Chapter II: The Fourth Dimension (2)

The current mannerisms of Architectural criticism must often
seem trivial. For of what avail is it to say that this is too
small, that too large, this too thick, and that too thin, or
to quote this, that, or the other precedent, when the real
question may be: Is not the entire design a mean evasion? Why
magnify this, that, or the other little thing, if the entire
scheme of thinking that the building stands for is false, and
puts a mask upon the people, who want true buildings, but do
not know how to get them so long as Architects betray them
with Architectural phrases?

And so he goes on with his Jeremiad: a prophet of despair, do you say? No, he seeks to destroy only that falsity which would confine the living spirit. Earlier and more clearly than we, he discerned the menace to our civilization of the unrestricted play of the masculine forces--powerful, ruthless, disintegrating--the head dominating the heart. It has taken the surgery of war to open our eyes, and behold the spectacle of the entire German nation which by an intellectual process appears to have killed out compassion, enthroning _Schrecklichkeit_. In the heart alone dwells hope of salvation. "For he who knows even a genuinely little of Mankind knows this truth: the heart is greater than the head. For in the heart is Desire; and from it come forth Courage and Magnanimity."

You have not thought deeply enough to know that the heart in
you is the woman in man. You have derided your femininity,
where you have suspected it; whereas, you should have known
its power, cherished and utilized it, for it is the hidden
well-spring of Intuition and Imagination. What can the brain
accomplish without these two? They are the man's two inner
eyes; without them he is stone blind. For the mind sets forth
their powers both together. One carries the light, the other
searches; and between them they find treasures. These they
bring to the brain, which first elaborates them, then says to
the will, "Do"--and Action follows. Poetically considered,
as far as the huge, disordered resultant mass of your
Architecture is concerned, Intuition and Imagination have not
gone forth to illuminate and search the hearts of the people.
Thus are its works stone blind.

It is the absence of poetry and beauty which makes our architecture so depressing to the spirits. "Poetry as a living thing," says Mr. Sullivan, "stands for the most telling quality that a man can impart to his thoughts. Judged by this test your buildings are dreary, empty places." Artists in words, like Lafcadio Hearn and Henry James, are able to make articulate the sadness which our cities inspire, but it is a blight which lies heavy on us all. Theodore Dreiser says, in _Sister Carrie_--a book with so much bitter truth in it that it was suppressed by the original publishers:

Once the bright days of summer pass by, a city takes on the
sombre garb of grey, wrapped in which it goes about its labors
during the long winter. Its endless buildings look grey,
its sky and its streets assume a sombre hue; the scattered,
leafless trees and wind-blown dust and paper but add to the
general solemnity of color. There seems to be something in
the chill breezes which scurry through the long, narrow
thoroughfares productive of rueful thoughts. Not poets alone,
nor artists, nor that superior order of mind which arrogates
to itself all refinement, feel this, but dogs and all men.

The excuse that we are too young a people to have developed an architecture instinct with that natural poetry which so charms us in the art of other countries and other times, Mr. Sullivan disposes of in characteristic fashion. To the plea that "We are too young to consider these accomplishments. We have been so busy with our material development that we have not found time to consider them," he makes answer as follows:

Know, then, to begin with, they are not accomplishments but
necessaries. And, to end with, you are old enough, and
have found the time to succeed in nearly making a fine art
of--Betrayal, and a science of--Graft. Know that you are
as old as the race. That each man among you had in him the
accumulated power of the race, ready at hand for use, in the
right way, when he shall conclude it better to think straight
and hence act straight rather than, as now, to act crooked
and pretend to be straight. Know that the test, plain, simple
_honesty_ (and you all know, every man of you knows, exactly
what that means) is always at your hand.

Know that as all complex manifestations have a simple basis
of origin, so the vast complexity of your national unrest, ill
health, inability to think clearly and accurately concerning
simple things, really vital things, is easily traceable to the
single, actual, active cause--Dishonesty; and that this points
with unescapable logic and in just measure to each individual
man!

The remedy;--_individual honesty_.

To the objection that this is too simple a solution, Mr. Sullivan retorts that all great solutions are simple, that the basic things of the universe are those which the heart of a child might comprehend. "Honesty stands in the universe of Human Thought and Action, as its very Centre of Gravity, and is our human mask-word behind which abides all the power of Nature's Integrity, the profoundest _fact_ which modern thinking has persuaded Life to reveal."

If, on the other hand, the reader complains, "All this is above our heads," Mr. Sullivan is equally ready with an answer:

No, it is not. _It is close beside your hand!_ and therein
lies its power.

Again you say, "How can honesty be enforced?"

It cannot be enforced!

"Then how will the remedy go into effect?"

It cannot _go_ into effect. It can only come into effect.

"Then how can it come?"

Ask Nature.

"And what will Nature say?"

Nature is always saying: "I centre at each man, woman and
child. I knock at the door of each heart, and I wait. I wait
in patience--ready to enter with my gifts."

"And is that all that Nature says?"

That is all.

"Then how shall we receive Nature?"

By opening wide your minds! For your greatest crime against
yourselves is that you have locked the door and thrown away
the key!

