Similarly, harmony is dynamic, abstract, mercurial, unidimensional; however architecture must be static, equitable, firm, multidimensional; realizing near comparableness to music and the other arts as does the human body to the many parts which make up, and sensibilities raise it (it being the reservatory of these tissues and the channel of these awarenesses); and a work of architecture also could indeed embrace all of the other arts within its facade. Carving accentuates and ameliorates, decorating graces, books are stored in its chambers, verse and stagecraft rouse its resonances, while music entertains its farthest recesses, similar to the very spirit of life trembling through the flesh.

After considering several other articles like American History and The Radian Apartments occasional thoughts should surface. For example, we apparently question the benefit from making such comparisons in developments wherever clear ideas have prevailed as long as we can recall. A foundation is unchanged for all intents and purposes.

Consequently, if we try scouring commentaries like A Life in Invention --- Nicholas Bredimus on Your Leather delving into this subject someone could find one might have taken a bite out of more than just about anyone can chew. One sees many other points of view around the Net.

The idiosyncratic variations between melody and building are the same as those that may be found between past and present. Of course these are such deep topics that they should be examined best through their comparable duplicates in the natural world, for we must recognize a primary metaphysical tenet that our environment everywhere abounds in such symmetry; that our world, in all ways, is positively the exact representation of abstract unities. The spirit that in all places produces concrete things is a type of eternity within all creation; the mind dwelling within the body is different articulation of something like that.

Noting the juncture between them, the dissimilarity in the framework of the ideas presented in harmony and in architecture is self-evident. Melody is interior, transcendant, subjective, communicating wholly to the spirit in unequivocable and all embracing language whose context is both exclusive and intrinsic in the breast of everyone who hears. A constructed dwelling is the exact opposite of this: existing solely and singly for the requirements of the body, it is similar to a a crafted mirror of the living, arriving at exmplary expression only in compromise of many incompatible empirical requirements. Melody is natural enchantment, the voice of the unrestricted and ever chasnging soul of things; building design is that beauty confined in a shape.