-7 
 
 
 
 OPENING CONSIDERATIONS. 
 
 W E enter our existence upon this planet, miraculous germs of spiritual life, containing wonderful 
 instincts of discernment and affinity for The Central Source of Reason, Love, Delight, from which 
 we sprang, and of which we become mysteriously the Expression. 
 
 But while, naturally and normally, drawn to seek, and delight in, happiness, we are unconscious of 
 its constituting conditions and the physical, mental and moral departments of life through which 
 it plays. 
 
 We are born alike, ignorant and innocent of Life’s stupendous reach or circumscriptions ; and only 
 learn, by experience, tradition, intuition or revelation, the splendor of our inheritance and the scope of 
 our reciprocal obligations. 
 
 Considered from the point of view of character and immortal happiness, as much as temporal 
 delight, man s true victory in life is the discernment and application of those overruling Principles and 
 Methods (alike physical, ethical and esthetical) which establish the health of his body, morals and 
 constructive mind ; and provide both safe and salubrious growth and play for physical and spiritual 
 powers together. 
 
 The lower animals enjoy a health that comes from primitive instincts of obedience toward these 
 natural laws. The higher animals below man, even add to this an intelligent delight in conscious mind 
 (as where intelligent dogs love to comprehend and obey a master’s purpose in gathering flocks or hunting 
 game). 
 
 In some of the more imaginative and constructive birds and beasts, there is, even, delight in Art and 
 rudimentary Beauty (as where the “ bower-bird ” weaves for his love a bower promenade, and decorates it 
 with pleasant shells or colored objects). 
 
 But supremely, over all, the i dealizing and emotional powers of man raise him above such fellow 
 creatures, and place him among the Gods. And especially is this true of his spiritual faculty for perceiving 
 and applying abstract Principles of Life, originally and constructively, as though in “ the footsteps 
 of God.” 
 
 It is to these “ higher faculties ’ of the soul of the reader, rather than to his lower imitative and 
 animal faculties, that this book of Art Principles appeals. 
 
 Philosophy has ever attempted to record the drift of those vital Principles that it perceived, though 
 at times somewhat narrowly and intellectually ” from the Head ” alone, but at other times more broadly 
 “from the Heart,” and Anally in “the Life ” itself, and in the “ Art of Life.” 
 
 Thus, as an intellectual Greek, Aristotle too closely confined it to the soul’s power of perception and 
 contemplation in his dictum “ Philosophy is the science which considers Truth.” As did the modern 
 philosopher. Cousin, when adding to this the power of description and record, in 
 
 “True Philosophy merely establishes and describes what IS.” 
 
 But Cicero had gone closer to the word’s formation and spirit (philo-sophia) in adding more of the 
 Affection for Good, in his words : > - 
 
 “ Philosophy, if rightly defined, is the Love of Wisdom.” 
 
 Which Voltaire strengthens by “The discovery of what is True, and the Practice of what is Good, 
 are the most important objects of philosophy.” Thus bringing forward both Mind and' Heart to the 
 Practice or Art of good and truthful living, even as Plutarch had in the words “ Philosophy is th'e Art 
 of living, and as Seneca had in “ Philosophy is both the Law and Art of Life. It teaches what to Do 
 in all cases.” — 
 
 But now the sad fact remained that man does not always “do” what he “ knows ” to be 
 so that Shaftesbury adds : 
 
 “ It is not a Head merely, but a Heart and Resolution which constitute the true philosopher.” 
 
 And at last our own Thoreau defines it vitally, in Life Itself, by the words : 
 
 “ Philosophy is so to love Wisdom as to Live according to its dictates.” 
 
 Thus we are finally driven to the query. What is Wisdom, that we must “perceive,” “record,” 
 “ love,” “ will,” and “ live ” Her ? 
 
 And to answer this best, we hearken to the mighty voice of Inspiration in the mouth of that greatest 
 philosopher of all time, King Solomon of Israel. 
 
 Wisdom and Understanding ! A crown of BEAUTY shall She deliver unto thee 
 
 The LORD possessed Me (Wisdom) in the beginning of His Way before the Works of old. When He 
 established the Heavens I was there. Then was I by Him as 
 
A MASTER WORKMAN ! ” 
 
 Thus we see that true philosophy is not only perception, record, love and resolution to live Truth 
 and Goodness, but that Wisdom herself is The Spirit to understand 
 
 The Way of the Lord, in such degree as to cooperate Constructively and tangibly in It, as 
 A Master Workman, that we may be crowned eternally with The Crown of the Glory of 
 God’s Beauty transmitted through us. 
 
 “If man has the eyes,’’ says Plato, “to see True Beauty, he becomes The Friend of God and 
 Immortal.’’ 
 
 So that indeed, true victory and true greatness, alike for one’s life as that of others, is not the 
 enhancement merely of our wonder and delight at The Divine Finger as it moves through time and space, 
 carving its miracles of form or painting the splendor of its palette ; nor even the power or riches acquired 
 thereby on earth ; but rather the permanent touch, the comprehension, sympathy and desire with which 
 henceforth we live in harmony ivith the Master Mind and join constructively in the works of the 
 
 GREATEST ArTIST- ArTISAN. 
 
 Now Philosophy conveniently subdivides her labors, so that while it is the aim of the science of 
 physics to disclose those Principles and Laws of nature which conduce to man’s physical well being and 
 adaptation to environment, it is the science of ethics to reveal those that advance his moral growth 
 and character. But it becomes the specific aim of the science of esthetics (or The Beautiful) to correlate 
 all these and commend the marvelous celestial Methods and Principles of collective Harmony, by which 
 God seems to move, in making His handiwork significant , poetic, glorious, upon the side of proportioned 
 and balanced Beauty ; with the Spirit, Grace, Fascination, Charm, Inspiration and Poetic meaning, He 
 evinces throughout the realm of Nature His “Workshop.’’ 
 
 In brief, and perhaps with bolder grasp, we should claim that Abstract and Absolute Beauty 
 extends her mighty wing over every department of creative plan and constructive life (divine or human) 
 in proportion as immortal and celestial Principles maintain their sway. And the sincere physicist will find 
 Beauty as truly in the perfect adjustments and workings of physical forces, as the moralist will in the 
 perfect character, or the musician and painter will in the nightingale, the lily, and the rose. It is a differ- 
 ence in degree rather than in kind. 
 
 Thus JT«o»v)!>*Of^exclaims : 
 
 “ I but open my eyes, and Perfection, no more and no less. 
 
 In the kind I imagined, full fronts me ; and God is seen God 
 In the star, in the stone, in the flesh, in the soul, in the clod.’’ 
 
 And still another writer says : 
 
 “We are surrounded by a shoreless and fenceless world of Beauty and Spirituality ; and Art (whether 
 in color, stone, sound or words), is simply its translation, more or less imperfect. All Art is Expression. 
 Poetry, Painting, Music, Architecture, are only so many beautiful Roads to The Most High. Successful 
 workers in them must one and all possess what the Bible calls ‘Open Vision.’ He, of all persons, must be 
 both seer and interpreter of that Spirit which lives behind things and life, and which gives them vitality, 
 meaning and charm. Why do we delight in life with all her children ? Because one and all suggest 
 that Presence back of things.” 
 
 “ It is the Divinity Within that makes the Divinity Without," writes Washington Irving. 
 
 The mighty Life, that breathes, lives, pulsates and compels behind and between the static dust of 
 matter, and that uses matter as Its agent to convey Its mystic movements. Its beautiful meanings, does so 
 by the Arrangements of the atoms of Earth, as a writer would express himself by arranging the atoms of 
 lead or ink into letters. But we must learn His language. 
 
 If we only recognize chaotic blots upon the page, we imply lack of mind or of meaning, of intellect 
 or of intention. If we see the letters and words independent!)’ and correctly formed but ill arranged or 
 unrelated, we imply perhaps a Mind but not an intelligent Thinker. Should we decipher a connected and 
 intelligent thought, or even a profound and wonderful purpose, but unrelated to us individually, or unin- 
 spiring to us practically, we would concede a noble author or (if in Nature) A Divine Creator. But when 
 we find intelligent Order in connected and consistent Process, combined with splendor of Moral Purpose 
 conveying Immortal Principles and Methods involving Wisdom, Love, Beauty and Poetic Inspiration 
 related to every individual in the whole and to the whole in every individual part, then we worship “The 
 Master Mind,” The Universal Friend and Parent, The Might)’ “Artist-Artisan.” 
 
 “There is a Beyond,” writes the famous philologist Max ^Muller, “and he who has once caught a 
 glance of It is like a man who has once gazed at the Sun, wherever he looks he sees its image ! Speak to 
 him of finite things and he will tell you that the finite is impossible without the Infinite. Speak to him 
 of death and he will call it birth. Speak to him of time and he will call it the shadow of eternity.” 
 
 This deepest underlying consciousness, inner Vision and inspiration has never been absent from the 
 greatest seers, philosophers, poets, artists, however modified by personal or local imperfection and incom- 
 
 
pleteness. Indeed the Divine Spirit seems to work Itself out and color the pure whiteness of its own 
 “Absolute” Perfection by the very “human” qualifications or material modifications through which It 
 reveals Its purposes upon Earth. 
 
 Humboldt writes ; “ Natural objects, even when making no claim to Beauty, excite the feelings and 
 imagination. Nature pleases, attracts, delights, because it is Nature. We recognize in it Infinite Power.” 
 
 And the poet £mer..so>v sensitively intimates this in the lines: 
 
 “ Let me go where I will 
 I hear a sky-born Music still ! 
 
 It sounds from all things old. 
 
 It sounds from all things young ; 
 
 From all that’s fair — from all that’s foul 
 Peals out a cheerful Song ! 
 
 It is not only in the rose. 
 
 It is not only in the bird. 
 
 Not only where the rainbow glows. 
 
 Nor in the song of woman heard, 
 
 But in the darkest, meanest things. 
 
