e who uses his mind as it is to the
architect. To what, specifically, should the architectural student
devote his attention in order to improve the quality of his work?
My own answer would be that he should devote himself to the study of
music, of the human figure, and to the study of Nature--"first, last,
midst, and without end."

The correlation between music and architecture is no new thought; it
is implied in the famous saying that architecture is frozen music.
Vitruvius considered a knowledge of music to be a qualification of the
architect of his day, and if it was desirable then it is no less so
now. There is both a metaphysical reason and a practical one why
this is so. Walter Pater, in a famous phrase, declared that all art
constantly aspires to the condition of music, by which he meant to
imply that there is a certain rhythm and harmony at the root of every
art, of which music is the perfect and pure expression; that in
music the means and the end are one and the same. This coincides with
Schopenhauer's theory about music, that it is the most perfect
and unconditioned sensuous presentment known to us of that undying
_will-to-live_ which constitutes life and the world. Metaphysics
aside, the architect ought to hear as much good music as he can, and
learn the rudiments of harmony, at least to the extent of knowing the
simple numerical ratios which govern the principal consonant intervals
within the octave, so that, translating these ratios into intervals of
space expressed in terms of length and breadth, height, and width, his
work will "aspire to the condition of music."

There is a metaphysical reason, too, as well as a practical one, why
an architect should know the human figure. Carlyle says, "There is but
one temple in the world, and that is the body of man." If the body
is, as he declares, a temple, it is no less true that a temple, or any
work of architectural art is in the nature of an ampler body which
man has created for his uses, and which he inhabits, just as the
individual consciousness builds and inhabits its fleshly stronghold.
This may seem a highly mystical idea, but the correlation between
the house and its inhabitant, and the body and its consciousness is
everywhere close, and is susceptible of infinite elaboration.

Architectural beauty, like human beauty, depends upon a proper
subordination of parts to the whole, a harmonious interrelation
between these parts, the expressiveness of each of