hat is not so derived,
but depends for its dignity upon arrangement received from the human
mind, expresses, while it reveals, the quality of the mind, whether it
be noble or ignoble. Thus:

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All building, therefore, shows man either as gathering or
governing; and the secrets of his success are his knowing
what to gather, and how to rule. These are the two great
intellectual Lamps of Architecture; the one consisting in a
just and humble veneration of the works of God upon earth,
and the other in an understanding of the dominion over those
works which has been vested in man.[2]
#/

What our great prophet of art thus elaborated so eloquently, the early
men forefelt by instinct, dimly it may be, but not less truly. If
architecture was born of need it soon showed its magic quality, and
all true building touched depths of feeling and opened gates of
wonder. No doubt the men who first balanced one stone over two others
must have looked with astonishment at the work of their hands, and
have worshiped the stones they had set up. This element of mystical
wonder and awe lasted long through the ages, and is still felt when
work is done in the old way by keeping close to nature, necessity, and
faith. From the first, ideas of sacredness, of sacrifice, of ritual
rightness, of magic stability, of likeness to the universe, of
perfection of form and proportion glowed in the heart of the builder,
and guided his arm. Wren, philosopher as he was, decided that the
delight of man in setting up columns was acquired through worshiping
in the groves of the forest; and modern research has come to much the
same view, for Sir Arthur Evans shows that in the first European age
columns were gods. All over Europe the early morning of architecture
was spent in the worship of great stones.[3]

If we go to old Egypt, where the art of building seems first to have
gathered power, and where its remains are best preserved, we may read
the ideas of the earliest artists. Long before the dynastic period a
strong people inhabited the land who developed many arts which they
handed on to the pyramid-builders. Although only semi-naked savages
using flint instruments in a style much like the bushmen, they were
the root, so to speak, of a wonderful artistic stock. Of the Egyptians
Herodotus said, "They gather the fruits of the earth with less labor
than any other people." With agriculture and settled life came trade
and store