 There’s alway, alway, Something Sings ! ” 
 
 They here recognize, not merely that “ Immanence of Deity” — that omnipresence of The Great 
 Spirit — of which the psalmist sings, when he says : 
 
 “Though I take the wings of the morning 
 And dwell in the uttermost parts — Thou art there ! ” 
 
 But something vaster and more mysterious still as conveying that steady Conquest — that ultimate Victory 
 of The Great Spirit over the transitional phases which (imperfectly comprehended by men) seem 
 “adverse,” or situations so apparently imperfect and incomplete that “Absolute Beauty” is not yet 
 exemplified thereby. 
 
 Seen from an Archangel’s point of view, a flying dragon, of pre-Adamite days, would still seem 
 weirdly beautiful in its dramatic adaptations and personifications of primaeval conditions and forces ; and 
 it is doubtless these biological influences, in oriental brain itself, which makes them still wring such 
 decorative splendor out of such primitive agents, while to man advanced and humanized such types 
 become obsolete. 
 
 David had intimated this same thought in the continuation of the above stanza where he adds : 
 
 “ Though I make my bed in hell 
 Behold Thou art there?” 
 
 Thus with humility and wonder combined with strange courage we dare to press on through the 
 uplifting veil of mystery and glory which surrounds our little globe, knowing in some intuitive way, that 
 the very blemish of the imperfect leaf but reveals the clearer the elements of perfection in the complete 
 one (if only by contrast or opposition), and the repulsion we feel from ugliness becomes the measure of 
 our affinity for The Beautiful. 
 
 it IS intensely interesting, therefore, to note at the outset, how persistently and universally, in all 
 departments of ennobled human life, this Immortal Presence and Its Principles loom in upon the 
 Consciousness of the grandest characters and workers, as the wellspring ot their inspiration, their 
 influence, and their power. 
 
 The Roman Philosopher, Seneca, exclaims : 
 
 “ If any one gave you a few acres, or a house bright with marble, its roof beautifully painted' with 
 colors and gilding, you would call it no small benefit ! Can you deny the benefit of the boundless extent 
 of Earth ? God has built for you a mansion that fears no fire, covered with a roof that variously glitters 
 by day or night ; we have implanted in us The Seed o'.' All the Age.s — All the Arts ! And God our 
 master leads forth our intellects from obscurity.” 
 
 The eminent Scientist Lubbock similarly writes : 
 
 “ The world we live in is a Fairy Land of exc[uisite Beauty ! Our very existence is a miracle in 
 itself, yet few of us enjoy and none appreciate fully, the beauties and wonders which surround us. Nature 
 loves those who love her, and richly will reward therri with the best things of this world — bright and 
 happy thoughts, contentment and peace of mind.” 
 
 The Poet Wordsworth, kindling to the same truth, says : 
 
 “ * * * Nature never did betray 
 The heart that loved h^r — ’tis her privilege 
 Through all the years li this our life, to lead 
 
 5 
 
From joy to joy : for she can so inform 
 The mind that is within us, so impress 
 With quietness of Beauty and so feed 
 With lofty thoughts, that neither evil tongues, 
 
 Rash judgments, nor the sneers of selfish men, 
 
 Nor greetings where no kindness is, nor all 
 The dreary intercourse of life 
 Shall e’er prevail against us, nor disturb 
 Our cheerful faith that all which we behold 
 Is full of blessings. 
 
 To every fortn of being is assigned 
 An Active Principle howsoe’er removed 
 From sight and observation. It subsists 
 In all things, in all natures, in the stars 
 Of azure heaven, in the pebbly stone. 
 
 In moving waters and the invisible air ! 
 
 Spirit that knows no isolated spot. 
 
 No chasm, no solitude — from link to link 
 It circulates The Soul of All the World.” 
 
 Goethe says : 
 
 “ Nature is the living visible garment of God. There is no trifling with her. She is always true, 
 grave, severe, always in the right. The faults and errors are ours. She defies incompetency, but reveals 
 Her secrets to the competent, the truthful, the pure.” 
 
 Juvanel exclaims : “Nature and wisdom always say the same thing 
 which Gallileo echoes in the idea, “The laws of nature are the thoughts of God;” and 
 Cowper clarifles by, “Nature is but a name for an effect whose cause is God.” Novalis, 
 hearing the Universal Spirit tenderly singing, adds: “Nature is an Aeolian Harp, a musical 
 
 instrument whose tones are the re-echo of higher strings within us.” And Percival enthusiasti- 
 cally cries: “The world is full of Poetry! The air is living with its Spirit! The waves dance 
 to the music of its melodies and sparkle to its brightness.” And Richter, more exquisitely still, insists : 
 “ There are so many tenderand holy emotions flying about in the inward world, which like angels can never 
 assume the body of an outward act, so many rich and lovely flowers spring up that bear no seed, that it is 
 a happiness that Poetry was invented, which receives all these spirits, the perfume of all these flowers ! ” 
 
 Here we note that this sensitiveness of spiritual ear, this “ open vision ” is caught up and given the 
 name of Poetry, by him whose art is Rhythm. But it runs synonomously through all the arts, for Fuller 
 writes : 
 
 “ Poetry is music in words. Music is poetry in sound.” 
 
 ^Macaulay puts it : 
 
 “ Poetry is the art of doing by words what the painter does by colors.” 
 
 Chapin seeing it in the sincerities of heart says . 
 
 “ Poetry is the utterance of deep and heartfelt Truth. The poet is very near the oracle.” 
 
 Along which conviction Joubert felt when he wrote : 
 
 “You arrive at Truth through poetry, I arrive at Poetry through truth.” And Plato when he 
 
 adds : 
 
 “Poetry comes nearer Truth than history ! ” 
 
 To the unity of all these with the Good and the Beautiful, Coleridge evidently refers in his confession : 
 
 “ Poetry has been to me its own exceeding great reward. It has given me the habit of wishing to 
 discover the Good and Beautiful in all that surrounds me.” While Bailey adds to its comprehensiveness 
 that spirit of sacred communion and inspiration that gives the final spark, the sacred flamma, which is the 
 evidence of a Living Power : 
 
 “ Poetry is a thing of God ! He made His prophets poets. The more we feel of Poesie the more 
 we become like God in Love and Power.” 
 
 Thus we are driven with philosopher, poet, priest, musician, painter, sculptor, architect, and even 
 with the humblest human heart — (for Andre claims “ Every man that suffers is a poet ! Every tear a 
 verse! Every heart a poem ! ”) into the inner pen^ralia where Spirit Universal dwells, and recognize 
 
 I 
 
that out of a Central Sun there radiates a light whose rays and colors are variously baptized by man, but 
 whose Inner Essence is ever One and harmonious ; portals to the same Celestial City ; facets of the same 
 Celestial Diamond. 
 
 It is when the soul becomes conscious of the harmonic nature of any thought, wish or act, with those 
 that flame and burn at the Central Heart of The Universe, or when the mind grasps the symphonic prog- 
 ress of these movements along the same vital and Spiritual Principle, guiding the whole ; or when the eye 
 beholds their living presence in the perfection of any constructed forms, sounds, colors, &c. ; that the de- 
 light experienced by sensitive and wholesome characters is given the name of Beauty. 
 
 It is probable, also, that whatever sensitizes the soul on one side toward Beauty, may attune it so 
 much the more delicately to its “ voices ” whispering upon another. And possible that it is passed as a 
 benediction to families or races that receive its commission. Though even then a spiritual affinity seems 
 predicated, and I believe it will be found more generally a transmission from spirit to spirit wnenever 
 responsive chords are touched and mystic connections are opened. 
 
 Ruskin remarks : 
 
 “There is no branch of human work whose constant laws have not a close analogy with those that 
 govern every other mode of man’s exertion. Exactly as we reduce to greater simplicity and surety any 
 one group of these practical laws we find them passing analogy and becoming the actual expression of 
 some ultimate nerve or fibre of the mighty laws that govern the moral world. However inconsiderable the 
 act, there is something in the well doing of it allied to the noblest forms of manly virtue. The Truth, 
 Decision, Temperance, we regard as honorable conditions of spiritual being, have a derivative influence 
 over the works of hand and action of intellect.” 
 
 In similar recognition of this underlying vital harmony, Lafcadio Hearn writes (on Greek sculpture): 
 “The nudity which is divine, which is the abstract of Beauty Absolute gives the beholder a shock of 
 astonishment and delight not unmixed with melancholy. The longer one looks, the more the wonder 
 grows, since there appears no line, whose beauty does not pass all remembrance. So the secret of such art, 
 was long thought super natural, and in very truth, the sense of Beauty it communicates is more than human. 
 It resembles the first shock of Love ! Plato explained the shock of Beauty as the soul’s sudden half remem- 
 brance of The World of Divine Ideas. The human ideal, expressed in such art, appeals surely to the 
 experience of all that past enshrined in The Emotional Life." 
 
 Haegel in his Ailsthetik adds : 
 
 “ Art fulfils its highest mission when it has thus established itself with Religion and Philosophy in 
 The One Circle common to All, and is merely a method of revealing The Godlike to man ; of giving 
 utterance to the deepest interests, the most comprehensive truths. 
 
 In works of art, nations have deposited the most holy, richest, intensest of their ideas, and for the 
 understanding of the philosophy and religion of a nation, art is mostly the only key we can attain.” 
 
 To this Max Muller points out that “ What we call Religion would never have sprung from fear 
 alone. Religion is Trust, and that trust arose in the beginning from the impressions made on the mind 
 and heart of man by The Order and Wisdom of Nature ; and particularly by those regularly recurrent 
 events, the return of the sun, the revival of the moon, the order of seasons, the law of cause and effect, 
 gradually discovered in all things and traced back, in the end, to A Cause of causes.” 
 
