Much has been written about the influence of the human body on architectural scale. Much less has been written about the effect of architecture in giving form to the ego. An exception is the London-born writer, Adrian Stokes (1902–72). In explaining his achievement in this respect, I begin with Freudian accounts of the ego before turning to Stokes's rejection of massive and phallic scale in favour of architecture containing and unifying related forms to create an integrated image of the ego. I then end with the ramifications of this in Stokes's account of modern art, which in turn arguably influenced a revolution in psychoanalysis that continues today.