Thus, by a long detour, Mr. Sullivan returns to his initial proposition, that the falsity of our architecture can be corrected only by integrity of thought. "Thought is the fine and powerful instrument. Therefore, _have thought for the integrity of your own thought_."

Naturally, then, as your thoughts thus change, your growing
architecture will change. Its falsity will depart; its reality
will gradually appear. For the integrity of your thought as
a People, will then have penetrated the minds of your
architects.

Then, too, _as your basic thought changes, will emerge a
philosophy, a poetry, and an art of expression in all things;
for you will have learned that a characteristic philosophy,
poetry and art of expression are vital to the healthful growth
and development of a democratic people_.

Some readers may complain that these are after all only glittering generalities, of no practical use in solving the specific problems with which every architect is confronted. On the contrary they are fundamental verities of incalculable benefit to every sincere artist. Shallowness is the great vice of democracy; it is surface without depth, a welter of concrete detail in which the mind easily loses those great, underlying abstractions from which alone great art can spring. These, in this essay, Mr. Sullivan helps us to recapture, and inspires us to employ. He would win us from our insincerities, our trivialities, and awaken our enormous latent, unused power. He says:

Awaken it.

Use it.

Use it for the common good.

Begin now!

For it is as true today as when one of your wise men said
it:--

"The way to resume is to resume!"

COLOR AND CERAMICS

The production of ceramics--perhaps the oldest of all the useful arts practised by man; an art with a magnificent history--seems to be entering upon a new era of development. It is more alive today, more generally, more skilfully, though not more _artfully_ practised than ever before. It should therefore be of interest to all lovers of architecture, in view of the increasing importance of ceramics in building, to consider the ways in which these materials may best be used.

Looking at the matter in the broadest possible way, it may be said that the building impulse throughout the ages has expressed itself in two fundamentally different types of structure: that in which the architecture--and even the ornament--is one with the engineering; and that in which the two elements are separable, not in thought alone, but in fact. For brevity let us name that manner of building in which the architecture is the construction, _Inherent_ architecture, and that manner in which the two are separable _Incrusted_ architecture.

To the first class belong the architectures of Egypt, Greece, and Gothic architecture as practised in the north of Europe; to the second belong Roman architecture of the splendid period, Moorish architecture, and Italian Gothic, so called. In the first class the bones of the building were also its flesh; in the second bones and flesh were in a manner separable, as is proven by the fact that they were separately considered, separately fashioned. Ruined Karnak, the ruined Parthenon, wrecked Rheims, show ornament so integral a part of the fabric--etched so deep--that what has survived of the one has survived also of the other; while the ruined Baths of Caracalla the uncompleted church of S. Petronio in Bologna, and many a stark mosque on many a sandy desert show only bare skeletons of whose completed glory we can only guess. In them the fabric was a framework for the display of the lapidary or the ceramic art--a garment destroyed, rent, or tattered by time and chance, leaving the bones still strong, but bare.

This classification of architecture into Inherent and Incrusted is not to be confused with the discrimination between architecture that is _Arranged_, and architecture that is _Organic_, a classification which is based on psychology--like the difference between the business man and the poet: talent and genius--whereas the classification which the reader is asked now to consider is based rather on the matter of expediency in the use of materials. Let us draw no invidious comparisons between Inherent and Incrusted architecture, but regard each as the adequate expression of an ideal type of beauty; the one masculine, since in the male figure the osseous framework is more easily discernible; the other feminine, because more concealed and overlaid with a cellular tissue of shining, precious materials, on which the disruptive forces in man and nature are more free to act.

It is scarcely necessary to state that it is with Incrusted architecture that we are alone concerned in this discussion, for to this class almost all modern buildings perforce belong. This is by reason of a necessity dictated by the materials that we employ, and by our methods of construction. All modern buildings follow practically one method of construction: a bony framework of steel--or of concrete reinforced by steel--filled in and subdivided by concrete, brick, hollow fire-clay, or some of its substitutes. To a construction of this kind some sort of an outer encasement is not only æsthetically desirable, but practically necessary. It usually takes the form of stone, face-brick, terra-cotta, tile, stucco, or some combination of two or more of these materials. Of the two types of architecture the Incrusted type is therefore imposed by structural necessity.

The enormous importance of ceramics in its relation to architecture thus becomes apparent. They minister to an architectural need instead of gratifying an architectural whim. Ours is a period of Incrusted architecture--one which demands the encasement, rather than the exposure of structure, and therefore logically admits of the enrichment of surfaces by means of "veneers" of materials more precious and beautiful than those employed in the structure, which becomes, as it were, the canvas of the picture, and not the picture itself. For these purposes there are no materials more apt, more adaptable, more enduring, richer in potentialities of beauty than the products of ceramic art. They are easily and inexpensively produced of any desired shape, color, texture; their hard, dense surface resists the action of the elements, is not easily soiled, and is readily cleaned; being fashioned by fire they are fire resistant.

So much then for the practical demands, in modern architecture, met by the products of ceramic art. The æsthetic demand is not less admirably met--or rather _might_ be.

