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122 Hellenistic city-architect tampered with the megaron form of Mycenæ and Tiryns and the old Greek peasant-house described by Galen. The Saxon and Franconian peasant-house kept its essential nucleus unimpaired right from the country farm, through the burgher-house of the old Free Cities, up to the patrician buildings of the eighteenth century, while Gothic, Renaissance, Baroque, and Empire styles glided over it one after the other, clothing it from cellar to garret with their essences, but never perverting the Soul of the House. And the same is true of the furniture-forms, in which we have to distinguish carefully the psychological from the artistic treatment. In particular, the evolution of the Northern seat-furniture is, right up to the club arm-chair, a piece of race-history and not of what is called style-history. Every other character can deceive us as to the fortunes of race — the Etruscan names amongst the "Sea-folk" defeated by Rameses III, the enigmatic inscription of Lemnos, the wall-paintings in the tombs of Etruria, afford no sure evidences of the bodily connexion of these men. Although towards the end of the Stone Age a telling ornamentation arose and continued in the vast region east of the Carpathians, it is perfectly possible that race superseded race there. If we possessed in western Europe only pottery remains for the centuries between Trojan and Chlodwig, we should not have the least inkling of the event that we know as the "great Migrations." But the presence of an oval house in the Ægean region and of another and very striking example of it in Rhodesia, and the much-discussed concordance of the Saxon peasant-house with that of the Libyan Kabyle disclose a piece of race-history. Ornaments spread when a people incorporates them in its form-language, but a house-type is only transplanted along with its race. The disappearance of an ornament means no more than a change of language, but when a house-type vanishes it means that race is extinguished.

It follows that art-history, besides taking care to begin properly with the Culture, must not neglect even in its course to separate the race side carefully from the language proper. At the outset of a Culture two well-defined forms of a higher order rise up over the peasant village, as expressions of being and language of waking-being. They are the castle and the cathedral. In them the distinction between Totem and Taboo, longing and fear, blood and intellect, rises to a grand symbolism. The ancient Egyptian, the ancient Chinese, the Classical, the South- Arabian, and the Western castle stands, as the home of continuing generations, very near to the peasant cottage, and both, as copies of the realities of living, breeding, and dying, lie outside all art-history. The history of the German Burgen is a piece of race-history throughout. On them both, early ornament does indeed venture to spread itself, beautifying here