--from
the disposition of a facade to the shaping of a moulding--the
architectural designer will charge his work with that esoteric
significance, that excess of beauty, by which architecture rises
to the dignity of a "fine" art (Illustrations 19, 20). In so doing,
however, he should never forget, and the layman also should ever
remember, that the supreme architectural excellence is fitness,
appropriateness, the perfect adaptation of means to ends, and the
adequate expression of both means and ends. These two aims, the one
abstract and universal, the other concrete and individual, can always
be combined, just as in every human countenance are combined a type,
which is universal, and a character, which is individual.

III

CHANGELESS CHANGE

TRINITY, CONSONANCE, DIVERSITY IN MONOTONY, BALANCE, RHYTHMIC CHANGE,
RADIATION

The preceding essay was devoted for the most part to that "inevitable
duality" which finds concrete expression in countless pairs of
opposites, such as day and night, fire and water, man and woman;
in the art of music by two chords, one of suspense and the other of
fulfilment; in speech by vowel and consonant sounds, epitomized in _a_
and in _m_; in painting by warm colors and cold, epitomized in red
and blue; in architecture by the vertical column and the horizontal
lintel, by void and solid--and so on.

TRINITY

This concept should now be modified by another, namely, that in every
duality a third is latent; that two implies three, for each sex so
to speak is in process of becoming the other, and this alternation
engenders and is accomplished by means of a third term or neuter,
which is like neither of the original two but partakes of the nature
of them both, just as a child may resemble both its parents. Twilight
comes between day and night; earth is the child of fire and water;
in music, besides the chord of longing and striving, and the chord of
rest and satisfaction (the dominant seventh and the tonic), there is
a third or resolving chord in which the two are reconciled. In the
sacred syllable Om (_Aum_), which epitomizes all speech, the _u_ sound
effects a transition between the _a_ sound and the _m_; among the
so-called primary colors yellow comes between red and blue; and in
architecture the arch, which is both weight and support, which is
neither vertical nor horizontal, may be considered the neuter of the
group of which the column and the lintel are respectively masculine
and