When, in the sixteenth century, the Renaissance spread from south to north, color was practically eliminated from architecture. The Egyptians had had it, hot and bright as the sun on the desert; we know that the Greeks made their Parian marble glow in rainbow tints; Moorish architecture was nothing if not colorful, and the Venice Ruskin loved was fairly iridescent--a thing of fire-opal and pearl. In Italian Renaissance architecture up to its latest phase, the color element was always present; but it was snuffed out under the leaden colored northern skies. Paris is grey, London is brown, New York is white, and Chicago the color of cinders. We have only to compare them to yellow Rome, red Siena, and pearl-tinted Venice, to realize how much we have lost in the elimination of color from architecture. We are coming to realize it. Color played an important part in the Pan-American Exposition, and again in the San Francisco Exposition, where, wedded to light, it became the dominant note of the whole architectural concert. Now these great expositions in which the architects and artists are given a free hand, are in the nature of preliminary studies in which these functionaries sketch in transitory form the things they desire to do in more permanent form. They are forecasts of the future, a future which in certain quarters is already beginning to realize itself. It is therefore probable that architectural art will become increasingly colorful.

The author remembers the day and the hour when this became his personal conviction--his personal desire. It happened years ago in the Albright Gallery in Buffalo--a building then newly completed, of a severely classic type. In the central hall was a single doorway, whose white marble architrave had been stained with different colored pigments by Francis Bacon; after the manner of the Greeks. The effect was so charming, and made the rest of the place seem by contrast so cold and dun, that the author came then and there to the conclusion that architecture without polychromy was architecture incomplete. Mr. Bacon spent three years in Asia Minor, and elsewhere, studying the remains of Greek architecture, and he found and brought home a fragment of an antefix from the temple of Assos, in which the applied color was still pure and strong. The Greeks were a joyous people. When joy comes back into life, color will come back into architecture.

Ceramic products are ideal as a means to this end. The Greeks themselves recognized their value for they used them widely and wisely: it has been discovered that they even attached bands of colored terra-cotta to the marble mouldings of their temples. How different must have been such a temple's real appearance from that imagined by the Classical Revivalists, whose tradition of the inviolable cold Parian purity of Greek architecture has persisted, even against archæological evidence to the contrary, up to the present day.

In one way we have an advantage over the Greek, if we only had the wit to profit by it. His palette, like his musical scale, was more limited than ours. Nearly the whole gamut of the spectrum is now available to the architect who wishes to employ ceramics. The colors do not change or fade, and possess a beautiful quality. Our craftsmen and manufacturers of face-brick, terra-cotta, and colored tile, after much costly experimentation, have succeeded in producing ceramics of a high order of excellence and intrinsic beauty; they can do practically anything demanded of them; but from that quarter where they should reap the greatest commercial advantage--the field of architecture--there is all too little demand. The architect who should lead, teach and dictate in this field, is often through ignorance obliged to learn and follow instead. This has led to an ignominious situation--ignominious, that is, to the architect. He has come to require of the manufacturer--when he requires anything at all--assistance in the very matter in which he should assist: the determination of color design. It is no wonder that the results are often bad, and therefore discouraging. The manufacturers of ceramics welcome co-operation and assistance on the part of the architect with an eagerness which is almost pathetic, on those rare occasions when assistance is offered.

But the architect is not really to blame: the reason for his failure lies deep in his general predicament of having to know a little of everything, and do a great deal more than he can possibly do well. To cope with this, if his practice warrants the expenditure, he surrounds himself with specialists in various fields, and assigns various departments of his work to them. He cannot be expected to have on his staff a specialist in ceramics, nor can he, with all his manifold activities, be expected to become such a specialist himself. As a result, he is usually content to let color problems alone, for they are just another complication of his already too complicated life; or he refers them to some one whom he thinks ought to know--a manufacturer's designer--and approves almost anything submitted. Of course the ideal architect would have time for every problem, and solve it supremely well; but the real architect is all too human: there are depressions on his cranium where bumps ought to be; moreover, he wants a little time left to energize in other directions than in the practice of his craft. One of the functions of architecture is to reveal the inherent qualities and beauties of different materials, by their appropriate use and tasteful display. An onyx staircase on the one hand, and a portland cement high altar on the other, alike violate this function of architecture; they transgress that beautiful necessity which decrees that precious materials should serve precious uses and common materials should serve utilitarian ends. Now color is a precious thing, and its highest beauties can be brought out only by contrast with broad neutral tinted spaces. The interior walls of a mediaeval cathedral never competed with its windows, and by the same token, a riot of polychromy all over the side of a building is not as effective, even from a chromatic point of view, as though it were confined, say, to an entrance and a frieze. Gilbert's witty phrase is applicable here:

"Where everybody's somebody, nobody's anybody."