 “The ancient religions are symbols,” says Crane, “of the Forces of Nature evolved from, perhaps 
 some common type through endless modifications — a natural mythology common to all. Religion trans- 
 formed becomes poetry. Heroic shapes personify psychical and moral forces ; lesser personalities are 
 rolled into greater ; greater are lost in types ; events generalized. The image of past experience of the 
 race, upon the general mind, becomes generic like that of visual impressions in the individual. It is the 
 natural tendency of the human mind which gives figurative art its importance. Expression is the clay on 
 which it works ; imagination is the creative force ; a sense of Beauty its controlling Power. In the nat- 
 ural world we find constructive strength united with Beauty and fitness governed by adaptability to cir- 
 cumstance. Structural necessities lend themselves naturally to Design and are universally pleasing. Both 
 in life and art. Beauty is not something accidental. It is an organic thing, having its own laws, its own 
 logical causes and consequences. It is A Living Force, A Living Presence, and therefore ever varying 
 in its forms, as we follow it down this stream of time and mark its habitation from age to age. 
 
 “The delight of Beauty, be it human or wild, of light, color, form or sound, is a common possession 
 and necessity of life, as in the higher sense it must be, so long as the human has claim to be the higher 
 animal. Certain birds and animals have been proved to be sensitive to certain colors and decorative 
 effects, which sensibility is wrapped up with the very fact of germination and continuity of life itself ; and 
 this convinces us how far down and deeply rooted is this sense in Nature, which has been so highly special- 
 ized in man. Cultivated or uncultivated, modified by centuries, influenced by modes of thought and con- 
 ditions of life, it flowers anew ! Art is the language of this Universal Feeling ” 
 
 Finally, in arranging our conception and study of Beauty and its arts, within that “One Circle” 
 
of thought, which is symbolic of the soul’s outlook on Ltfe, we may summarize all the preceding by the 
 tenet of Delsarte : 
 
 “The object of Art is to crystalize Emotion into Thought and then fix it in Form,” or, taking the 
 finer simile of Christ, who always taught “by parables” {i.e., artistic symbols). Art is the miraculous trans- 
 formation of the pure “water” of Truth into the warm “wine” of Love, or emotion, and making it play 
 and sparkle through the varied facets of the crystal goblet of Grace, Inspiration and Charm, in which each 
 Pentecostal beholder receives it through “his own language ” and personality, but by the same Principles 
 and Method of Eternal Beauty.” 
 
 The Divine Nature seems to possess Primordeal Attributes of Law, Love and Grace, which in the 
 experience of life become Truth, Goodness and Beauty ; and in the cultures of man become Science, 
 Religion and Art; and in the personal character become Good Judgnie^it, Good Will and Good Taste — the 
 practical virtues. 
 
 It is these Relations, mainly, which it is our province to examine ; and the vital Principles and 
 Methods by which they attain artistic Expression which we should teach. For this the book is specially 
 written. 
 
 “ The ignorant,” says Quintillian, “may enjoy Beauty, but the educated understand the Reason for 
 the enjoyment,” and (we might add) thereby secure the Light to enjoy it rightly, in harmony and sympathy 
 of will with its creator. 
 
 “What we understand by The Kingdom of God,” says Giles, “are The Principles in their forms, 
 modes of action and mutual relations, just as we speak of the mineral, vegetable and animal kingdoms. 
 The vegetable kingdom is something more than the aggregate of all plants. It consists in The Principles, 
 Laws and Forms of vegetable growth. So The Kingdom of God is not a mere collection of men and 
 women, but comprises All the Elements of The Divine Nature.” 
 
 “ A Principle thrown into a good mind,” says Pascal, “ fruits as a grain thrown into good soil. Every- 
 thing is created and conducted by the same Master — the root, the branch, the fruit — The Principles, the 
 Consequences.” 
 
 And Muller closes the thought for us in these words : 
 
 “We ought to know How we have come to be what we are that we may advance to higher attain- 
 ment. Not to know what precedes is to care little for what succeeds. Life would be a chain of sand 
 instead of An Electric Chain that makes our hearts tremble and vibrate with the most ancient thoughts of 
 the past, as the most distant hopes of the future. We are what we are by the toil of intellectual ancestors. 
 We know now there are Stages of GrowTh not determined by accidental environment only, but by Original 
 Purpose, to be realized in the history of the human race as a Whole.” 
 
 T 
 
 CORNING therefore, now, to our symbolic Circle Chart, the necessity is evident for our locating The 
 Spirit of Life, as the origin of volition and motion, at the Centre of the soul’s horizon, and dividing 
 the scope of our vision into Three Main Segments, like the facets of a crystal prism. If only in 
 pictorial outline, it is appropriate to recognize at the outset Three Main Relations of thought and experi- 
 ence which have primordially urged forward man in the progress of his civilization. As artists, we may 
 prefer the third and last section as we prefer the fragrance of a blossom above its branch or root, but it 
 is advantageous to sketch these lightly in as its “ setting.” The Kingdom of Art, like “the Kingdom of 
 Heaven,” of which it is a part, maybe sym.bolized' by the same “grain of wheat that was planted” 
 and grew ; 
 
 “ First, The Blade ” (or constructional support). 
 
 “Then, The Ear” (or maternal environing sheath). 
 
 “ Then, The Full Corn ” (or glorious fruition of vital Food). 
 
 God Himself, because He is an Artist, employs suggestive and symbolic methods. “ Without para- 
 bles (symbolic stories) Christ taught not at all” declares Holy Writ. The veil of the Temple was indeed 
 a symbol of his primal mysteries, which by His own inspirations and permission, time is gradually raising 
 to reverential eyes. Had all been told at start, had all knowledge been final, that very finality might have 
 stilled growth and dulled ambition. The mists of human limitation hide the mountain of God's glory but 
 appropiately enhance thereby its splendor and spirituality. The Deity is a poet and artist throughout His 
 work, and we must look for Him in the same spirit or we may not find Him (though “not far from every 
 one of us”). To the literalist and materialist fumbling with the mere atoms of the ink and recognizing no 
 Mind behind. He comes with rod of confusion and perturbation. But to the loving child whose sensitive 
 intuition reads between the lines the implications of the Fathers soul. He comes in Glory and Benediction! 
 “ All Nature,” says Chapin, “ is a vast Symbolism! Every material fact sheathes a spiritual truth.” 
 
 “Passions, seasons, senses,” says Crane, “virtues, vices, life and death itself — all belong to Allegory, 
 continually reappear in newer shapes, being by nature so protean no form may hold them.” “ Nature,” 
 says Emerson, “ is too thin a screen. The Glory of The One breaks through everywhere ” ! 
 
 In the First Section of our Circle Chart we locate that Intuitive Region which belongs to the per- 
 
EVOLUTION IN ART 
 
 1 
 
 Nature’s Triune Manifestations. 
 
 1ST. Abstract Truth in Spiritual Ideals, Relations and Volitions. 
 
 2ND. Concrete Good in progressive, transitional, material Embodiments. 
 3 RD. Eternal Beauty in Perfected Purposes and Revealed Vital Principles. 
 
SUBJECTS Or STUD>. 
 
 1st 
 
 2d 
 
 3 ^ 
 
 4th 
 
 Spirit of Nature 
 
 AS 
 
 Principles of Nature 
 
 Laws of Nature 
 
 Methods of Nature 
 
 (Ix WHICH vSHE ACTS.) 
 
 ( “ 
 
 (By 
 
 ( “ 
 
 MANIFESTS.) 
 
 LIMITS Her .Esthetic AcTiox.y 
 EAIPLOYS IN Her “ “ ) 
 
 \ 
 
 Originality. 
 
 iNOrVIDUALITY. 
 
 Freshness-iu-Familiarity. 
 
 Simplicity-in-Complexity. 
 
 Variety in Equipoise and Unity. 
 Spirituality, Ideality, Poetry. 
 
 Mysterj’, Suggestiveness, Promise. 
 Aspiration, Inspiration, Self-Revela- 
 tion. 
 
 Vitality, Energj-, Daring, Sublimity. 
 
 Restfulness, Stability, Serenity, Self- 
 Respect. 
 
 Care, Temperance, Freedom-Wise. 
 Patience, Endurance, Ruggeduess, 
 Discipline. 
 
 Truth. Frankness, Openness. 
 
 Scope, Universality, Generosity, Rich- 
 ness. 
 
 Fullness, Completeness, Finish. 
 
 Taste, Refinement, Purity. 
 
 Delicacj', Grace, Charm. 
 
 Joy. Play, Sparkle, Brilliancy. 
 
 Felicity, Facility, Fertility, Variety. 
 Immortality, Goodwill, Furtherance. 
 Sympathy, Beauty, Perfection. 
 
 Per -ception. In-sight. 
 
 Purpose, Forethought, Plan Arrange- 
 ment. 
 
 Conservation, Transmission, Progres- 
 sion. 
 
 Unity, Order, Regularity. 
 
 Equalitj', Equipoise or Balance. 
 Dominance, Subordination, Co-ordina- 
 tion. 
 
 Selection, Rejection, Control. 
 Emphasis, Proportion, Symmetry. 
 Gradation. Crescendo, Cadence. 
 Harmony, Co-operation, Accommoda- 
 tion. 
 
 Discretion, Propriety, Fitness. 
 Consistency. Adaptation. 
 
 Conformity. Flexibility. 
 
 Congruity. Sensitiveness. 
 
 Reasonableness, Naturalness, Whole- 
 someness. 
 
 Wisdom, Utility, Efficiency, Economy. 
 Sincerity, Genuineness, Honesty. 
 Clarity, Decision, Definiteness. 
 
 Embellishment, Fascination. 
 Fruition, .Achievment. 
 
 Sustained Pleasure. 
 
 LIMITATION AND CONDITION 
 
 Space, 
 
 Length. 
 
 Breadth. 
 
 Thickness. 
 
 Time. 
 
 Sequence. 
 
 Force- 
 
 Re- 
 
 Pulsion. 
 
 Energy — Volition. 
 Static. 
 Dynamic. 
 Tendency — Action 
 and Reaction. 
 Pulsation — Rhythm. 
 
 Motion-Ceutri-|^“f®{; 
 
 Opposition. 
 
 Tension. 
 
 Contrast. 
 
 Competition. 
 
 Equilibrium. 
 
 Co-operation. 
 
 Co-ordination 
 
 Organization. 
 
