. The Genesis of art-form : an essay in comparative easthetics showing the identity of the sources, methods, and effects of composition in music, poetry, painting, sculpture and architecture . FIG. 85.—CHATEAU DE RANDAU, VICHY, pages 124, 180, 262. itself in every part of the tree that no one who sees it candoubt that each belongs to the same organism. A build-ing should appear to be as much a unity in this sense as atree. Exact repetition of the same forms, as alreadyexplained, would always make it seem thus. But, inarchitecture, exact repetition is not always possible ; noreven, i
. The Genesis of art-form : an essay in comparative easthetics showing the identity of the sources, methods, and effects of composition in music, poetry, painting, sculpture and architecture . FIG. 85.—CHATEAU DE RANDAU, VICHY, pages 124, 180, 262. itself in every part of the tree that no one who sees it candoubt that each belongs to the same organism. A build-ing should appear to be as much a unity in this sense as atree. Exact repetition of the same forms, as alreadyexplained, would always make it seem thus. But, inarchitecture, exact repetition is not always possible ; noreven, if we wish to produce thoroughly natural effects, CONSONANCE, DISSONANCE, AND INTERCHANGE. 259 desirable. The method that is both possible and desir-able is consonance. A moments reflection will reveal,too, that there are certain very simple devices of arrange-ment which necessarily secure this effect. It ought toreveal, also, that the effect is important enough to makeeven a child notice the defects in cases in which it -CHAPEL IN CATACOMBS OF ST. AQNES, page 262. Notwithstanding this, how many architects fail to recog-nize the fact, architects too of the highest reputation ?To such an extent is this the case, that one is temptedby it toward the easy task of a destructive critic ingeneral, and to the easier task of destroying their repu-tations in particular. But a man who becomes a destructive 26o THE GENESIS OF ART-FORM. critic, except when intellectual slaughter is justified inorder to prevent the slaughter of the truth which he represents, is one whohas turned from thediscussion of princi-ples and is willing toimperil the accept-ance of them for theempty, often merelymalicious satisfactionof doing personalharm to those whomhe should wish tohelp. In the longrun, to live and tolet live is the wisestway of serving thetruth, whether ofmind or heart. Ac-cordingly, most ofthese illustrations aretaken from foreignand remote each representssome
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