Let us build our walls, then, of stone, or brick, or stucco,--for their flat surfaces and neutral tints conduce to that repose so essential to good architectural effect: but let us not rest content with this, but grant to the eye the delight and contentment which it craves, by color and pattern placed at those points to which it is desirable to attract attention, for they serve the same æsthetic purpose as a tiara on the brow of beauty, or a ring on a delicate white hand. But just as jewelry is best when it is most individual, so the ornament of a building should be in keeping with its general character and complexion. A color scheme should not be chosen at random, but dictated by the prevailing tone and texture of the wall surfaces, with which it should harmonize as inevitably as the blossom of a bush with its prevailing tone of stems and foliage. In a building this prevailing tone will inevitably be either cold or warm, and the color scheme just as inevitably should be either cold or warm; that is, there should be a preponderance of cold colors over warm, or vice versa. Otherwise the eye will suffer just that order of uneasiness which comes from the contemplation of two equal masses, whereas it experiences satisfaction in proportionate unequals.

Nothing will take the place of an instinctive colour-sense, but even that needs the training of experience, if the field be new, and a few general principles of all but universal application will not be amiss.

First of all it should be remembered that the intensity of color should be carefully adjusted to its area. It is dangerous to try to use high, pure colors, unrelieved and uncontrasted, in large masses, but the brightest, strongest colors may be used with safety in units of sufficiently restricted size. For harmony, as well as for richness, the law of complementaries, in its most general application, is the safest of all guides, but it must be followed with fine discrimination. Complementary colors are like married pairs, if they find the right adjustment with one another they are happy--that is, there is an effect of beauty--but lacking such adjustment they are worse off together than apart. Every artist who experiments in color soon finds out for himself that instead of using two colors directly complementary, it is better to "split" one of them, that is, use instead of one of them two others, which combined will yield the color in question. For example, the color complementary to red is green-blue. Now green-blue is equidistant between yellow-green and blue-violet, so if for red and blue-green; red, yellow-green and blue-violet be substituted the combination loses its obviousness and a certain harshness without losing anything of its brilliance, or without departing from the optical law involved. Such a combination corresponds to a diminished triad in music.

Another important consideration with regard to color as employed by the architect dwells in those optical changes effected by distance and position: the relative visibility of different colors and combinations of colors as the spectator recedes from them, and the environmental changes which colors undergo--in bright sunlight, in shadow, against the sky, and with relation to backgrounds of different sorts.

The effect of distance is to make colors merge into one another, to lower the values, but not all equally. Yellow loses itself first, tending toward white. The effect of distance, in general, is to disintegrate and decompose, thus giving "vibration" as it is called. A knowledge of these and kindred facts will save the architect from many disappointments and enable him to obtain wonderful chromatic effects by simple means.

Many architects unused to color problems design their ornament with very little thought about the colors which they propose to employ, making it an after-consideration; but the two things should be considered synchronously for the best final effect. There is a cryptic saying that "color is at right angles to form," that is, color is capable of making surfaces advance toward or recede from the eye, just as modelling does; and for this reason, if color is used, a great deal of modelling may be dispensed with. If a receding color is used on a recessed plane, it deepens that plane unduly; while on the other hand if a color which refuses to recede--like yellow for example--is used where depth is wanted, the receding plane and the approaching color neutralize one another, resulting in an effect of flatness not intended. The tyro should not complicate his problem by combining color with high relief modelling, bringing inevitably in the element of light and shade. He should leave that for older hands and concern himself rather with flat or nearly flat surfaces, using his modelling much as the worker in cloisonné uses his little rims of brass--to confine and define each color within its own allotted area. Then, as he gains experience, he may gradually enrich his pattern by the addition of the element of light and shade, should he so decide.

Now as to certain general considerations in relation to the appropriate and logical use of ceramics in the construction and adornment of buildings, exterior and interior. In our northern latitudes care should be taken that ceramics are not used in places and in ways where the accumulation of snow and ice render the joints subject to alternate freezing and thawing, for in such case, unless the joints are protected with metal, the units will work loose in time. On vertical surfaces such protection is not necessary; the use of ceramics should therefore be confined for the most part to such surfaces: for friezes, panels, door and window architraves, and the like. When it is desirable for æsthetic reasons to tie a series of windows together vertically by means of some "fill" of a material different from that of the body of the wall, ceramics lend themselves admirably to the purpose--better than wood, which rots; than iron, which rusts; than bronze, which turns black; and than marble, which soon loses its color and texture in exposed situations of this sort.

On the interior of buildings, the most universal use of ceramics is, of course, for floors, and with the non-slip devices of various sorts which have come into the market, they are no less good for stairs. There is nothing better for wainscoting, and in fact for any surface whatsoever subject to soil and wear. These materials combine permanent protection and permanent decoration. But fired by the zeal of the convert the use of ceramics may be overdone. One easily recalls entire rooms of this material, floors, walls, ceilings, which are less successful than as though a variety of materials had been employed. It is just such variety--each material treated in a characteristic, and therefore different way--that gives charm to so many foreign churches and cathedrals: walls of stone, floors of marble, choir-stalls of carved wood, and rood-screen of metal: it is the difference between an orchestra of various instruments and a mandolin orchestra or a saxaphone sextette. Ceramics should never invade the domain of the plasterer, the mural painter, the cabinet maker. Do not let us, in our zeal for ceramics, be like Bottom the weaver, eager to play every part.

