the pyramidal, symmetrical shape, and being moulded to symmetry
by all other suggestions of technique; the other aiming at
nothing except logical clearness. This antithesis of the
symbol and the story has a most interesting parallel in the two
great classes of primitive art--the one symbolic, merely suggestive,
shaped by the space it had to fill, and so degenerating into the
slavishly symmetrical; the other descriptive, "story-telling," and
without a trace of space composition. On neither side is there
evidence of direct aesthetic feeling. Only in the course of
artistic development do we find the rigid, yet often unbalanced,
symmetry relaxing into a free substitutional symmetry, and the
formless narrative crystallizing into a really unified and
balanced space-form. The two antitheses approach each other in
the "balance" of the masterpieces of civilized art--in which, for
the first time, a real feeling for space composition makes itself
felt.



V
THE BEAUTY OF MUSIC


V
THE BEAUTY OF MUSIC

I

THERE is a story, in Max Muller's amusing reminiscences, of
how Mendelssohn and David once played, in his hearing, Beethoven's