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 or the other of them, and may be classified accordingly. In such a
classification music is seen to be allied to time, and architecture to
space, because music is successive in its mode of manifestation, and
in time alone everything would occur successively, one thing following