Ceramics have, as regards architecture, a distinct and honorable function. This function should be recognized, taken advantage of, but never overpassed. They offer opportunities large but not limitless. They constitute one instrument of the orchestra of which the architect is the conductor, an instrument beautiful in the hands of a master, and doubly beautiful in concert and contrast with those other materials whose harmonious ensemble makes that music in three dimensions: architectural art.

SYMBOLS AND SACRAMENTS

Architecture is the concrete presentment in space of the soul of a people. If that soul be petty and sordid--"stirred like a child by little things"--no great architecture is possible because great architecture can image only greatness. Before any worthy architecture can arise in the modern world the soul must be aroused. The cannons of Europe are bringing about this awakening. The world--the world of thought and emotion from whence flow acts and events--is no longer decrepit, but like Swedenborg's angels it is advancing toward the springtide of its youth: down the ringing grooves of change "we sweep into the younger day."

After the war we are likely to witness an art evolution which will not be restricted to statues and pictures and insincere essays in dry-as-dust architectural styles, but one which will permeate the whole social fabric, and make it palpitate with the rhythm of a younger, a more abundant life. Beauty and mystery will again make their dwelling among men; the Voiceless will speak in music, and the Formless will spin rhythmic patterns on the loom of space. We shall seek and find a new language of symbols to express the joy of the soul, freed from the thrall of an iron age of materialism, and fronting the unimaginable splendors of the spiritual life.

For every æsthetic awakening is the result of a spiritual awakening of some sort. Every great religious movement found an art expression eloquent of it. When religion languished, such things as Versailles and the Paris Opera House were possible, but not such things as the Parthenon, or Notre Dame. The temples of Egypt were built for the celebration of the rites of the religion of Egypt; so also in the case of Greece. Roman architecture was more widely secular, but Rome's noblest monument, the Pantheon, was a religious edifice. The Moors, inflamed with religious ardor, swept across Europe, blazing their trail with mosques and palaces conceived seemingly in some ecstatic state of dream. The Renaissance, tainted though it was by worldliness, found still its inspiration in sacred themes, and recorded its beginning and its end in two mighty religious monuments: Brunelleschi's and Michael Angelo's domical churches, "wrought in a sad sincerity" by deeply religious men. Gothic art is a synonym for mediaeval Christianity; while in the Orient art is scarcely secular at all, but a symbolical language framed and employed for the expression of spiritual ideas.

This law, that spirituality and not materialism distils the precious attar of great art, is permanently true and perennially applicable, for laws of this order do not change from age to age, however various their manifestation. The inference is plain: until we become a religious people great architecture is far from us. We are becoming religious in that broad sense in which churches and creeds, forms and ceremonies, play little part. Ours is the search of the heart for something greater than itself which is still itself; it is the religion of brotherhood, whose creed is love, whose ritual is service.

This transformed and transforming religion of the West, the tardy fruit of the teachings of Christ, now secretly active in the hearts of men, will receive enrichment from many sources. Science will reveal the manner in which the spirit weaves its seven-fold veil of illusion; nature, freshly sensed, will yield new symbols which art will organize into a language; out of the experience of the soul will grow new rituals and observances. But one precious tincture of this new religion our civilization and our past cannot supply; it is the heritage of Asia, cherished in her brooding bosom for uncounted centuries, until, by the operation of the law of cycles, the time should come for the giving of it to the West.

This secret is Yoga, the method of self-development whereby the seeker for union is enabled to perceive the shining of the Inward Light. This is achieved by daily discipline in stilling the mind and directing the consciousness inward instead of outward. The Self is within, and the mind, which is normally centrifugal, must first be arrested, controlled, and then turned back upon itself, and held with perfect steadiness. All this is naively expressed in the Upanishads in the passage, "The Self-existent pierced the openings of the senses so that they turn forward, not backward into himself. Some wise man, however, with eyes closed and wishing for immortality, saw the Self behind." This stilling of the mind, its subjugation and control whereby it may be concentrated on anything at will, is particularly hard for persons of our race and training, a race the natural direction of whose consciousness is strongly outward, a training in which the practice of introspective meditation finds no place.

Yoga--that "union" which brings inward vision, the contribution of the East to the spiritual life of the West--will bring profound changes into the art of the West, since art springs from consciousness. The consciousness of the West now concerns itself with the visible world almost exclusively, and Western art is therefore characterized by an almost slavish fidelity to the ephemeral appearances of things--the record of particular moods and moments. The consciousness of the East on the other hand, is subjective, introspective. Its art accordingly concerns itself with eternal aspects, with a world of archetypal ideas in which things exist not for their own sake, but as symbols of supernal things. The Oriental artist avoids as far as possible trivial and individual rhythms, seeking always the fundamental rhythm of the larger, deeper life.

Now this quality so earnestly sought and so highly prized in Oriental art, is the very thing which our art and our architecture most conspicuously lack. To the eye sensitive to rhythm, our essays in these fields appear awkward and unconvincing, lacking a certain _inevitability_. We must restore to art that first great canon of Chinese æsthetics, "_Rhythmic vitality,_ or the life movement of the spirit through the rhythm of things." It cannot be interjected from the outside, but must be inwardly realized by the "stilling" of the mind above described.