 Growth. 
 
 Persistence. 
 
 Reproduction. 
 
 Reconstruct’n 
 
 Directness. 
 
 Angularity. 
 
 Repetition. 
 
 Continuity. 
 
 Extension. 
 
 Progression. 
 
 Procession. 
 
 Revolution. 
 
 Evolution . 
 
 Expansion. 
 
 Dispersion. 
 
 Straight. 
 
 Oblique. 
 
 Rectangular. 
 
 Parallel. 
 
 Curved. 
 
 Undulate. 
 
 Circular. 
 
 Cylindric. 
 
 Conic. 
 
 Ovate. 
 
 Elliptical. 
 
 Parabolic. 
 
 Hyperbolic. 
 
 Spiral. 
 
 Tangential. 
 
 Radial, etc. 
 
 f In-tegration. 
 
 Transformation ■< Dis-integration . 
 
 I Re-integration. 
 
 FORMULA.— FOR M . 
 
 Structure — Function . 
 System — Skill. 
 
 Relation. — Scale-R itio. 
 
 Numeric. 
 Quantitative. 
 Metric, Geometric. 
 Distributive. 
 Formal. 
 
 Dynamic. 
 
 Structural. 
 
 Functional. 
 
 Vital. 
 
 Intellectual. 
 
 Emotional. 
 
 5th Spirit of History. its limitations . methods and styles. Character . 
 
 Repetition. 
 
 Mechanicalizing. 
 
 
 Parallelism. 
 
 Conventionalizing. 
 
 
 Series 1 
 
 Literal izing. 
 
 
 ( Plane. 
 
 Individualizing. 
 
 
 Reflection. 
 
 Generalizing. 
 
 
 Contrast. 
 
 Symbolizing. 
 
 
 Alternation. 
 
 Idealizing. 
 
 
 Counterchange. 
 
 ( -scribing. 
 
 
 Juncture. 
 
 Trans- -s -lating. 
 
 
 Overlapping. 
 
 Interlacing. 
 
 Linking, Looping. 
 
 Cabeling. 
 
 Strapping. 
 
 Interpenetration. 
 
 Fusion, etc. 
 
 (. -muting. 
 
 
 “ Media. 
 
 “ SUGGESTIVENESS. 
 
 6th spirit of the Present. 
 
 Its Li.mitations , Methods, Styees, Ch.\r.\cter. 
 
 “ I^.^EDIA. 
 
 “ vSuGGE.STIVENE.SS. 
 
 7th Spirit of Special Technical Media . Character. Li.mitations. Processes. 
 
 vS i: G G EST I E N ESS — 
 
 Laws of LIGHT and COLOR. 
 
 Limitations — OPTICA L. 
 
soiial consciousness of Individual Soul — at the origin of its spiritual, invisible, — yet rational and volitional 
 Being where it is One zvith its Father God. 
 
 In the Second Section, of our Circle Chart, we find that Region of Natural Evolution by which 
 terrestrial environment has been prepared by Spirit for Its self-expression through forms of life. 
 
 In the Third Section of our Circle Chart we discover the Spirit in man unfolding, at the head of 
 organic nature; and alone, at last, researching the records of Divine Advance, in Reverent Communion 
 with The Creator, for the Spiritual Principles and Purposes directing the Progression. 
 
 The First, is the realm of Ideal Relations, Abstract Truths and Primal Volitions which seem to be 
 the Source of force itself. 
 
 The Second, is the Concrete material embodiments and transitional phases of those volitions, termed 
 natural phenomena about us. 
 
 The Third is the Realm of Reflection, Discernment, Deduction, among the steadily uncovered plans 
 and perfected purposes which reveal to us the Principles and Methods of Beauty. 
 
 “A true work of Art is a reflex of Divine Perfections ” said Michael Angelo. 
 
 We also give at this point, a full page plate of 
 
 THE SUBJECTS FOR STUDY 
 
 classified in the order of their importance, and of their intellectual relations, as a birds eye view of the 
 mental field concerned; though for consistency with nature’s sequences in growth of mind (individual and 
 racial) we will try to unfold the theme logically “from roots to fruits.” 
 
 Man’s earliest, as well as latest visions of “ The Celestial City ” of Truth, show us figuratively what 
 Science now makes fact — “A Tree of Life” growing (organically developing) “in the midst of the Garden 
 of God,” and “A River of Life” flowing (by continuity of progress) from “The Throne ” — the leaves or 
 waves whereof are “for the healing of the nations.” 
 
 And this emblem of Order and natural “ growth ” in thought we will regard — according to St. 
 Paul’s Law that “That is not first which is spiritual, but natural ; then afterward that which is spiritual.” 
 
 “ A mental effloressence ” (or flowering) says Crane “ springs from life’s rough way which in words, 
 become figurative speech or rises to poetry, but in design become emblem and allegory.” 
 
 We also give each step or lesson in Compact Summary, or outline, with diagramatic helps and appro- 
 priate illustrations, that student or teacher may hold the Unity of the theme conveniently in mind, and the 
 harmony of the whole, while stimulated freely to fill in from his own reflection and experience, the inter- 
 spaces of thought which are intentionally made suggestive and vital, rather than “set” or “final.” 
 
 Referring now to The First Third of our Circle Chart, where an index finger points our beginning, 
 we recognize within man’s self conscious spirit the first roots or foundations for constructing beauty and 
 defining art as false or true. For the animals below him, in the presence of the same Nature, could not so 
 discriminate. 
 
 His primitive groping was doubtless long upon the same plane with them, in animal sensations of 
 delight in outward Nature, for his primitive weapons and ornaments so indicate. But the idealistic and 
 imaginative faculties, even then, show themselves early under way in novel combinations and forms, dis- 
 crete selections of barbaric but harmonic colors and nature adaptations. The spiritual faculties which 
 divided the lowest savage from the highest brute soon created and diffused through his art efforts a con- 
 sciousness of Spiritual Cause dimly divined and rudely grotesqued of course, but sincerely worshiped in 
 the detected Principles ot Order and Repetition by rhythmic dance, mystic fetish, ornamental totems, 
 etc., derived more or less directly from natural suggestions and demonstrations in recurring seasons, 
 planetary phases or withdrawals, and the myriads of natural decorative motives. He made keen con- 
 jectures into primal Type Forms, from which he must have suspected the familiar forms about him were 
 derived, for he worshiped them as “ Sacred,” and incorporated them into his charms (veritable forecasts 
 of coming Science). Then in time his military, domestic, and sacerdotal implements became alive with 
 artistic struggles to embody ideas of Proportion, Fitness, Adaptation, Harmony (both of design and color) 
 stamped clearly with Originality and conscious Individuality controlled by Generalization. Good Archeo- 
 logical Museums abound in examples of these brave and impressive efforts. 
 
 However primitive our ancestors, we must not consider them less sensible or less “ sensitive ” merely 
 because less “ informed ” than modern times. They seem to have frequently made up by integrity direct- 
 ness and zeal of observation, for lack of art tradition ; and at last to have attained by simplicity and grandeur 
 of style, some art expressions among primal forms, which are at once the sublimest snd earliest among 
 classic embodiments. On the plains of Nineveh, Egypt, and India, by stupendous pyramids, temples, rock- 
 hewn corridors, and gigantic gods, they strove to portray their intuitions of Deity, as Infinite ! Eternal ! 
 Sublime I 
 
Where do we find anything more weirdly original, artistic, and expressive of vast though slumbering 
 power, than the mighty Sphinx? Symbol of wisdom and patient strength, silently contemplative, controlled 
 by Intelligence, peering through eternal Time across infinite space, and over the endless sands of life! 
 
 Or has any conception of artist imagination and toil attained more overwhelming grandeur than the 
 Three Awesome Pyramids themselves, that flank the sphinx, and look down from forty centuries upon the 
 withering dynasties of Man ? Poised immovably upon massive Basal Squares and presenting to posterity 
 the clear cut edges of an eternal Triangle, they seem to have been the symbol of an immortal “ Trinity ” 
 they felt to be in “God.” 
 
 We find, too, in ihese early people, marvellous insight into the abstract Geometric Relations which 
 are the roots of all form of generation, and the very soul of the wonderful Oriental ornament. We find 
 amazing powers of Plan, construction, mechanical application of force to vast masses, for artistic effects 
 of great dignity and durability, approaching Nature herself in grandeur of style. 
 
 When we behold the marvellously cut and superposed plinths and columns of Egypt and Chaldea, 
 piled in imposing splendor upon the valley of Nile and Euphrates, or some graceful Greek temple crown- 
 ing an Acropolis, we do not know which to admire most, the gems of genius in the brain of man, or 
 the setting provided them by the brain of Nature. The human art has something in it of the primeval 
 majest)’ we find in the natural art of mountain or “ Enchanted Mesa.” 
 
 Says Ex-President Hill of Harvard: “Particles of matter take in obedience to Force aci\v.g 
 
 according to Intellectual Law. Natural symmetry leads men first to investigate the Mathematical Law 
 which it embodies, then the Mechanical Law which embodies it. Thus all the benefits of our race, from 
 the discovery of the keys of physical science, were bestowed through suggestions of Geometric Thought, 
 in outward creation.” 
 
 We shall see also that the consideration of Dynamics, or the mere tendencies and distributions of 
 Force (whether “ active ” or “ static,” actual or only “ implied ”), become of highest importance in Esthetic 
 effects, and these were early felt and utilized with impressive power. 
 
 Every one is familiar with Nature’s clever decorative suggestions of these in towering pines, combing 
 breakers, flowing manes or tails of dashing steeds, bristling lions, etc. We have been delighted by brilliant 
 Japanese designs caught from suggestions of running water^ drifting clouds hurtling rain and hail, eddying 
 leaves and flying fowl. (See Charts XVII and XXXIV.) 
 
 And when we come to graceful spans of springing bridges, groined arches, or climbing turrets of 
 cathedral towers, seeming to scale heaven’s gates, we recognize the artistic value of implied motion in 
 giving esthetic charm. 
 
