lares, a temple, it is not less true that a temple or any work of architectural art is a larger body which m

ir reconcilement one with another. This being so, a study of the human figure with a view to analyzing the sources of its beauty cannot fail to be profitable. Pursued intelligently, such a study will stimulate the mind to a perception of those sim

eye is slightly higher than its fellow. In speaking and eating the lower jaw and under lip are active and mobile with relation to the upper; in winking it is the upper eyelid which is the more active. That "inevitable duality" which is exhibited in the form of the body characterizes its motions also. In the act of walking for example, a forward movement is attained by means of a forward and a backward movement of the thighs on the axis of the hips; this leg movement becomes twofold again below the knee, and the feet move up and down independently on the axis of the ankle. A similar progression is followed in raising the arm and hand: motion is communicated first to the larger parts, through them to the smaller and thence to

LAW OF RHYTHMIC DIMINU

Y, LIMBS, FI

strat

strat

ad;-each finger is a little arm, each finger tip a little palm. The lips are the lids of the mouth, the lids are the lips of the eyes-and so on. The law of Rhythmic Diminution is illustrated in the tapering of the entire body and of the limbs, in the graduated sizes and lengths of the palm and the toes, and in the successively decreasing length of the

strat

Are they not, to our imagination, masculine or feminine, winning or forbidding-human, in point of fact-to a greater degree than anything else of man's creating? They are this certainly to a true lover and student of architecture. Seen from a distance the great French cathedrals appear like crouching monsters, half beast, half human: the two towers stand like a man and a woman, mysterious and gigantic, looking out over city and plain. The campaniles of Italy rise above the churches and houses like the sentinels of a sleeping camp-nor is their strangely human aspect wholly imaginary: these giants of mountain and campagna have eyes and brazen tongues;

E BODY THE ARCHETYPE

E VESICA PISCIS AND

ferred to however is a matter more subtle and occult than mere obvious imitation on a large scale, being based upon some correspondence of parts, or similarity of proportions, or both. The correspondence between the innermost sanctuary or shrine of a temple and the heart of a man, and between the gates of that temple and the organs of sense is sufficiently obvious, and a relation once established, the idea is susceptible of almost infinite development. That the ancients proportioned their temples f

THIC CATHEDRAL THE SYM

RI

E SYMBOLISM OF A GOT

NS: HARGRA

only the maunderings of a mystical imagination, a theory evolved from the inner consciousness, entitled to no more consideration than the familiar fallacy that vaulted nave of a Gothic church was an attempt to imitate the green aisles of a forest. It should be remembered however that the habit of the thought of that ti

E GEOMETRICAL BASIS

strat

figure of Christ in early representations, a fact which certainly points to a relation between the two (Illustrations 42, 43). A curious little book, The Rosicrucians, by Hargrave Jennings, contains an interesting diagram which well illustrates this conception of the symbolism of

strat

vealed only by the accident of some human presence which forms a basis of comparison. That architecture is not necessarily the most awe-inspiring which gives the impression of having been built by giants for the abode of pigmies; like the other arts, architecture is highest when it is most human. The medi?val builders, true to this dictum, employed stones of a size proportionate to the strength of a man working without unusual mechanical aids; the grea

URE DIVIDED ACCORDING

many another Italian palace, the stone seat about the base gives scale to the building because the beholder knows instinctively that the height of such a seat must have some relation to the length of a man's leg. In the Pitti palace the balustrade which crowns each story answers a similar purpose: it st

E MEDI?VAL METHOD OF

ls together, and arms outstretched horizontally in opposite directions, he will be inscribed, as it were, within a square; and his arms will mark, with fair accuracy, the base of an inverted equilateral triangle, the apex of which

strat

; and the well known rule that twice around the wrist is once around the neck, and twice around the neck is once around the waist. The Roman architect Vitruvius, writing in the age of Augustus C?sar, formulated the important proportions of the statues of classical antiquity, and except that he makes the head smaller than the normal (as it should be in heroic sta

ivision aside from its simplicity, consists in the fact that it may be applied to the face as well. The lowest of the three major divisions extends from the tip of the chin to the base of the nose, the next coincides with the height of the nose (its top being level with the eyebrows), and the last with the

tion by methods of his own, not perhaps in the shape of rigid formul?, but present in the consciousness as a restraining influence, acting and reacting upon the mind with a conscious intention toward rhythm and harmony. By means of such exercises,