seventh, and of the tonic (the two chords into which Schopenhauer says all music can be resolved): a partial dissonance, and a consonance: a chord of suspense, and a chord of satisfaction. In speech the two are vowel, and consonant sounds: the type of the first being a, a sound of suspense, made with the mouth open; and of the second m, a sound of satisfaction, made by closing the mouth; their combination forms the sacred syllable Om (Aum). In painting they are warm colors, and cold: the pole of the first being in red, the color of fire, which excites; and of the second in blue, the color of water, which calms; in the Arts of design they are lines straight (like fire), and flowing (like water); masses light (like the day), and dark (like night). In architecture they are the column, or vertical member, which resists the force of gravity; and the lintel, or horizontal member, which succumbs to it; they are vertical lines, which are aspiring, effortful; and horizontal lines, which are restful to the eye and mind.

It is desirable to have an instant and keen realization of this sex quality, and to make this easier some sort of classification and analysis must be attempted. Those things which are allied to and partake of the nature of time are masculine, and those which are allied to and partake of the nature of space are feminine: as motion, and matter; mind, and body; etc. The English words "masculine" and "feminine" are too intimately associated with the idea of physical sex properly to designate the terms of this polarity. In Japanese philosophy and art (derived from the Chinese) the two are called In and Yo (In, feminine; Yo, masculine); and these little words, being free from the limitations of their English correlatives, will be found convenient, Yo to designate that which is simple, direct, primary, active, positive; and In, that which is complex, indirect, derivative, passive, negative. Things hard, straight, fixed, vertical, are Yo; things soft, curved, horizontal, fluctuating, are In—and so on.

[Illustration 6: WILD CHERRY; MAPLE LEAF]

[Illustration 7: CALLAS IN YO]

In passing it may be said that the superiority of the line, mass, and color composition of Japanese prints and kakemonos to that exhibited in the vastly more pretentious easel pictures of modern Occidental artists—a superiority now generally acknowledged by connoisseurs—is largely due to the conscious following, on the part of the Japanese, of this principle of sex-complementaries.

Nowhere are In and Yo more simply and adequately imaged than in the vegetable kingdom. The trunk of a tree is Yo, its foliage, In; and in each stem and leaf the two are repeated. A calla, consisting of a single straight and rigid spadix embraced by a soft and tenderly curved spathe, affords an almost perfect expression of the characteristic differences between Yo and In and their reciprocal relation to each other. The two are not often combined in such simplicity and perfection in a single form. The straight, vertical reeds which so often grow in still, shallow water, find their complement in the curved lily-pads which lie horizontally on its surface. Trees such as pine and hemlock, which are excurrent—those in which the branches start successively (i.e., after the manner of time) from a straight and vertical central stem—are Yo; trees such as the elm and willow, which are deliquescent—those in which the trunk dissolves as it were simultaneously (after the manner of space) into its branches—are In. All tree forms lie in or between these two extremes, and leaves are susceptible of a similar classification. It will be seen to be a classification according to time and space, for the characteristic of time is succession, and of space, simultaneousness: the first is expressed symbolically by elements arranged with relation to axial lines; the second, by elements arranged with relation to focal points (Illustrations 6,7).

The student should train himself to recognize In and Yo in all their Protean presentments throughout nature—in the cloud upon the mountain, the wave against the cliff, in the tracery of trees against the sky—that he may the more readily recognize them in his chosen art, whatever that art may be. If it happens to be painting, he will endeavor to discern this law of duality in the composition of every masterpiece, recognizing an instinctive obedience to it in that favorite device of the great Renaissance masters of making an architectural setting for their groups of figures, and he will delight to trace the law in all its ramifications of contrast between complementaries in line, color, and mass (Illustration 8).

[Illustration 8: THE LAW OF POLARITY CLEOPATRA MELTING THE PEARL. BY
TIEPOLO]

With reference to architecture, it is true, generally speaking, that architectural forms have been developed through necessity, the function seeking and finding its appropriate form. For example, the buttress of a Gothic cathedral was developed by the necessity of resisting the thrust of the interior vaulting without encroaching upon the nave; the main lines of a buttress conform to the direction of the thrust, and the pinnacle with which it terminates is a logical shape for the masonry necessary to hold the top in position (Illustration 9). Research along these lines is interesting and fruitful of result, but there remains a certain number of architectural forms whose origin cannot be explained in any such manner. The secret of their undying charm lies in the fact that in them In and Yo stand symbolized and contrasted. They no longer obey a law of utility, but an abstract law of beauty, for in becoming sexually expressive as it were, the construction itself is sometimes weakened or falsified. The familiar classic console or modillion is an example: although in general contour it is well adapted to its function as a supporting bracket, embedded in, and projecting from a wall, yet the scroll-like ornament with which its sides are embellished gives it the appearance of not entering the wall at all, but of being stuck against it in some miraculous manner. This defect in functional expressiveness is more than compensated for by the perfection with which feminine and masculine characteristics are expressed and contrasted in the exquisite double spiral, opposed to the straight lines of the moulding which it subtends (Illustration 10). Again, by fluting the shaft of a column its area of cross-section is diminished but the appearance of strength is enhanced because its masculine character—as a supporting member resisting the force of gravity—is emphasized.

[Illustration 9: CROSS SECTION OF BUTTRESS.]

The importance of the so-called "orders" lies in the fact that they are architecture epitomized as it were. A building consists of a wall upholding a roof: support and weight. The type of the first is the column, which may be conceived of as a condensed section of wall; and of the second, the lintel, which may be conceived of as a condensed section of roof. The column, being vertical, is Yo; the lintel, being horizontal, is In. To mark an entablature with horizontal lines in the form of mouldings, and the columns with vertical lines in the form of flutes, as is done in all the "classic orders," is a gain in functional and sex expressiveness, and consequently in art (Illustration 11).

[Illustration 10: CORINTHIAN MODILLION; CLASSIC CONSOLE; IONIC CAP]

The column is again divided into the shaft, which is Yo; and the capital, which is In. The capital is itself twofold, consisting of a curved member and an angular member. These two appear in their utmost simplicity in the echinus (In) and the abacus (Yo) of a Greek Doric cap. The former was adorned with painted leaf forms, characteristically feminine, and the latter with the angular fret and meander