This is the case with crystallisations, the _first_ artistic products of unconscious nature. If we look at a vast plain covered with snow, a feeling of sublime cold and wretchedness overcomes us; but if we take up one isolated snow-flake, and place it under a microscope, we find that the elements of the crystallised drop of water surround with harmonious regularity a common centre, which is the body, from which radiate as integral parts the diversified forms of the flake. In studying snow-flakes, we find that the three dimensions of space--height, breadth, and depth, limited by symmetry, proportion and direction--are the principal elements of every form which in itself has to represent a detached total. In all the crystallisations there is one ‘momentum’ of formation--the centre, from which all the parts emanate perfectly well-balanced and complete in themselves. The elements of which all artistic works, whether natural or produced by men, are composed, are the straight line and the waving line. With these elements we can obtain the three principal conditions of every work of art--symmetry, proportion, and direction. Snow-flakes may be used in any direction, and therefore they may be set down as without distinct direction. The rays with their radiation, however, are formed according to the principal law of the universe. They represent the _dynamic_ force; they strive at isolation from the centre which must be looked upon as their _static_ momentum. Thus in the first artistic products of nature positive and negative, or rather dynamic and static forces are clearly perceptible. The horizontal line is the representative of the static, whilst the vertical line is the indicator of the dynamic force. SYMMETRY _is a perfect equality of form to the right and left of a vertical line on a horizontal base_. EURYTHMY _consists in a repetition of variegated forms_. In order to produce eurythmy we must confine symmetry within a certain compass; for this purpose we have the _frame_. Our doors are nothing but frames for the entering or departing individuals; as our windows are frames for the landscape, sky, or walls on which we look, or for ourselves when seen from without. The frame, whether it be real or imaginary, as the correct limitation of forms, is of the very highest importance in decorative and pictorial art. Eurythmy may be alternating. This alternating principle is observed in metopes and triglyphs. The alternation may be interrupted by a cæsura (a mark or sign of rest). Masks, heads of lions, or any other figures may form the cæsura, as decorative elements in the long lines of the tops of houses, palaces, or temples. The cæsura, combined with eurythmy and symmetry, will give us the best patterns for flat decorations, as in carpets, paper-hangings, keramic works and metal or wood ornaments.