soned and artificial; produced by talent,
governed by taste. Organic architecture, on the other hand, is the
product of some obscure inner necessity for self-expression which
is sub-conscious. It is as though Nature herself, through some human
organ of her activity, had addressed herself to the service of the
sons and daughters of men.

Arranged architecture in its finest manifestations is the product of
a pride, a knowledge, a competence, a confidence staggering to behold.
It seems to say of the works of Nature, "I'll show you a trick worth
two of that." For the subtlety of Nature's geometry, and for her
infinite variety and unexpectedness, Arranged architecture substitutes
a Euclidian system of straight lines and (for the most part) circular
curves, assembled and arranged according to a definite logic of
its own. It is created but not creative; it is imagined but not
imaginative. Organic architecture is both creative and imaginative. It
is non-Euclidian in the sense that it is higher-dimensional--that is,
it suggests extension in directions and into regions where the spirit
finds itself at home, but of which the senses give no report to the
brain.

[Illustration: PLATE VIII. IMAGINATIVE SKETCH BY HENRY P. KIRBY]

To make the whole thing clearer it may be said that Arranged and
Organic architecture bear much the same relation to one another that
a piano bears to a violin. A piano is an instrument that does not give
forth discords if one follows the rules. A violin requires absolutely
an ear--an inner rectitude. It has a way of betraying the man of
talent and glorifying the genius, becoming one with his body and his
soul.

Of course it stands to reason that there is not always a hard and fast
differentiation between these two orders of architecture, but there
is one sure way by which each may be recognized and known. If the
function appears to have created the form, and if everywhere the
form follows the function, changing as that changes, the building is
Organic; if on the contrary, "the house confines the spirit," if the
building presents not a face but however beautiful a mask, it is an
example of Arranged architecture.

The Gothic cathedrals of the "Heart of Europe"--now the place of
Armageddon--represent the most perfect and powerful incarnation of
the Organic spirit in architecture. After the decadence of mediaeval
feudalism--synchronous with that of monasticism--the Arranged
architecture of the Renaissance