House <y Garden 
space. This unit should be nowhere too 
obvious, and may he varied within certain 
limits, just as musical time is retarded or 
accelerated. The underlying rhythm and 
symmetry will 
thus give 
value and dis¬ 
tinction t o 
such vari¬ 
ation. Figure 
five, which 
shows a Doric 
and a Corin¬ 
thian arcade 
laid out 
according to 
Vignola, 
illustrates 
how close a 
parallel exists 
between music and architecture in this matter 
of rhythm. 
It is a demonstrable fact that musical 
sounds weave invisible patterns in the air. 
Architecture, in one of its aspects, is geo¬ 
metric pattern made tangible and enduring, 
i. e., “ frozen music.” In illustration of this, 
note the identity between the fragment of 
sculptured detail from the Erectheum (shown 
in figure six), and the central portion of the 
front of Notre-Dame. The traceried arcades 
of the Venetian Ducal Palace remind one irre¬ 
sistibly of music. Every well composed facade 
makes harmony in three dimensions: every 
good roof line makes melody against the sky. 
In a larger sense than any of the foregoing 
music and architecture are pure and related 
arts; for in them is presented not a likeness 
of some known idea, but a thing-in-itself, 
brought to a distinct and complete expression 
of its nature. Neither a musical composition 
nor a work of architecture depends for its effect 
upon resemblances to natural sounds in one 
case, nor to 
natural forms 
in the other. 
Poetry, paint¬ 
ing, sculpture 
are not so 
much creative 
as re-creative, 
for in them the 
artist merely 
presents the 
likeness of 
some known 
idea in a new 
and beautiful 
way. 
Music expresses best those universal emo¬ 
tions which are the exclusive possession of no 
race or caste, but the common heritage of 
humanity. It speaks directly to the soul in a 
simple and universal language the meaning of 
which is made personal and particular in the 
breast of each listener. “ Music alone of all the 
arts,” says Balzac, “ has power to make us live 
within ourselves.” Architecture expresses that 
otheroutside lifewhich is notone,but infinitely 
various, being conditioned by race, climate, 
and environment. Architecture in presenting 
and preserving, as it does, a record of the com¬ 
plicated every-day life of a people, shows forth 
also the secret thought which animated them. 
Just as music, through the universal, arrives 
at the particular, so architecture, through 
countless particulars, attains the universal. 
Claude Bragdon. 
ARCHITECTURAL AS MELODY 
A MELODIOUS SKY-LINE. OBEYING THE -SAME LAWS OF 
CONTRAST, CLIMAX, ETC., AS A WELL composed AIR 
THE PALAZZO VEEZI AT VERONA (LOWER PORTION 
ONLY.). A COMPOSITION FOUNDED ON THE EQUAL AND 
REGULAR DIVISION OF SPACE. A$ MUSIC IS FOUNDED 
ON THE EQUAL AND REGULAR) DIVISION OF TIME—-> 
FIGURE SEVEN 
6 I 
