SITY IN MONOTONY, BALANCE,

ire and water, man and woman; in the art of music by two chords, one of suspense and the other of fulfilment; in speech by vowel and consonant sounds, epitomized in a a

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the child of fire and water; in music, besides the chord of longing and striving, and the chord of rest and satisfaction (the dominant seventh and the tonic), there is a third or resolving chord in which the two are reconciled. In the sacred syllable Om (Aum), which epitomizes all speech, the u sound effects a transition between the a sound and the m; among the so-called primary colors yellow comes between red and blue; and in architecture t

E LAW OF TRINITY. A

E ENTABLATURE, AND THE

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s. The anstated cross of the Egyptians is such a symbol, the Buddhist wheel, and the fylfot or swastika inscribed within a circle, also those numerous Christian symbols combining the circle and the cross. Such ideographs have spelled profound meaning to the thinkers of past ages. We of to-day are not given to discovering anything wonderful in three strokes

bination, illogical as it is, satisfies the sense of beauty because the arch effects a transition between the columns and the entablature, and completes the trinity of vertical, horizontal and curved lines (Illustration 21). In the entrances to many of the Gothic cathedrals and churches the same elements are better because more logically disposed. Here the horizontal lintel an

so universal that it would seem to be the result of an instinctive action of the human mind. The twin pylons of an Egyptian temple with its entrance between, for a third division, has its correspondence in the two towers of a Gothic cathedral and the intervening screen

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nd into base, shaft and capital; the third into architrave, frieze and cornice. In many cases these again lend themselves to a threefold subdivision. A more detailed analysis of the capitals alre

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ltist trusts it always and utterly. To him the microcosm and the macrocosm are one and the same in essence, and the forth-going impulse which calls a universe into being and the indrawing impulse which extinguishes it again, each lasting millions of years, are ech

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ide. In music this law is illustrated in the return of the tonic to itself in the octave, and its partial return in the dominant; also in a more extended sense in the repetition of a major theme in the minor, or in the treble and again in the bass, with modifications perhaps of time and key. In the art of painting the

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as when Gratiano, in the trial scene of The Merchant of Venice taunts Shylock with his own words, "A Daniel come to judgment!" or, as when in one o

thedral is a little tower with its spire. As Ruskin has pointed out, the great vault of the cathedral nave, together with the pointed roof above it, is repeated in the entrance arch with its gable, and the same two elements appear in every statue-enshrining niche of the doorway. In classic architecture, as has been shown, instead of the arch and gable, the column and entablature everywhere recur under different

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agonals and the like, which will be discussed in a subsequent essay. It has also to do with style and scale, the adherence to substantially one method of constructi

s through the web, but goes to make up different figures. The idea is deeply theosoph

TY IN M

hat of Diversity in Monotony-not identity, but difference. It shows itself for the most part as a per

tree exactly correspond; no two persons look alike, though they have similiar members and featu

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id that fo

ve studied t

ture it is admirably exemplified in the metopes of the Parthenon frieze: seen at a distance these must have presented a scarcely distinguishable texture of sunlit marble and cool shadow, yet in reality each is a separate work of art. So with the capitals of the columns of the wonderful sea-arcade of the Venetian Ducal palace: alike in general contour they differ widely in detail, and unfold a Bible story. In Gothic cathedrals, in Romanesque monastery cloisters, a tee

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ident or carelessness Ruskin long ago discovered, and the Brooklyn Institute surveys have amply confirmed his view. Although by these means the builders of that day produced effects of deceptive perspective, of subtle

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ily movements, for every change of equilibrium there occurs an opposition and adjustment of members of such a nature that an axial plane through the center of gravity would divide the body into two substantially equal masses, as in the case of the tree. Thi

r of the same elements and the same length, but involving a different sequence of intervals; in painting by the dispositi

side of axial lines. A far more subtle and vital illustration of the law occurs when the opposed elements do not exactly match, but differ from each other, as in the

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widening circles which appear when one drops a stone into still water, in the convolutions of shells, in the branching of trees and the veining of leaves; the diminution in the size of the pipes of an organ illustrates it, and the spacing of the frets of a guitar. More and more science is coming to recognize, what theoso

nd intercolumnations of a colonnade, become when seen in perspective rhythmically unequal, diminishing according to the universal law. The entas

azzo Uguccioni, in Florence-to mention only two examples out of a great number. In the Riccardi Palace an effect of increasing refinement is obtained by diminishing the boldness of the rustication of the ashlar in successive stories; in the Farnese, by the gradual reduction of the size of the angle quoins (Illustration 30). In an Egyptian pylon it is achieved most simpl

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w of Unity. The various parts of any organism radiate from, or otherwise refer back to common centers, or foci, and these to centers of their own. The law

nd in all great art as well; it is a law of optics, for example, that all straight lines having a common direction if sufficiently prolonged appear to meet in a point, i.e., radiate from it (Illustration 31). Leonardo da Vinci employed this principle of perspective in his Last Supper to draw the spectator's eye to the picture's central figure, the point of sight toward which the lines of th

characteristic of Gothic construction, the concentration or focalization of the weight of the vaults and arches at certain points, is another illustration of the same principle applied to architecture, beautifully exemplified in the semicircular apse of a ca

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e same Beautiful Necessity determined the characteristics of much of the ornament of widely separated styles and periods: the Egyptian lotus, the Greek honeysuckle, the Roman acanthus, Gothic leaf work-to snatch at ran

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diversity of these laws which is important to keep in mind, so much as their relatedness and co?rdination, for they are but different aspects of the One Law, that whereby the Log

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lations to and reactions upon the original pair, the law of Multiplicity in Unity naturally follows, as does the law of Consonance, or repetition, since the primal process of differentiation tends to repeat itself, and the original combinations to reappear-but to reappear in changed form, hence the law of Diversity in Monotony.

r beauty, because beauty is the fine flower of a sort of sublime ingenuity. A work of art is nothing if not artful: like an acrostic, the more different ways it can be read-up, down, across, from right to left and from left to right-the better it is, other things being equal. This statement, of course, may be construed in

ples on either hand, and stands relieved against the largest parallelogram of light, and the vanishing point of the perspective is in the head of Christ, at the apex, therefore, of the triangle. The law of Polarity finds fulfilment in the complex and flowing lines of the draped figures contrasted with the simple parallelogram of the cloth-covered table, and the severe architecture of the room. The law of Trinity is exemplified in the three windows, and in the subdivision of the twelve figures of the disciples into four groups of three figures each. The law of Consonance appears in the repetit

at the end of the principal vista) is threefold, for there are two sides and a central parallelogram, and two lesser domes flank the great dome. The composition is rich in consonances, for the side arches echo the central one, the subordinate domes the great dome, and the lanterns of the outstanding minarets repeat the principal motif. Diversity in Monotony appears abunda

to express as far as possible these conditions, making the form express the function. The architect who is also an artist however will do this and something beyond: working for the most part unconsciously, harmoniously, joyously, his building will obey and illustrate