Art cannot dispense with symbolism; as the letters on this page convey thoughts to the mind, so do the things of this world, organized into a language of symbols, speak to the soul through art. But in the building of our towers of Babel, again mankind is stricken with a confusion of tongues. Art has no _common language;_ its symbols are no longer valid, or are no longer understood. This is a condition for which materialism has no remedy, for the reason that materialism sees always the pattern but never that which the pattern represents. We must become _spiritually illumined_ before we can read nature truly, and re-create, from such a reading, fresh and universal symbols for art. This is a task beyond the power of our sad generation, enchained by negative thinking, overshadowed by war, but we can at least glimpse the nature of the reaction between the mystic consciousness and the things of this world which will produce a new language of symbols. The mystic consciousness looks upon nature as an arras embroidered over with symbols of the things it conceals from view. We are ourselves symbols, dwelling in a world of symbols--a world many times removed from that ultimate reality to which all things bear figurative witness; the commonest thing has yet some mystic meaning, and ugliness and vulgarity exist only in the unillumined mind.

What mystic meaning, it may be asked, is contained in such things as a brick, a house, a hat, a pair of shoes? A brick is the ultimate atom of a building; a house is the larger body which man makes for his uses, just as the Self has built its habitation of flesh and bones; hat and shoes are felt and leather insulators with which we seek to cut ourselves off from the currents which flow through earth and air from God. It may be objected that these answers only substitute for the lesser symbol a greater, but this is inevitable: if for the greater symbol were named one still more abstract and inclusive, the ultimate verity would be as far from affirmation as before. There is nothing of which the human mind can conceive that is not a symbol of something greater and higher than itself.

The dictionary defines a symbol as "something that stands for something else and serves to represent it, or to bring to mind one or more of its qualities." Now this world is a _reflection_ of a higher world, and that of a higher world still, and so on. Accordingly, everything is a symbol of something higher, since by reflecting, it "stands for, and serves to represent it," and the thing symbolized, being itself a reflection, is, by the same token, itself a symbol. By reiterated repetitions of this reflecting process throughout the numberless planes and sub-planes of nature, each thing becomes a symbol, not of one thing only, but of many things, all intimately correlated, and this gives rise to those underlying analogies, those "secret subterranean passages between matter and soul" which have ever been the especial preoccupation of the poet and the mystic, but which may one day become the subject of serious examination by scientific men.

Let us briefly pass in review the various terms of such an ascending series of symbols: members of one family, they might be called, since they follow a single line of descent.

Take gold: as a thing in itself, without any symbolical significance, it is a metallic element, having a characteristic yellow color, very heavy, very soft, the most ductile, malleable, and indestructible of metals. In its minted form it is the life force of the body economic, since on its abundance and free circulation the well-being of that body depends; it is that for which all men strive and contend, because without it they cannot comfortably live. This, then, is gold in its first and lowest symbolical aspect: a life principle, a motive force in human affairs. But it is not gold which has gained for man his lordship over nature; it is fire, the yellow gold, not of the earth, but of the air,--cities and civilizations, arts and industries, have ever followed the camp fire of the pioneer. Sunlight comes next in sequence--sunlight, which focussed in a burning glass, spontaneously produces flame. The world subsists on sunlight; all animate creation grows by it, and languishes without it, as the prosperity of cities waxes or wanes with the presence or absence of a supply of gold. The magnetic force of the sun, specialized as _prana_ (which is not the breath which goes up and the breath which goes down, but that other, in which the two repose), fulfils the same function in the human body as does gold in civilization, sunlight in nature: its abundance makes for health, its meagreness for enervation. Higher than _prana_ is the mind, that golden sceptre of man's dominion, the Promethean gift of fire with which he menaces the empire of the gods. Higher still, in the soul, love is the motive force, the conqueror: a "heart of gold" is one warmed and lighted by love. Still other is the desire of the spirit, which no human affection satisfies, but truth only, the Golden Person, the Light of the World, the very Godhead itself. Thus there is earthy, airy, etheric gold; gold as intellect, gold as love, gold as truth; from the curse of the world, the cause of a thousand crimes, there ascends a Jacob's Ladder of symbols to divinity itself, whereby men may learn that God works by sacrifice: that His universe is itself His broken body. As gold in the purse, fire on the forge, sunlight for the eyes, breath in the body, knowledge in the mind, love in the heart, and wisdom in the understanding, He draws all men unto Him, teaching them the wise use of wealth, the mastery over nature, the care of the body, the cultivation of the mind, the love of wife and child and neighbour, and, last lesson of all, He teaches them that in industry, in science, in art, in sympathy and understanding, He it is they are all the while knowing, loving, becoming; and that even when they flee Him, His are the wings--

"When me they fly, I am the wings."

This attempt to define gold as a symbol ends with the indication of an ubiquitous and immanent divinity in everything. Thus it is always: in attempting to dislodge a single voussoir from the arch of truth, the temple itself is shaken, so cunningly are the stones fitted together. All roads lead to Rome, and every symbol is a key to the Great Mystery: for example, read in the light of these correspondences, the alchemist's transmutation of base metals into gold, is seen to be the sublimation of man's lower nature into "that highest golden sheath, which is Brahman."

