fulfilment beauty depends, are not consciously present in the mind of
the artist who creates the work, or of the observer who contemplates
it." Nevertheless they are discoverable, and can be formulated,
after a fashion. We have only to read aright the lessons everywhere
portrayed in the vast picture-books of nature and of art.

The first truth therein published is the law of _Unity_--oneness; for
there is one Self, one Life, which, myriad in manifestation, is yet
in essence ever _one_. Atom and universe, man and the world--each is
a unit, an organic and coherent whole. The application of this law to
art is so obvious as to be almost unnecessary of elucidation, for to
say that a work of art must possess unity, must seem to proceed from a
single impulse and be the embodiment of one dominant idea, is to state
a truism. In a work of architecture the coördination of its various
parts with one another is almost the measure of its success. We
remember any masterpiece--the cathedral of Paris no less than the
pyramids of Egypt--by the singleness of its appeal; complex it may be,
but it is a coordinated complexity; variety it may possess, but it is
a variety in an all-embracing unity.

The second law, not contradicting but supplementing the first is the
law of _Polarity_, i.e., duality. All things have sex, are either
masculine or feminine. This too is the reflection on a lower plane
of one of those transcendental truths taught by the Ancient Wisdom,
namely that the Logos, in his voluntarily circumscribing his infinite
life in order that he may manifest, encloses himself within his
limiting veil, _maya_, and that his life appears as spirit (male), and
his _maya_ as matter (female), the two being never disjoined during
manifestation. The two terms of this polarity are endlessly repeated
throughout nature: in sun and moon, day and night, fire and water, man