utility in the work of design." By this means they developed
proportions according to a definite scheme. They set to work with a
division of space analogous to the musician's division of time.
The examples given herewith indicate how close a parallel may exist
between music and architecture in this matter of rhythm (Illustrations
91-93).

[Illustration 93]

It is a demonstrable fact that musical sounds weave invisible patterns
in the air. Architecture, correspondingly, in one of its aspects,
is geometric pattern made fixed and enduring. What could be more
essentially musical for example than the sea arcade of the Venetian
Ducal Palace? The sand forms traced by sound-waves on a musically
vibrating steel plate might easily suggest architectural ornament did
not the differences of scale and of material tend to confuse the mind.
The architect should occupy himself with identities, not differences.
If he will but bear in mind that architecture is pattern in space,
just as music is pattern in time, he will come to perceive the
essential identity between, say, a Greek rosette and a Gothic
rose-window; an arcade and an egg and dart moulding (Illustration 94).
All architectural forms and arrangements which give enduring pleasure
are in their essence musical. Every well composed facade makes harmony
in three dimensions; every good roof-line sings a melody against the
sky.

[Illustration 94: ARCHITECTURE AS PATTERN]

CONCLUSION

In taking leave of the reader at the end of this excursion together
among the by-ways of a beautiful art, the author must needs add a
final word or two touching upon the purpose and scope of these essays.
Architecture (like everything else) has two aspects: it may be viewed
from the standpoint of utility, that is, as construction; or from the
standpoint of expressiveness, that is, as decoration. No attempt has
been made here to deal with its first aspect, and of the second
(which is again twofold), only the universal, not the particular
expressiveness has been sought. The literature of architecture is rich
in works dealing with the utilitarian and constructive side of the
art: indeed, it may be said that to this side that literature is
almost exclusively devoted. This being so, it has seemed worth while
to attempt to show the reverse of the medal, even though it be "tails"
instead of "heads."

It will be noted that the inductive method has not, in these pages,
been honored by a due observa