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the centron, the pivot of action between the brain and the body. From this point we see that a line drawn to the base of the nose and another to the top of the nose will include an angle of thirty degrees, or one

twelfth of a circle. The mouth and chin form the same angle and so does the forehead. The groups of culture, religion and rulership each form a twelfth at the top of the head. Industry, wealth and commerce each form an angle at

the back. There is no other scale that will measure the parts of the head from the great center.

Twelve squares drawn in each direction will accurately divide off the
proportions of the various parts of
the human form. This scale applies

to both the external and the internal parts. Thus
the brain is a twelfth, the heart and lungs form
another twelfth, and the pelvic organs another. The
extended arms reach as far as the person is tall; "the
he ght, length and breadth are equal, " as was said of
the New Jerusalem when speaking of this "Measure
of a Man." This scale applies to every well-proportioned adult person, as well as to the great works of
ancient and modern statuary. It was discovered

by William Page, a distinguished artist. The scale for the head was discovered by the author.

The number twelve is therefore the basis of construction in both the body and the brain. These squares form a series of trinities. The face includes three angles, there are three above, three behind and three below. The forearm has three squares; the rest of the arm has three, ending in the pectoris muscle at the breast-bone. The lower leg has a trinity, and the upper leg another.

The law of the trinity is a universal law, expressing, as it does, what are basic properties of both matter and spirit. A trinity may have a pivot and two wings. In every mathematical problem or example two things are given to find a third. Three dimensions, length, breadth and thickness, include all others.

The harmonies of music are based upon purely mathematical relations. The sweet blending of voices in song and the noble symphony of instruments, are each under the strict physical laws of science. For in science we shall find graceful beauty and gentle sweetness no less than in the works of art.

The laws of music are exemplified in mental action, and these same laws of mental rhythm must govern the form, proportion and arrangement of parts in architecture. In general, any mental organ may exchange and cooperate with the third, the fifth or the eighth one, either directly above or below, or in front of itself. This responsive action corresponds to the chords in music. And music seems attractive and harmonious to us because its chords are like those which belong in our mental and physical structure.


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