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ARCHITECTONIC ART, the, is in its essential perfection in heaven, and hence are derived all the rules of that art in the world, 12. ARMIES of the Lord Jehovah. Thus the most ancient people called themselves, 75. ARTIFICERS in the spiritual world, 207: wonderful works which they execute there, 207. ASSAULT. How love defends itself when assaulted, 361.
Thus the architectonic interest of reason, which requires a unity not empirical, but a priori and rational forms a natural recommendation for the assertions of the thesis in our antinomy.
Surely this is a poet that has got an inkling, in some way, of the new idea of an experimental philosophy, of a combination of the human faculties of sense and reason in some organum; one, too, whose eye passes lightly over the architectonic gifts of univalves and bivalves, and entomological developments of skill and forethought, intent on that great chrysalis, which has never been able to publish yet its Creator's glory.
Thus it is now free arbitration which rules the beautiful. If nature has furnished the architectonic beauty, the soul in its turn determines the beauty of the play, and now also we know what we must understand by charm and grace. Grace is the beauty of the form under the influence of free will; it is the beauty of this kind of phenomena that the person himself determines.
In festal illuminations of the harbor pitch cressets on the roof, and long rows of lamps that accumulated architectonic features of the noble structure, were always kindled; but inside it, no blaze so brilliant had ever lighted it within the memory of man.
Indeed, the great regulative force of every human spirit is not so much the present and the past present opportunity and past experience as future ideality. The architectonic principle of life is not the momentum that sweeps down to us from the years that have been, but the ideal that lies deep in the years that are yet to be.
The unity, however, thus aimed at, and achieved, is very different from the cyclic or architectonic unity described above, and of a much less definite character. It remains to say a few words concerning the language of the Calender and the rough accentual metre in which parts of it are composed, since both have a particular bearing upon Spenser's attitude towards pastoral in general.
When he saw these things, he was amazed, and said, "What do I see? I see magnificent objects in their own real magnificence, and architectonic objects in their own real art." At that instant the angel again closed his external sight, and opened the internal, which was evil because filthily adulterous: hereupon he exclaimed, "What do I now see?
Thus, it is nature alone who takes upon herself the architectonic beauty of man, because here, from the first design, she had been charged once for all by the creating intelligence with the execution of all that man needs in order to arrive at the ends for which he is destined, and she has in consequence no change to fear in this organic work which she accomplishes.
While they were struck with astonishment at these magnificent sights, the angel said, "Be not surprised; the things which you now behold are not the production and workmanship of any angelic hand, but are framed by the Builder of the universe, and presented as a gift to our prince; wherefore the architectonic art is here in its essential perfection, and hence are derived all the rules of that art which are known and practised in the world."
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