 It is for this reason, that in drawing the human figure (as in Chart XXIV), it is of highest import- 
 ance to express fully and freely the general motions and tendencies of the figure and its members before 
 developing forms and details. Especially should we remark the highly significant Tendency of Organic 
 growths to develop expansively “ from Right, to Round, to Radiate ” Relations, as in the unfolding of a 
 closed hand, or the spreading of a fan. (See Chart XIV, a.) 
 
 In the Second Third of The Circle Chart we have a vast realm (lately correlated by physical science) 
 w'hich we briefly and compactl)' suggest, merely, in diagramatic summary, but in the natural ascending 
 order of life, that the practical art work of Nature may be seen to give the premonitions, to Brain, of Vital 
 Principles, which it will reapply in human art. It is also explanatory of the delight experienced and 
 imparted thereby when identical elements are readjusted to express those principles. 
 
 It was this section of physical and biological creation, before the advent of man, that Moses may 
 have seen in vision so long ago, when he exclaimed, “God saw everything that He had made, and behold it 
 was very Good” — because man would first employ that term to cover the wise provisions for hi s physical 
 well-being which that section displays. 
 
 In it we are able to catch some glance (pictorially) of the Order and splendor of advancing Mind 
 and Purpose, generating artistic Form, up from unstable volume and shape in gasses, to stable volume 
 but unstable shape in liquids, up to stable volume and form in solid substances. 
 
 Thence to the higher qualities imparted to substance by advancedmobilities and distributions, 
 reflected through nobler biological forms and kingdoms of life — through mineral, vegetable, and animal 
 relations and the refining functions of accretion, nutrition, locomotion, sensation, and reproduction, 
 geologically recorded. Till fascinating Character and Individuality begin to appear in the beauties of 
 Morphology and Natural History where crystals graduate unto glorious “gems”; vegetation grow's 
 resplendent with perfecting fruit and flora ; and animal life mounts by steps of brain perfecting to loftier 
 functions and utilities. Then finally we behold the form of man appear, condensing into greater splendor 
 of harmonic adjustment the lightness, grace, strength and elegance of all, preceding, and reigning over all 
 with resplendent Reason, Reflection and Genius. Capable at last of reviewing the past, appreciating his 
 Creator, and though a “ little lower than the angels ” crowned with the glory and honor of Reverence, 
 Comprehension and Inspiration ! 
 
 In the Third and Last Section of the Circle Chart we can note this “genius” in the soul of man 
 
(and even premonitions of it in his animal friends) modifying their own forms and the forms of their 
 environment, voluntarily and constructively, to give expression to specific need and new individualities or 
 ideals. We have witnessed the Art of The Creator, we then witness the art of the Creature. Mollusks 
 unrolling and decorating their rainbowed shells; fishes, reptiles, insects, birds and beasts, taking specific 
 style and character, expressive of the Three Prime Categories of Form, and giving unique style and 
 significance to their nests, homes, etc. 
 
 Then man the highest artist of them all, advances in intellectual and moral beauty through barbaric 
 to civiilized states, both of association and art expresssion, strewing the highway of his Heavenward 
 climb with the utensils, weapons, costumes, dwellings and religious s 3 fmbols corresponding to the degree 
 of perception, inspiration and conceptive power attained. 
 
 It is in this Realm we shall find Three Prime Relations of Will which seem to give intent and 
 direction to Force, at the Origin of Life (see Charts XII and XXXVlil), appear steadily operative in 
 giving specific style to Form — first in Three Main Categories and then in their combinations and 
 derivatives. These Three Main characteristics become set, on higher and higher planes, into physical and 
 racial Types — strongly marked and indicative of specific Trends (both mental and moral) which again set 
 their stamp upon the thought, ideals, and historic functions of personal, family, and national life. 
 
 The practically Active 1 
 
 The passively Amiable become types of brain and temperament in Personality’ ; 
 
 The impressionably Imaginative j 
 
 Where in family relation they become 
 
 Dominant male “ Fatherhood ” 1 
 
 Receptive female “Motherhood ” I 
 
 Volatile expansive “ Childhood ” J 
 
 And in social aggregation and evolution they give marked peculiarity to 
 
 Northern, 'j 
 
 Southern, Civilizations, by racial and geographical expansion. 
 
 Oriental J 
 
 The margins of influence will, of course, overlap and interlace by fusions, marriages, etc., but a 
 central characteristic will prevail, and racial types remain marked, where subordinate branches blend. 
 
 National Genius will reflect this degree of pure or composite derivation, in the characters and 
 qualities of its energies typically forecast in the 
 
 Competitive 1 
 
 Cooperative Relations of atoms at the start of life, 
 and Coordinative | 
 
 And social, religious and esthetic ideals will correspondingly’ vary with each step, that prepares our 
 mind for the later amalgamations that modern unity and democracy is effecting. 
 
 External forms forever change to internal necessities. Expanding commerce and closer interde- 
 pendence creates a solidarity and “ Brotherhood,” adjusting its forms to ever higher and subtler propor- 
 tions which portray in stupendous summary the outlines of Omnipotent Design. 
 
 In the poetic lines of Emerson’s wood notes ; 
 
 “ If thou wouldst know the mystic song 
 Chanted when the sphere was young — 
 
 ’Tis the chronicle of Art ! . . . 
 
 Onward and on The Eternal Pan 
 Who layeth the world’s incessant plan, 
 
 Halteth never in one shape. 
 
 But forever doth escape 
 Like waves of flame into New Forms ! ” 
 
 The poetic figures of remote Hebraic tradition which hand down 
 under patrionimic titles 
 
 “Japhetic” to the Northern “ islands of the Gentiles; ” 
 
 “ CiiAMiTic ” “ Southern “lands of Misraim,” or Africa ; 
 
 “Shemitic” “ mountains of “ the East,” or India; 
 
 will now grow intelligible in the light of modern data and comparison. 
 
 We are obliged to recognize with President Hill that the very beginning of Form Reasoning is the 
 
 Three Great Race Migrations 
 
 j 
 
intellectual perception that the motion of the humblest atom through space records Force and Volition. 
 That every point thus becoming a line, or line becoming a plane, or planes composing into forms, register 
 Intellect by their relations, and spiritual Intent b}" their functions. They are vitally “alive,’’ from centre 
 to circumference, and from the most primary to the most composite combination. 
 
 But the astounding revelation grows upon us as we study Form, that highly significant and sugges- 
 tive tendencies and trends in Force and Form (which we discover in earliest relations and primitive sym 
 bols) are forever reappearing and reasserting themselves with marvelous pregnancy and persistency in the 
 higher and higher concepts of human Art. 
 
 Thus the gifted English decorator and poet, "Walter Crane, very truly says : 
 
 “ Pattern in its simplest form, regarded in the abstract, is a series of modifications in the structure 
 and correlation of Line. Man need look no further than sun and sea to find the genesis of Pattern. Nay, 
 his own frame, as Vitruvius shows, comprises or is comprised in both Square and Circle. These may 
 be said to divide the responsibility for the whole race of Pattern systems between them as a kind of Coelus 
 and Terra. These are suggestive, too, of different characteristics of race, language and civilization. 
 Broadly speaking, the Square, with its divided checquers, zigzags and diapers, might almost stand as a 
 symbol of the ornaments of northern nations, associated as the former are with Scandinavian and Gothic 
 pattern work. While The Circle, with its derived scrolls and spirals, seems figurative of the greater 
 suppleness and sensitiveness to beauty of the southern. And it is to ancient Greece and Italy we must 
 look for their most perfect types. Square and angular patterns strike us at once by their Emphasis and 
 Rigid Logic, while circular and curvilinear types appeal to Rhythm and Grace.” 
 
 This groping of a true art instinct was bringing him directly to the great elements which we have 
 tried to arrange and define somewhat more fully and systematically in this book — when *• sun and sea ” 
 will be found to be the children, not parents of the Square and Circle ; and ^vhere also the Third Great 
 Prime Relation and Type Form, The Star, will be located in its right connection, and given its full 
 significance and resplendent Beauty. 
 
 It was probably for this last Relation that Mr Crane was feeling in his concluding clause where he 
 adds : “ For Richness and Intricacy we must go —where perhaps Square and Circle came from — to the 
 home of the Arabesque, i. e., to the East.” 
 
 Along similar intuitions Prof. Max Muller must have been moving when he wrote on India : 
 
 “ As in nature there is a ‘North and South,’ so there may be two hemispheres in human nature, both 
 worth developing ; the active, combative and political, on one side ; the passive, meditative and philo- 
 sophical on the other. The Aryan, whom we knew as Greek, Roman, German, Celt, Slav, active and 
 political in northern migrations, we find passive and meditative in India. A real natural growth, I 
 helieve, having hiddeji purpose and lesson. If I were to ask myself from what literature we, in Europe 
 may draw that corrective which is most w'anted to make our life more perfect, comprehensive, universal 
 more truly Human, a life not for this life, but a Transfigured Eternal Life, I should point to India.” 
 
 With similar point, Lafcadio Hearn writes : 
 
 “ The man of science cannot ignore the enormous suggestions of the new story the Heavens are 
 telling! He finds himself compelled to regard the developments of what we call ‘ Mind ’ as a general 
 phase in the ripening of planetary life throughout the universe. The Oriental Mind has been better 
 prepared than the Occidental to accept this tremendous revelation — not a wisdom that increaseth sorrow 
 but a wisdom to quicken Faith. And I cannot but think that out of the certain Future Union of Western 
 Knowledge with Eastern Thought there must proceed a later” (Faith) “inheriting all the strength of 
 science, yet spiritually able to recompense the seeker after Truth with the recompense foretold in The 
 Diamond Cutter, ‘They shall be endowed with the Highest Wonder.’ ” 
 
 Which recalls the words of Coleridge ; 
 
 “ In wonder all philosophy began, in wonder it ends, and admiration fills the interspace ! But the 
 first is the wonder of ignorance ; the last is the parent of Adoration ! ” 
 
 And so Prof. Austin Phelps may be guided by the same “Star” to a fuller day of Truth, in his 
 words ; 
 
 “For the foundation of a life of joy in communion with God, we need more of the spirit of the 
 Vision of Patmos. Our northern and occidental constitution often needs to be restrained from excess of 
 phlegmatic wisdom. I think we must have something to learn from the impulsive working of The 
 Sotithern and The Oriental I must believe it was not without a wise forecast of world necessities 
 
 and insight into Human Nature All Around that God ordained that the Bible, which contains our best 
 models of sanctified culture, should be constructed in The East, where emotional natures can be broken 
 up like the foundations of ‘The Great Deep.’ ” 
 
 To be more accurate and full in the comprehension of these three symbolic Race Trends and 
 
Missions — we should say that the competitive energies and severe practical logic, symbolized by the 
 rectangular Square, have been most felt and developed by those Japhetic people which spread through 
 northern Europe and are today characterized by cold, stern downrightness, business logic and intellectual 
 science, as well as military energy and governmental grasp. 
 
