Taine separates music ("properly so called" as distinguished from dramatic music) and architecture from the imitative arts, as they "combine mathematical relationships so as to create works that do not correspond with real objects."[c] Obviously the whole purpose of dramatic music is to imitate the effects of the passions, but its necessary inclusion amongst the imitative arts upsets the dictum of Taine, for the emotional effects of one kind of music only differ from those of another kind when they differ at all, in the character of the natural emotional effects represented. In the case of the architect, seeing that his art is subordinated to utility, his scheme, his measurements, and the character of his materials, are largely or almost entirely governed by conditions outside of his art, and consequently it is only possible for him to represent nature to a limited extent. Rarely can he vaguely suggest a natural aisle beneath the celestial dome, a rock-walled cave whose roof soars into obscurity, or a fairy grotto backed by a beetling cliff. Sometimes he may cause us to experience similar effects in kind to those we feel when we recognize grandeur in nature, but usually he is compelled to confine his beauty to harmonies produced by symmetrical designs of straight lines and curves. But in his simplest as in his most complex designs, he must follow nature as closely as possible. Purely ornamental forms always appear more beautiful when the parts have a direct mathematical relationship with each other than when they have not; that is to say, when the parts appear to be naturally related. Thus, that a cross appears to be less agreeable to the sight when the horizontal bar is below the centre of the perpendicular than when it is above this point, is due to what appears to be a want of balance because the form is unobservable in nature. In trees the horizontal parts are usually above the middle of the height of the observable trunk, and in the exceptions nature gives the whole tree a conical or other shape, the relative position of the horizontal parts being obscured in the general form. As with parts of forms, so with the forms as wholes. Other things being equal, that design is the best where the forms are directly proportioned one with the other and with the whole, and this is because we are accustomed to the order of design in nature where everything is balanced by means of direct proportions and corresponding relations. The architect therefore, like the musician or poet, must represent nature so far as he can within the limits of his art, though his representation is comparatively weak owing to the artificial restrictions imposed upon him. [a] Article on "Fine Arts," _Encyclopædia Britannica_, 11th Edition. [b] _The Expression of the Emotions in Man and Animals._ [c] _On the Ideal in Art._ NOTE 20. PAGE 54