The Beautiful Necessity Seven Essays on Theosophy and Architecture

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Title: The Beautiful Necessity

Author: Claude Fayette Bragdon

Release Date: June 18, 2004 [eBook #12648]

Language: English

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THE BEAUTIFUL NECESSITY

Seven Essays on Theosophy and Architecture

by CLAUDE BRAGDON, F.A.I.A.

MCMXXII

  Let us build altars to the Beautiful Necessity

                                                —EMERSON

By the Same Author:

  Episodes From An Unwritten History

  The Golden Person In The Heart

  Architecture And Democracy

  A Primer Of Higher Space

  Four Dimensional Vistas

  Projective Ornament

  Oracle

CONTENTS

I THE ART OF ARCHITECTURE

II UNITY AND POLARITY

III CHANGELESS CHANGE

IV THE BODILY TEMPLE

V LATENT GEOMETRY

VI THE ARITHMETIC OF BEAUTY

VII FROZEN MUSIC

CONCLUSION

PREFACE TO THE SECOND EDITION

The Beautiful Necessity was first published in 1910. Save for a slim volume of privately printed verse it was my first book. I worked hard on it. Fifteen years elapsed between its beginning and completion; it was twice published serially—written, rewritten and tre-written—before it reached its ultimate incarnation in book form.

Confronted now with the opportunity to revise the text again, I find myself in the position of a surgeon who feels that the operation he is called upon to perform may perhaps harm more than it can help. Prudence therefore prevails over my passion for dissection: warned by eminent examples, I fear that any injection of my more mature and less cocksure consciousness into this book might impair its unity—that I never could recapture the first fine careless rapture.

The text stands therefore as originally published save for a few verbal changes, and whatever reservations I have about it shall be stated in this preface. These are not many nor important: The Beautiful Necessity contains nothing that I need repudiate or care to contradict.

Its thesis, briefly stated, is that art in all its manifestations is an expression of the cosmic life, and that its symbols constitute a language by means of which this life is published and represented. Art is at all times subject to the Beautiful Necessity of proclaiming the world order.

In attempting to develop this thesis it was not necessary (nor as I now think, desirable) to link it up in so definite a manner with theosophy. The individual consciousness is colored by the particular medium through which it receives truth, and for me that medium was theosophy. Though the book might gain a more unprejudiced hearing, and from a larger audience, by the removal of the theosophic color-screen, it shall remain, for its removal now might seem to imply a loss of faith in the fundamental tenets of theosophy, and such an implication would not be true.

The ideas in regard to time and space are those commonly current in the world until the advent of the Theory of Relativity. To a generation brought up on Einstein and Ouspensky they are bound to appear lower dimensional. Merely to state this fact is to deal with it to the extent it needs to be dealt with. The integrity of my argument is not impaired by these new views.

The one important influence that has operated to modify my opinions concerning the mathematical basis of the arts of space has been the discoveries of Mr. Jay Hambidge with regard to the practice of the Greeks in these matters, as exemplified in their temples and their ceramics, and named by him Dynamic Symmetry.

In tracing everything back to the logarithmic spiral (which embodies the principle of extreme and mean ratios) I consider that Mr. Hambidge has made one of those generalizations which reorganizes the old knowledge and organizes the new. It would be only natural if in his immersion in his idea he overworks it, but Mr. Hambidge is a man of such intellectual integrity and thoroughness of method that he may be trusted not to warp the facts to fit his theories. The truth of the matter is that the entire field of research into the mathematics of Beauty is of such richness that wherever a man plants his metaphysical spade he is sure to come upon pay dirt. The Beautiful Necessity represents the result of my own prospecting; Dynamic Symmetry represents the result of his. If at any point our findings appear to conflict, it is less likely that one or the other of us is mistaken than that each is right from his own point of view. Be that as it may, I should be the last man in the world to differ from Mr. Hambidge, for if he convicted me of every conceivable error his work would still remain the greatest justification and confirmation of my fundamental contention—that art is an expression of the world order and is therefore orderly, organic; subject to mathematical law, and susceptible of mathematical analysis.

CLAUDE BRAGDON

Rochester, N.Y.

April, 1922

I

THE ART OF ARCHITECTURE

One of the advantages of a thorough assimilation of what may be called the theosophic idea is that it can be applied with advantage to every department of knowledge and of human activity: like the key to a cryptogram it renders clear and simple that which before seemed intricate and obscure. Let us apply this key to the subject of art, and to the art of architecture in particular, and see if by so doing we may not learn more of art than we knew before, and more of theosophy too.

The theosophic idea is that everything is an expression of the Self—or whatever other name one may choose to give to that immanent unknown reality which forever hides behind all phenomenal life—but because, immersed as we are in materiality, our chief avenue of knowledge is sense perception, a more exact expression of the theosophic idea would be: Everything is the expression of the Self in terms of sense. Art, accordingly, is the expression of the Self in terms of sense. Now though the Self is one, sense is not one, but manifold: and therefore there are arts, each addressed to some particular faculty or group of faculties, and each expressing some particular quality or group of qualities of the Self. The white light of Truth is thus broken up into a rainbow-tinted spectrum of Beauty, in which the various arts are colors, each distinct, yet merging one into another—poetry into music; painting into decoration; decoration becoming sculpture; sculpture—architecture, and so on.

In such a spectrum of the arts each one occupies a definite place, and all together form a series of which music and architecture are the two extremes. That such is their relative position may be demonstrated in various ways. The theosophic explanation involving the familiar idea of the pairs of opposites would be something as follows. According to the Hindu-Aryan theory, Brahma, that the world might be born, fell asunder into man and wife—became in other words name and form[A] The two universal aspects of name and form are what philosophers call the two modes of consciousness, one of time, and the other of space. These are the two gates through which ideas enter phenomenal life; the two boxes, as it were, that contain all the toys with which we play. Everything, were we only keen enough to perceive it, bears the mark of one