The beautiful necessity; seven essays on theosophy and architecture . ng like water, and shapes darting like flame, which make such visible music to the entranced eye. By seeking to discover In and Yo in their myriad manifestations, by learning to discriminate between them, and by attempting to express their characteristic qualities in new forms of beauty—from the disposition of a fagade to the shaping of a moulding—the architectural designer will chargehis work with that esoteric significance,that excess of beauty, by which archi-tecture rises to the dignity of a fineart (Illustrations 19, 20
The beautiful necessity; seven essays on theosophy and architecture . ng like water, and shapes darting like flame, which make such visible music to the entranced eye. By seeking to discover In and Yo in their myriad manifestations, by learning to discriminate between them, and by attempting to express their characteristic qualities in new forms of beauty—from the disposition of a fagade to the shaping of a moulding—the architectural designer will chargehis work with that esoteric significance,that excess of beauty, by which archi-tecture rises to the dignity of a fineart (Illustrations 19, 20). In so doing,however, he should never forget, andthe layman, also, should ever remember,that the supreme architectural excel-lence is fitness, appropriateness, theperfect adaptation of means to ends,and the perfect expression of bothmeans and ends. These two aims, theone abstract and universal, the otherconcrete and individual, can always becombined, just as in every humancountenance are combined a type, whichis universal, and a character, which SAN QIMiaNANO 5, JACOPO, Ill CHANGELESS CHANGE TRINITY, CONSONANCE, DIVERSITY IN MONOTONY,BALANCE, RHYTHMIC CHANGE, RADIATION THE preceding essay was devoted for the most part to that inevitableduahty which finds concrete expression in countless pairs ofopposites, such as day and night, fire and water, man and woman;in the art of music by two chords, one of suspense and the other of fulfil-ment; in speech by vowel and consonant sounds, epitomized in a and in m;in painting by warm colors and cold, epitomized in red and blue; in archi-tecture by the vertical column and the horizontal lintel, by void and solid,—and so on. TRINITY This concept should now be modified by another, namely: that in everyduality a third is latent; that two implies three, for each sex, so to speak, isin process of becoming the other, and this alternation engenders and is accom-plished by means of a third term, or neuter, which is hke neither
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