Keeping the first sequence clearly in mind, let us now attempt to trace another, parallel to it: the feminine of which the first may be considered the corresponding masculine. Silver is a white, ductile metallic element. In coinage it is the synonym for ready cash,--gold in the bank is silver in the pocket; hence, in a sense, silver is the _reflection_, or the second power of gold. Just as ruddy gold is correlated with fire, so is pale silver with water; and as fire is affiliated with the sun, so do the waters of the earth follow the moon in her courses. The golden sun, the silver moon: these commonly employed descriptive adjectives themselves supply the correlation we are seeking; another indication of its validity lies in the fact that one of the characteristics of water is its power of reflecting; that moonlight is reflected sunlight. If gold is the mind, silver is the body, in which the mind is imaged, objectified; if gold is flamelike love, silver is brooding affection; and in the highest regions of consciousness, beauty is the feminine or form side of truth--its silver mirror.

There are two forces in the world, one of projection, the other of recall; two states, activity and rest. Nature, with tireless ingenuity, everywhere publishes this fact: in bursting bud and falling seed, in the updrawn waters and the descending rain; throw a stone into the air, and when the impulse is exhausted, gravity brings it to earth again. In civilized society these centrifugal and centripetal forces find expression in the anarchic and radical spirit which breaks down and re-forms existing institutions, and in the conservative spirit which preserves and upbuilds by gradual accretion; they are analogous to igneous and to aqueous action in the formation and upbuilding of the earth itself, and find their prototype again in man and woman: man, the warrior, who prevails by the active exercise of his powers, and woman, "the treasury of the continued race," who conquers by continual quietness. Man and woman symbolize forces centrifugal and centripetal not alone in their inner nature, and in the social and economic functions peculiar to each, but in their physical aspects and peculiarities as well, for man is small of flank and broad of shoulder, with relatively large extremities, _i.e., centrifugal_: while woman is formed with broad hips, narrow shoulders, and small feet and hands, _i.e., centripetal_. Woman's instinctive and unconscious gestures are _towards_ herself, man's are _away from_ himself. The physiologist might hold that the anatomical differences between the sexes result from their difference in function in the reproduction and conservation of the race, and this is a true view, but the lesser truth need not necessarily exclude the greater. As Chesterton says, "Something in the evil spirit of our time forces people always to pretend to have found some material and mechanical explanation." Such would have us believe, with Schopenhauer and Bernard Shaw, that the lover's delight in the beauty of his mistress dwells solely in his instinctive perception of her fitness to be the mother of his child. This is undoubtedly a factor in the glamour woman casts on man, but there are other factors too, higher as well as lower, corresponding to different departments of our manifold nature. First of all, there is mere physical attraction: to the man physical, woman is a cup of delight; next, there is emotional love, whereby woman appeals through her need of protection, her power of tenderness; on the mental plane she is man's intellectual companion, his masculine reason would supplement itself with her feminine intuition; he recognizes in her an objectification, in some sort, of his own soul, his spirit's bride, predestined throughout the ages; while the god within him perceives her to be that portion of himself which he put forth before the world was, to be the mother, not alone of human children, but of all those myriad forms, within which entering, "as in a sheath, a knife," he becomes the Enjoyer, and realizes, vividly and concretely, his bliss, his wisdom, and his power.

Adam and Eve, and the tree in the midst of the garden! After man and woman, a tree is perhaps the most significant symbol in the world: every tree is the Tree of Life in the sense that it is a representation of universal becoming. To say that all things have for their mother _prakriti_, undifferentiated substance, and for their father _purusha_, the creative fire, is vague and metaphysical, and conveys little meaning to our image-bred, image-fed minds; on the physical plane we can only learn these transcendental truths by means of symbols, and so to each of us is given a human father and a human mother from whose relation to one another and to oneself may be learned our relation to nature, the universal mother, and to that immortal spirit which is the father of us all. We are given, moreover, the symbol of the tree, which, rooted in the earth, its mother, and nourished by her juices, strives ever upward towards its father, the sun. The mathematician may be able to demonstrate, as a result of a lifetime of hard thinking, that unity and infinity are but two aspects of one thing; this is not clear to ordinary minds, but made concrete in the tree--unity in the trunk, infinity in the foliage--any one is able to understand it. We perceive that all things grow as a tree grows, from unity to multiplicity, from simplicity and strength to beauty and fineness. The generation of the line from the point, the plane from the line, and from the plane, the solid, is a matter, again, which chiefly interests the geometrician, but the inevitable sequence stands revealed in seed, stem, leaf, and fruit: a point, a line, a surface, and a sphere. There is another order of truths, also, which a tree teaches: the renewal of its life each year is a symbol of the reincarnation of the soul, teaching that life is never-ending climax, and that what appears to be cessation is merely a change of state. A tree grows great by being firmly rooted; we too, though children of the air, need the earth, and grow by good deeds, hidden, like the roots of the tree, out of sight; for the tree, rain and sunshine: for the soul, tears and laughter thrill the imprisoned spirit into conscious life.

