is also a separation of leaves from branches which suggests the process of a flower. The imitation, however, is not true to Nature, but the plant-like forms are drained off under the architectural impulse, and made to approximate to circular, geometrical, and regular forms, or straight lines, so that such columns, in their entirety, resemble what are usually described as arabesques.