 But the more feminine and social civilization, with plastic and mobile temperament, qualified by 
 “ Heart ” rather than “ Head,” and b}’ religious rather than scientific genius, have rightly The Circle for 
 symbol, and are more reflected through the great temple building branches of the Second (or •‘Chamitic”) 
 Race, which expanded so centrally over Messopotamia, Syria, Egypt andthe Mediterranean coasts, crossing 
 and blending their margins of influence in Greece, Italy, Spain and southern France with Japhetic neigh- 
 bors to the north — and by the competition of war and peace obtained a knowledge of each other’s genius 
 and advantages. 
 
 While Eastward — over Persia, India and Asia, radiated the influence of the still more imaginative, 
 volatile, metaphysical, poetic and artistic Third Race Type (“ the Shemitic ”), whose symbol is “ The Star,” 
 and from which the Abramitic (or Hebraic) Branch was ultimately led forth to estabish “Faith in The 
 Oneness of God.” 
 
 B)'’ progressive stages of revelation and realization, this last Abramitic family seems destined to collect, 
 correlate and compose “ into One ” the severed fragments of the faiths, missions and characteristic beauty 
 of each brother race ; as well as to set in order their appropriate developments of Truth. 
 
 For they found already growing to their north, the ethical culture and social character typified by 
 The Square, land idealized into sacred sagas of Odin, Thor and the Walhalla of militant heroes who 
 among the very glories of Heaven must forever reassert (by death and resurrection in chivalric battle) the 
 Beauty of Individual Rectitude, Truth, Courage, and Masculine Energy implied in The Square. Of these 
 the race hero Siegfried must ever win his ideal love Brunehilda, and his ideal ‘‘ Hero Heaven,” against the 
 crude and chaotic forces of untamed forests, dwarfed and cunning men, and the temptations of Gold, till 
 Spirit rises dominant and purified “as though by fire !” 
 
 On the other hand, to the south and southwest, throughout Egypt and its tributaries, etc., the 
 Hebrews fowled a vast and patiently prolonged civilization, where human intuition and reflection had 
 recognized more clearly that side of Deity which The Circle might typify. Here God was not felt so 
 strongly (as by the northerners), in His character ot Judge and Warrior, but rather more in His conde- 
 scending and self-sacrificing patience as Intermediator, where through long centuries (under the title of 
 “ Osirus,” and the symbol of the patient “Ox ') He is represented as stooping Himself to drazv the 
 burdened chariot of Humanity and put His own shoulder beneath the yoke, to teach submisssion to central 
 Law. Its symbolic “horns” of power appear derived from the growing “Crescent” of the feminine 
 moon, and the perimetre of the “ Sacred Disk ” (or Circle). 
 
 Here Abram was to find this conception a harbinger and prototype of “ The Messiah ” to be born 
 from his own seed (in the person of the coming “Christ ”), when he journeyed from Padan Aram south- 
 ward with Sarah, his “sister and wife.” Here she was (symbolically) to be acquired by the Egyptian 
 monarch and then returned to him unprofaned. And here Joseph and Moses, later, are mysteriously to 
 be “ subject unto ” it till, in the fulness of time and destiny, the Christ-child Himself was to be conse- 
 crated, that the prophesy of centuries might be fulfilled “ out of Egypt have I called my son.” For 
 verily, here, long centuries of discipline had not only developed in the soul of man the ethical conception 
 and character of enduring Patience, and subordination of all terrestial life to the hope of a celestial, but 
 had cast this into sublime art symbols and resplendent tombs (far more elaborate than their earthlv 
 homes). And here in the providence of over-ruling Soul, Abram’s race was to learn the great lesson of 
 The Circle, that “ Here have we no continuing city, but we seek one to come even an heavenly”; and 
 “ by patient continuing in well doing, to seek for glory, honor, immortality, eternal Life!” 
 
 Lastly, in their own promised land of Canaan, and at the mystic Christmas tide of the .Messiah's 
 advent, they were to absorb the last and sublimest symbolic lesson of all — the lesson of “The Magi,” the 
 wisdom of “The East” and the sacred “Star” of Heaven! That the soul of Humanity must also 
 be guided in its sacred discovery and worship, b)'^ the deep and pure light of refined metaphysics, delicate 
 deduction, subtle implications of planetary movement, the breathing of God’s voice in the mulberry leaves, 
 the divining of the inspiration of sensitive Spirit throughout All Nature ! Herein they were to catch 
 up the revelation of that Third Great (“Oriental”) Trend of cosmic thought and experience, which 
 had subordinated all existence (heavenly or earthly) unto God in a devout “Pantheism”; and by the 
 “ absorbtion ” of all spirit finally “into Universal Brahm.” Under the royal type of “Rama ” it had also 
 generated and fixed its “ideal hero” as that nobility of character which hides its very royalty, and 
 sacrifices pride, position, power and wealth in humblest services toward suffering fellowmen. And, as 
 it were, again we see divinely antetyped that sacred significant theme of “ the Christ washing the 
 disciples’ feet.” 
 
 It was these three sublime ethical intuitions of Truth which had been forecast throughout all 
 morphology, biology, and sociology in the advance of animal life and human conscience, that “ Faithful 
 
Abram ” and his children were to unify and crystalize — and which were to render their ethics so vital and 
 pervasive by their revering : 
 
 r ist, The Beauty of The Square — in Truth, Law and Judgment (under Moses), 
 
 2d, “ “ The Circle — in Love and Self-Submission (through Christ), 
 
 3d, “ “ The Star — in Grace, Genius, Personal Inspiration, 
 
 (by Pentacostal showers of The Divine Spirit, through that radiate dissemination of apostles, martyrs, 
 saints, heroes of all ages, down to “ The Latter Day ” when it was promised that by a new outpouring from 
 on high — “Your young men shall see visions, your old men shall dream dreams ’’). 
 
 For to the end of life, each soul finds written within its being the absolute necessity of experiencing 
 and re expressing (in right Proportion and Harmony to time, place, and service), The Three Foundation 
 Elements (of Law, Love, and Grace), which seem inherent in the nature of Deity, as they are the primary 
 Keys to the Constructive Relations of Form and to the significant character of Beauty. 
 
 The old world was the scene, for ages, of the competitions and rivalries of these separated elements 
 in racial evolution, while yet each segment was under the necessity, so to speak, of developing and 
 assuming its own fractional truth and genius before comprehending and correlating with its brothers. 
 
 But Christianity in its marvelous growth and example seems to have prepared a soil, in broad 
 ethical Unity, for their ultimate amalgamation ; and by collateral agencies in crusades, missions, com- 
 mercial association, etc., to have assured their commingling, as by the heroism of Columbus and zeal of 
 religious colonization it outran destiny and opened a new world for their combined association. 
 
 The northern (Japhetic) elements of The Square, by Norse, Teutonic, Saxton, and Celtic derivatives, 
 were borne across to appropriate habitat and climate in North America. The southern, milder and 
 more “Chamitic” derivatives of the Mediterranean coasts, were swept over into Central and Southern 
 America. While across the Pacific and radiating through her myriad isles come the children of The Third 
 Great (Oriental) Phase of civilization, pouring into The Golden Gate ! 
 
 The circuit of the globe has been completed by the linking of its segments — each section bringing, 
 to the commonweal of Human Brotherhood, the characteristic elements either of “ Saxon sense with 
 Teutonic stability”; or Latin “religious enthusiasm and sociability or Oriental “ Imagination, Art, and 
 Industrial skill ”! While the freedom of thought, aspiration, and government in the new world, facilitates 
 and necessitates the new cohesion ; reacts upon the old world by example, emulation and international 
 exhibitions; and Providential interposition pushes the bands of conquest and commerce (as in the late 
 annexations of Hawaii and Manilla) into a broad Unity which will perfect The Whole I 
 
 Prof. Fenellosa, writing of this juncture of America with the Orient, and ot the prospective alliance 
 of the Great Republic with the best and most progressive spirit of the Orient, says : 
 
 “ Our lot is thrown in with the Eastern world, for good or ill, forever ! For this fusion is not only 
 to be world wide but final ! Each absorbes the power and hope of a hemisphere. Such as we make it 
 now it must remain ! This is man’s final experiment !” 
 
 It was “westward” from his oriental race that Abram started “ in faith ” at the “ call of God ” to go 
 “ not knowing whither,’"’ but a “ child of promise.” And westward ever, in the footsteps of his ethics, 
 “ the star of (highest) empire takes its way,” till in the symbol of “ the wandering Jew,” the journey is 
 nigh complete and the pilgrimage ended ! The Japanese poet would add : 
 
 “ Son, the world is full of Beauty 1 There may be gardens more beautiful than these — but the fair- 
 est of gardens is not in this world — it is in the Garden of Amida (God), in the Paradise of The West.” 
 
 These great historic evolutions have left art monuments of inestimable significance and value, all 
 along their course, and have reflected their internal character and stages of growth through their external 
 physiognomies and art environments, as truly as a mollusk does by its shell. (See Charts XXXVIII. and 
 XXXIX.) 
 