We love and understand the trees because we have ourselves passed through their evolution, and they survive in us still, for the arterial and nervous systems are trees, the roots of one in the heart, of the other in the brain. Has not our body its trunk, bearing aloft the head, like a flower: a cup to hold the precious juices of the brain? Has not that trunk its tapering limbs which ramify into hands and feet, and these into fingers and toes, after the manner of the twigs and branches of a tree?

Closely related to symbolism is sacramentalism; the man who sees nature as a book of symbols is likely to regard life as a sacrament. Because this is a point of view vitalizing to art let us glance at the sacramental life, divorced from the forms and observances of any specific religion.

This life consists in the habitual perception of an ulterior meaning, a hidden beauty and significance in the objects, acts, and events of every day. Though binding us to a sensuous existence, these nevertheless contain within themselves the power of emancipating us from it: over and above their immediate use, their pleasure or their profit, they have a hidden meaning which contains some healing message for the soul.

A classic example of a sacrament, not alone in the ordinary meaning of the term, but in the special sense above defined, is the Holy Communion of the Christian Church. Its origin is a matter of common knowledge. On the evening of the night in which He was betrayed, Jesus and His disciples were gathered together for the feast of the Passover. Aware of His impending betrayal, and desirous of impressing powerfully upon His chosen followers the nature and purpose of His sacrifice, Jesus ordained a sacrament out of the simple materials of the repast. He took bread and broke it, and gave to each a piece as the symbol of His broken body; and to each He passed a cup of wine, as a symbol of His poured-out blood. In this act, as in the washing of the disciples' feet on the same occasion, He made His ministrations to the needs of men's bodies an allegory of His greater ministration to the needs of their souls.

The sacrament of the Lord's Supper is of such beauty and power that it has persisted even to the present day. It lacks, however, the element of universality--at least by other than Christians its universality would be denied. Let us seek, therefore some all-embracing symbol to illustrate the sacramental view of life.

Perhaps marriage is such a symbol. The public avowal of love between a man and woman, their mutual assumption of the attendant privileges, duties and responsibilities are matters so pregnant with consequences to them and to the race that by all right-thinking people marriage is regarded as a high and holy thing; its sacramental character is felt and acknowledged even by those who would be puzzled to tell the reason why.

The reason is involved in the answer to the question, "Of what is marriage a symbol?" The most obvious answer, and doubtless the best one, is found in the well known and much abused doctrine, common to every religion, of the spiritual marriage between God and the soul. What Christians call _the Mystic Way,_ and Buddhists _the Path_ comprises those changes in consciousness through which every soul passes on its way to perfection. When the personal life is conceived of as an allegory of this inner, intense, super-mundane life, it assumes a sacramental character. With strange unanimity, followers of the Mystic Way have given the name of marriage to that memorable experience in "the flight of the Alone to the Alone," when the soul, after trials and purgations, enters into indissoluble union with the spirit, that divine, creative principle whereby it is made fruitful for this world. Marriage, then, however dear and close the union, is the symbol of a union dearer and closer, for it is the fair prophecy that on some higher arc of the evolutionary spiral, the soul will meet its immortal lover and be initiated into divine mysteries.

As an example of the power of symbols to induce those changes of consciousness whereby the soul is prepared for this union, it is recorded that an eminent scientist was moved to alter his entire mode of life on reflecting, while in his bath one morning, that though each day he was at such pains to make clean his body, he made no similar purgation of his mind and heart. The idea appealed to him so profoundly that he began to practise the higher cleanliness from that day forth.

If it be true, as has been said, that ordinary life in the world is a training school for a life more real and more sublime, then everything pertaining to life in the world must possess a sacramental character, and possess it inherently, and not merely by imputation. Let us discover, then, if we can, some of the larger meanings latent in little things.

When at the end of a cloudy day the sun bursts forth in splendor and sets red in the west, it is a sign to the weather-wise that the next day will be fair. To the devotee of the sacramental life it holds a richer promise. To him the sun is a symbol of the love of God; the clouds, those worldly preoccupations of his own which hide its face from him. This purely physical phenomenon, therefore, which brings to most men a scarcely noticed augmentation of heat and light, and an indication of fair weather on the morrow, induces in the mystic an ineffable sense of divine immanence and beneficence, and an assurance of their continuance beyond the dark night of the death of the body.

When the sacramentalist goes swimming in the sea he enjoys to the full the attendant physical exhilaration, but a greater joy flows from the thought that he is back with his great Sea-Mother--that feminine principle of which the sea is the perfect symbol, since water brings all things to birth and nurtures them. When at the end of a day he lays aside his clothes--that two-dimensional sheath of the three-dimensional body--it is in full assurance that his body in turn will be abandoned by the inwardly retreating consciousness, and that he will range wherever he wills during the hours of sleep, clothed in his subtle four-dimensional body, related to the physical body as that is related to the clothes it wears.

To every sincere seeker nature reveals her secrets, but since men differ in their curiosities she reveals different things to different men. All are rewarded for their devotion in accordance with their interests and desires, but woman-like, nature reveals herself most fully to him who worships not the fair form of her, but her soul. This favored lover is the mystic; for ever seeking instruction in things spiritual, he perceives in nature an allegory of the soul, and interprets her symbols in terms of the sacramental life.