the truly characteristic and determining forms of Roman architecture.
Our symbol grows therefore by the addition of the arc of a circle
(Illustration 4). In Gothic architecture column, lintel, arch and
vault are all retained in changed form, but that which more than
anything else differentiates Gothic architecture from any style which
preceded it is the introduction of the principle of an equilibrium of
forces, of a state of balance rather than a state of rest, arrived at
by the opposition of one thrust with another contrary to it. This fact
can be indicated graphically by two opposing inclined lines, and
these united to the preceding symbol yield an accurate abstract of the
elements of Gothic architecture (Illustration 5).

[Illustration 4]

[Illustration 5]

All this is but an unusual application of a familiar theosophic
teaching, namely, that it is the method of nature on every plane and
in every department not to omit anything that has gone before, but to
store it up and carry it along and bring it into manifestation later.
Nature everywhere proceeds like the jingle of _The House that Jack
Built_: she repeats each time all she has learned, and adds another
line for subsequent repetition.

[Footnote A: The quaint Oriental imagery here employed should not
blind the reader to the precise scientific accuracy of the idea of
which this imagery is the vehicle. Schopenhauer says: "Polarity, or
the sundering of a force into two quantitively different and opposed
activities striving after re-union,... is a fundamental type of almost
all the phenomena of nature, from the magnet and the crystal to man
himself."]

II

UNITY AND POLARITY

Theosophy, both as a philosophy, or system of thought, which discovers
correlations between things apparently unrelated, and as a life,
or system of training whereby it is possible to gain the power to
perceive and use these correlations for worthy ends, is of great value
to the creative artist, whose success depends on the extent to which
he works organically, conforming to the cosmic pattern, proceeding
rationally and rhythmically to some predetermined end. It is of value
no less to the layman, the critic, the art amateur--to anyone in
fact who would come to an accurate and intimate understanding and
appreciation of every variety of esthetic endeavor. For the benefit of
such I shall try to trace some of those correlations which theosophy
affirms, and indicate their bearing up