 Distinctions in nature, color, costume, taste and general being, still remain more or less indicative 
 of primal type and temperamental difference. The “ Northerner ” being liable to develop more tall, bony, 
 angular proportions and with more rigid costume lines and sombre colors, characteristic of a more stern, 
 introverted, calculating, solemn (at times melancholy) tempei ament. Practical, scientific, militant, gov- 
 ernmental, “ square-shouldered,” “long-headed,” “far-sighted,” “blue eyed,” worshiping “ 77/^ 
 and given to the arts of war, mechanics, transportation, engineering, &c. 
 
 The second, or “ Southern ” type, is more plastic, polite, tactful, diplomatic, social, genial, and of 
 generous impulses (perhaps, of effeminate tendency), characterized by rounder forms, easier costume lines 
 and warmer glow of skin and eyes. Given to the arts of religion, civil policy, society, amenity, diplomacy, 
 display. And greatly cherishing the amiabilities of The Present. 
 
 The third, or “ Eastern” type, is lighter, more delicate and sensitive than all, more naturalistic and 
 complex like Nature herself, more volatile, subtile, metaphysical, poetic, imaginative, artistic ; marvelously 
 
diverse and dexterous in tasteful industrial skill. Sunny, childlike, and rich in costume, color and move- 
 ment, worshipful of Omnipresent Spirit, reverential of “The Past.” 
 
 While fourth and last, the remote (Abramitic) branch of this great Family is divinely driven to the 
 four corners of earth, to become at once the most diffusive and cohesive, the most cosmic yet the most 
 tribal, the most broken yet the most absorbtive, adaptive and retentive, of all social organisms and nation- 
 alties, to “ gather into One All the Family of God.” 
 
 We ought here to note, that just as each wholesome Personality recognizes in itself a union of Dual 
 Elements (spiritual and material), a side on which each soul is individually itself, yet another side on 
 which it is the product of society, so each race has at times seemed conscious of its own race genius being 
 somehow correlated to the others, by mutual and complementary necessities, which only time and civiliza- 
 tion could make clear. 
 
 They seemed subject to a first law of Competition (which should be sufficiently strenuous to preserve 
 Individuality), yet drawn by time and world evolution into a cosmic Cooperation and Coordination, 
 which should at last guarantee the larger whole. 
 
 Nature was forever whispering the secret of her primordeal “ Activity ” and “ Passivity,” her “ Patern- 
 ity ” and “ Maternity,” her “ I nfTfati veness ” and “ Receptiveness,” in day and night, seed time and harvest, 
 summer and winter. They witnessed her acts and arts consummating this mystic marriage — and as well 
 the arts of animal life below man. They soon conjured poetic figures, in mythological terms, to convey 
 this perception of Divine Principle, and we have the symbolic rites of “Coelus and Terra,” “Orpheus and 
 Euridice,” “Adonis and Cytherea,” «S:c. In time they' detect that human arts, in order to impress the brain 
 as “Beautiful,” must embody analogous Relations, in “closed” and “open” spaces, “quiet” elements con- 
 trasting with “active” in the composition, shadows with lights, cool with warm colors, «fec., creating 
 rhythmic cadences and equilibriums in which life pulsation itself is based. The brain being so constituted 
 as to require for its delight in Art, reechoes and revivals of what has given it pleasure (and existence itself) 
 in Nature, i e.. Conditions of Form, Feeling and Fancy akin to those of The Creator of Nature, and to the 
 Principles and Methods involved in His taste and invention. Hence sprang a whole category of Arts, 
 ranging up and down a scale like “Jacob’s ladder,” connecting Earth with Heaven, in various proportions 
 of material or mental, terrestrial or celestial elements and utilities involved. Thus creating, so to speak, 
 “ minor or “ major” Arts ; i.e., those more materially utilitarian and technical, or those more phonetically 
 expressive and spiritual, and there are those between these two extremes, where as at Bunyan's “House of 
 The Kind Interpreter” man finds a middle “Beulah Land,” where angel “sons of God” may again “wed 
 the daughters of men” in a vital “ Artist-Artisanship.” 
 
 Accordingly we mount by gradation from arts like engineering, practical chemistry and navigation 
 (where man is concerned to devise forms for transmitting force “with least resistance,” rather than with 
 “most taste”), up through the arts of agriculture, cooking, building, furniture, weaving, dressing and jewelry 
 (where direct utility to the body, or beauty of mere material, associates with utility to spirit and demands 
 on artistic feeling), up to those that make dominant the esthetic influence (such as Pure Ceramics, Higher 
 Architecture, Dramatic Gesture and The Dance), to finally those generated solely for Expression of esthetic 
 genius and principles (such as Floriculture, Decoration, Sculpture, Painting, Music, Poetry and Eloquence), 
 until we reach the very art of Life Itself ! 
 
 Among the strictly formal arts of Architecture, Sculpture and Painting (to which the term of “Art” 
 is popularly confined,) we note the same Three Prime Characteristics (from primitive relations of force 
 and form) reassert themselves ; Architecture being the most “squarely” rectangular, rigorous and struct- 
 ural, employing hardy lines and materials of support. While sculpture grow’S more plastic in substance, 
 motives and movements (the ceramic arts spinning upon the potter’s wheel or Circle). But Painting 
 becomes the greatest, lightest and most varied of all, its comprehensive range least embarrassed by mate- 
 rial, and conveying not only optical presentations of its preceding sisters, but wholly ideal conceptions and 
 situations the most elaborate and complex (after the symbol of the Star). 
 
 We may’ close this chapter by remarking that in this last great art of Painting, and in that Italian 
 nationality where hitherto it is most triumphant, there have appeared, historically, again Three Supreme 
 Leaders of Genius personifying the same mysterious distinctions of primal tendency and inspiration, as 
 well as bearing charteristic names in striking coincidence with the Three Archangel types of Revelation 
 (/>., “Michael,” of militant offices ; “Raphael,” of religious; and “Gabriel,” of civil offices). These giant 
 leaders were Michael Angelo, whose rigorous genius mounts preeminent for titanic energy, structural 
 severity of form and grandure of lines (Moses, the “Law” giver, his typical carving, “The Last Judg- 
 ment,” his typical painting). Next, Raphael Sanzio, the gentle, amiable and “beloved disciple” of 
 religious feeling and of the heart, feminine in type and temperament, and prolific in holy Madonnas 
 curving their plastic forms over curvilineal canvases. 
 
 Thirdly, Gabriel Rossetti, “ poet-painter, of whom the critic Colvin says, “though born in the 
 midst of the nineteenth century, he belonged by nature to the Middle Age, when color and life were most 
 vivid and varied, and sense of supernatural agencies most alive.” An Italian born out of his age and 
 
country to convey to our expanding Saxon civilization the lesson and inspiration of the Great Renaissance. 
 By the creation of a new Art “ Brotherhood ” along vital lines and organic priciples he summoned the 
 slumbering genius of a new evolution from the springs of national and personal resource^ unto all the 
 radiate intricacies and possibilities of modern poetry, beauty and industry, combijied. 
 
 In him not only Great Britain took her highest and purest art impulse out of her own Arthurian 
 legends and poets (through the zeal of his strong young allies, Morris, Watts, Millais, Madoc Brown, Burne 
 Jones, &c.), but he lit the torch of genius for the keenest and farthest sighted poet-artists and artist- 
 artisans of America. 
 
 His friend Hall Caine tells us that early in life Rossetti was deeply impressed by our Edgar Poe’s 
 literary picture in “The Raven,” of an earthly soul seeking its heavenly counterpart. Thereupon Rossetti 
 determined to write his own poem of “ The Blessed Demozel ” to portray the Heavenly Spirit looking 
 downward for its terrestrial partner. In this symbolic sense, the two halves of a great thought (of ideal 
 and material components), as well as two halves of our Saxon civilization, may be harmoniously com- 
 bining to effect a great destiny, as esthetic as it is ethical and political. The old world poetry should 
 bring forward a wealth of spiritual experience and inspiration, and the new world’s energy, virility and 
 resource must recast and reincorporate the The Best into millions of democratic realizations. 
 
 Says one eminent critic : “ Rossetti’s reputation long stood high, yet few could explain the secret. 
 Friends, disciples, admirers spoke of ‘ the master ’ with reverent awe. It is impossible not to respect a man 
 who, in these days of insincerity, believes in something heartily, continues to believe in it and himself 
 all life lo7ig ! Perhaps more than respect is due the man who resolutely held aloof (from a world which 
 fancies itself lawgiver to every man in or out of it), as did Gabriel Rossetti.” Beautifully and tenderly 
 Rossetti expounds the true ambition of modern life, as it should be, alike in art, religion or society. 
 “ Plainly to think even a little thought — to express it in natural words native to the speaker — to paint even 
 an insignificant object as it essentially is — to persevere in looking at Truth, and Nature.” Is not this the 
 “angel of civil things,” the modern evangel of the simplest life of the humblest soul ? 
 
 Jean Francois Millet, in France, had lived these truths mutely and pathetically in the farm of Fon- 
 tainbleau. Gabriel Rossetti formulated the principles and transmitted them. The words of Burne Jones 
 himself, speaking of his master, best summarizes for us this “Sacra Flamma”: “One day Morris and I 
 discovered that we were face to face with something new and wonderful ! It was the opening of the First 
 Seal for each of us I It was Rossetti the Poet who was so new and strange a painter, and the painter who 
 wrote poetry with so rare and strange a note, who appealed to us the most. But we felt the Charm, the 
 Originality, the novel Creative Spirit of each of these men (Rossetti, Millais, Hunt), and perhaps more 
 than all The Spirit common to them all — in them, but yet beyond them — the wonderful, fresh, recreative 
 
 SPIRIT OF A NEW D AY ! ” 
 
 CONDENSATION. 
 
 A summary of the thought of our book might here be appropriate, with a few of the old masters’ 
 illustrations, compacting the fuller lessons or professional steps that follow, since they apply univer- 
 sally to all lives, intellects or activities. 
 
