358 On the Construction of Buildings 
But if a string, in the act of vibration, be touched at any other 
than these nodal points, its vibrations will be immediately con- 
fused and clogged. Precisely thus, in our view, is the ease of 
the walls of an apartment. Here the whole extent of the wall, 
enclosing the four sides, may be regarded in the light of a vibra- 
ting string ; and the angles of the wall should come in the points, 
required by the harmonic subdivision of the vibrating surface, 
which we have just seen must be placed at aliquot parts of its 
entire length. These angles would then mark the nodal points, 
or points of rest. And following out this reasoning, we wou 
still further and suggest that all the necessary breakages and 
interruptions by pillars, pilasters, doors and windows, should cor- 
respond with the nodal points in the wall, so as thus to interfere 
as little as possible with the free vibration of the whole, or its 
rts. 
A room thus constructed will possess distinctly its key note, 
which every public speaker will find it to his comfort to seek out 
and regard. ba 
_ But aside from these important considerations of position, 
shape, and proportions required in a structure of the kind pro- 
posed, magnitude, or a large capacity is indispensable to give to 
-music its full power. The most sublime effects of the oratorio 
and symphony can only be produced in spacious buildings ; this 
is independent of the number of the audience, and, in gre 
measure, too, of the vocal and orchestral force employed. ‘ 
Gardiner was admitted to the rehearsal of the first grand perfor- 
mance in York Cathedral in 1825, when only five auditors were 
present. The choral and instrumental band consisted of six 
hundred performers. In one of his desultory volumes he thus 
speaks of that occasion : 
* Glory be to God,’ the effect was more than the senses could mien 
much was the sound augmented by the vast space of this noble a 
ing; nor was it till those overpowering concussions ceased that the 
b 32 
. 
agination could recover itse 
_ And in another place, referring to the same subject, he remarks : 
sis Who has not observed the peculiar lustre imparted to am 
performance in a spacious church, which, heard in other situations 
“would give the ear no pleasure ?” “rill 
~ Washington Irving, in his “Sketch Book,” thus beantifal iy 
and with gra hic power describes the effect of a sudden b 
music amid the vast silence of Westminster Abbey: 
“The sound of casual footsteps had d. I could only hear, 70” 
ind | ps had ceased. Ic 
and then, the distant voice of the priest repeating the evening ent 
and the faint res; yonses of the choir; these paused for a ume, ™ 
was hushed. The stillness, the desertion and obscurity that were 
