If, however, a house is built, as some Tudor and Georgian houses were, with an eye to simple proportion which must not be violated, but otherwise with the realisation that it had to be lived in, and that it must be designed solely with this end in view, the result is eminently pleasing. There is no falsity, no attempt to mingle irreconcileables, no striving after a beauty that cannot be achieved because it is without meaning in such a connection. We may now turn to music, in some ways the most difficult of all. Beginning with the evolutionary aspect, as with linguistic art we find its origin in the relation of beasts to each other and to the world. The mating-call, the crooning of passion and of satisfied well-being, the warning of danger, the hunting call, the sound of the wind, the sea, the river, the “going in the tops of the trees,” provide the ground-work of both, expressing the relation of beast to beast, and beast to thing. But, as we have seen, such calls, such sounds, and the language to which they give rise, are episodic. The sense of unity and endurance is lost. Just as, over against the visual symbols of episode which constitute the beginnings of literature we find the visual symbols of unity and static endurance which characterise pictorial art, so too we find the auditory symbols of episode that make speech, and the auditory symbols of unity that make music. We saw that, to preserve the episode of speech, visual symbolism is eventually called in. Even to-day the untrained reader has to form the sound with his lips as he reads; for the more expert the visual symbol definitely represents the sound: the written symbols have their own timbre. So too with music. To preserve the unity from being lost, it comes at last to be symbolised visually, and there are many who can hear the music as they read the score. Both the letter on the page and the notes on the stave are symbols of the second degree--symbols of symbols--for what they symbolise is in itself the symbol of the artist’s intuition of a unity in multiplicity. This in parenthesis. We have said that in purely episodic sound such as the danger-call and the mating-call the sense of unity is absent. Doubtless no call is really and wholly episodic, in man at any rate, but it cannot be questioned that the episode is predominant. The sense of relation is transient; the economic need is all important.