 Law is the expression of Intelligence and Will. All Space is Alive with Law, i.e., with Spir- 
 itual Life. As Man occupies part of space he is Part of Spirit, as he is part of matter. 
 
 All Forms can be reduced to planes, planes to lines, and lines to Points. A line is correctly con- 
 sidered as a Point in Motion, and a point enables us to Gauge and Measure the motion, according to 
 Directions and Positions assumed, as a sort of fulcrum to Express Power (exactly as our pen point 
 expresses our thought by its motion and its record of ink atoms). 
 
 Thus Universal Life is at once Reposeful and Active, (“Static” and “dynamic,” and though what 
 we term “ matter ” may be in some way a passive form of Spirit, and though No Atoms of Matter 
 Touch, yet we know Spirit from Matter by Spirit’s Power to Move Matter. 
 
 Hence, all Nature is Spiritually Alive and all Natural Forms are Spiritual Poems, to be read by 
 a Spiritual Key Alone. This we quickly’ see on crushing a rose to powder in our hand. We have then 
 left, the same quantity of dust, but no “ rose ” ! The Rose was the spiritual properties between the dust 
 atoms, expressed spiritually and appealing to our spiri’s, through the agency’ of the arranged atoms. Divine 
 Intelligence had revealed His thought and feeling, to our thought and feeling, through the arranged Rela- 
 tions of the rose particles (that man disarranged and so lost). 
 
 Our intelligence, reason, volition, feeling must, in some mysterious way’ be part of Gou’s, and the 
 delight we feel in Beauty must be part of His delight in Beauty’. Our disgust at ugliness must be part of 
 His disgust at ugliness. The Principles that are manifested back of Beauty must be spiritually’ absorbed 
 and reapplied by’ each soul, to put itself in harmony with that element in God, and to perfect its own har- 
 mony’ and happiness, or to create a true social and individual life. 
 
Beauty is the manifestation of Perfect Law, according- to appropriate conditions of time, place, 
 circumstances, utility and wisdom in this adaptation of materials to ideals. The Divine thoughts, feelings 
 and ideals are taking harmonic expression in nature and man. Those of man are taking more or less har- 
 monic expression in art, according as man reechoes Divine Principles. 
 
 The material elements are not so important as the spiritual. Michael Angelo was the same grand 
 creative spirit when carving his statues, painting his frescoes, writing his poems, erecting his cathedral 
 domes or Florentine fortifications. 
 
 So God is as present a “Poet-Artist ” in the relations which constitute the lily as the rose, the night- 
 ingale as the bird of paradise. 
 
 All forms in nature are alive with the Creator’s ideals and full of useful, decorative or symbolic sig- 
 nification. It would seem that by some vast symbolic significance the Three Great Type Relations of 
 Force, in Competition, Cooperation and Coordination, have generated the Three Prime Forms, The Square, 
 The Circle and The Star, from which all others are derived (as shown in Lesson XIL). They are sig- 
 nificant of energies and characteristics in The Divine Nature, and symbolic of moral qualities which we 
 discover rooted in the best Human Nature, and which we designate as the Sense of 
 
 ist. Right, Rectitude, and its resistive energies (in the square). 
 
 2d. Condescending Kindness and its plastic energies (in the circle). 
 
 3d. Generosity and Inspiring Genius in the diffusive energies (of the star). 
 
 While each of these elements is held to central Harmony of Formal Expression (whether singly or 
 together) by the Principles of LTnity, Equilibrium, and Proportion. Indeed they seem but a numeric 
 and formal advance of the Initiative and Creative Force, through the sequent changes of unfolding 
 Ideal. 
 
 Law, Love and Grace reign at the centre of the Universe ! They advance by “right lined” resist- 
 ance, “ curved line ” condescension, and “ radiate ’’ generosity as the Divine Energy unfolds, in strict 
 “ Proportion and Balance and Harmony." All Natural forms express these phases, derivations and combina- 
 tions, and gain style and individuality by special fitnesses to time and puropose. Human Arts receive and 
 reflect these intuitions, and gain charm and vitality (or ugliness and decay) by their organic (or inorganic) 
 adaptation of these fundamental relations to Structure, Form and Composition. Beauty is the sensation 
 that the soul receives at perfect and harmonic adjustment of these, to any given time, place, purpose, and 
 material. And all forms (natural or human) only convey this perfectly when truly organic — that is, 
 perfectly harmonic zuithin and without — alike in the internal structure (we term “ Scientific ”) and the 
 external fascination or attractiveness (we term “Artistic"). In reality, the whole is scientific and artistic 
 together. The devout, loving and useful application of these elements and principles in serviceable union, 
 for human amelioration or for divine adoration, is essential Religion, (far above pettiness of cant, creed or 
 sect). 
 
 In this grand sense “ Laborare est Orare ” — To labor is to pray. 
 
 Toward this far-reaching intuition the ages steadily advance, and the unfoldings of race movement 
 approach, leaving their several degrees of approximation for history and divine judgment. 
 
 Our educational methods should take this vital lesson from Nature, and educate the souls of students 
 in Essential Beauty (internally and externally correlated as the term “ Artist- Artisan " implies), and 
 associate Hand, Head, and Heart in a vital union. It should be both educational and practical — because 
 the best education and the best “ practicality ” comes from this Organic Union of soul and body, of 
 thought and deed, of Conception and of Execution, which is the tangible idea of God. 
 
 We should not murder the souls of the young by dead and sterilizing methods or “copy book ” sys- 
 tems, of external unintelligent mimicry that degrades them to monkeys instead of raising them to men. 
 We should appeal to the God Spirit within each human soul, and fortify and develop it by the living and 
 inspiring principles of Beauty, adapted to every material. Originality, Ideality, Order, Proportion, 
 Balance, Harmony, &c., are parts of God’s Spirit and applicable to all times, places and substances. 
 Each age, nationality and individuality are to be reinspired, readjusted and restored by them, according to 
 new needs, conditions and obligations. New opportunities are thereby utilized and new virilitiesbegotten. 
 All of which adds new interest, delight and value to human industry, expression and society, and prepares 
 man better for eternity. Nature thereby becomes the “ friend of man ” and full of wholesome delight and 
 instruction according to first intentions as the “ visible Studio of God.” She stands ready to reveal, anew, 
 to every age and soul, the Beauty of Design, the secrets of constructive growth, and the wise methods of 
 adaptation to all matter. All materials may thus become eloquent of spiritual beauty (instead of ugliness.) 
 And all industrial or social prosperity becomes enhanced by the happy correlation of Good Science, Good 
 Religion and Good Art. Indeed the Beauty of all Form or Feeling becomes the harmonious adjustment 
 and proportioned expression of these symbolic significances of Right, Round and Radiate Relations, 
 according to fitness in Eternal Principles. 
 
 A few brilliant and wonderful drawings of the greatest art masters, here inserted, will help to illustrate 
 these truths. Thus Da Vinci shows how man’s form when radiated STAR-like across the Square and 
 
Circle (in the measures of the finest Greek proportions) reveals the secret, that The Square is the basis of 
 man’s strength in reposeful rectitude but initial energy. The Circle is the basis of his second (or “ female ”) 
 phase of transmitted energy in plastic action. The Square is energy crystalline and “ static ” ; the Circle 
 is energy mobile and “dynamic.” The Centre of the Square is at the centre of “male ’’ generation. The 
 centre of the Circle is at the navel, where the child’s link to motherhood is severed, to be born a free and 
 new soul. Thus every human form combines and harmonizes, in its being, the secret strength and beauty 
 of Square, Circle and Star when the rectitudes of Truth are wedded to the plastic and receptive 
 energies of Love, and born anew by Genius into the radiate brilliancy of diverse and organic applications, 
 with Just Proportion of these elements. It was exactly so at Pentecost that the Holy Spirit showed to 
 each man through his own language both the Motherhood of God's Nature in Love, and the Fatherhood 
 of God’s Nature in Truth and Law. Short of these “Perfect Proportions ’’ there must ever be a sense of 
 deficiency and ugliness a fact which throws light upon the apostolic injunction to attain “ the stature of The 
 Christ in whom dwelleth the Fullness” (f. i?.. Perfect Proportion) “of The Godhead, bodily” The God- 
 head made Perfect Man — yet ever appropriately readapting divine Principles to any and every situa- 
 tion of life, according as time purpose, place and utility requires. 
 
 Next, Michael Angelo shows in “Fortune upon the Wheel” (or Female Beauty balanced the 
 
 Circle) the great principle of Equilibrium and Vital Symmetry so universally constant throughout nature, 
 as “balancing ” Life and Nature upon the dualism of Repose and Action, and qualifying the opposite sides 
 and steps of man. He shows also that while mechanical drawing will do for subordinate mechanical 
 forms, such as the Wheel, yet vital and orgafiic drawing imist be applied to the higher organic forms. 'I'hus 
 Da Vinci’s childhead shows him looking through the curls for the structural skull that first supports them. 
 Raphael’s soldier with the shield shows him searching through the shield, and defining carefully the human 
 arm that supports it, and we can even see in the drawing of the “ Father and Demoniac Child ” (from the 
 picture of “ The Transfiguration ”) the indication of the rear thigh seen through the front thigh of the father. 
 Showing how carefully they followed ihe principle of Sequence in the order or stages ot procedure, develop- 
 ing from ivithin outward and from behind forwards. They do not flatten forms nor mimic them blindly 
 and externally, as do the wretched *‘ Blocking Systems ” exploited in so many schools, but comprehend 
 internally so as to interpret them solidly and organically, as several of the other drawings by Durer, Angelo, 
 etc., well show. 
 
 The Two Female Heads in opposition, by Poccacino, display not only the artistic principle of “Con- 
 trast,” but set off Beauty against ugliness, to show that though both heads are “ alive organic ” and 
 “structurally” developed, yet the hag has violated Principles, which the maiden preserved, f. ^., such, 
 Order, Proportion, Balance, Harmonic arrangement, etc., as God established in His elements, intents, 
 and processes to reveal to man the Immortal Principles of His Spirit. 
 
 JOHN WARD STIMSON.