DIVERSITY IN MONOTONY
Another principle of natural beauty, closely allied to the foregoing, its complement as it were, is that of Diversity in Monotony—not identity, but difference. It shows itself for the most part as a perceptible and piquant variation between individual units belonging to the same class, type, or species.
No two trees put forth their branches in just the same manner, and no two leaves from the same tree exactly correspond; no two persons look alike, though they have similiar members and features; even the markings on the skin of the thumb are different in every human hand. Browning says,
"As like as a hand to another hand!
Whoever said that foolish thing,
Could not have studied to understand—"
Now every principle of natural beauty is but the presentment of some occult law, some theosophical truth; and this law of Diversity in Monotony is the presentment of the truth that identity does not exclude difference. The law is binding, yet the will is free: all men are brothers united by the ties of brotherhood, yet each is unique, a free agent, and never so free as when most bound by the Good Law. This truth nature beautifully proclaims, and art also. In architecture it is admirably exemplified in the metopes of the Parthenon frieze: seen at a distance these must have presented a scarcely distinguishable texture of sunlit marble and cool shadow, yet in reality each is a separate work of art. So with the capitals of the columns of the wonderful sea-arcade of the Venetian Ducal palace: alike in general contour they differ widely in detail, and unfold a Bible story. In Gothic cathedrals, in Romanesque monastery cloisters, a teeming variety of invention is hidden beneath apparent uniformity. The gargoyles of Notre Dame make similiar silhouettes against the sky, but seen near at hand what a menagerie of monsters! The same spirit of controlled individuality, of liberty subservient to the law of all, is exemplified in the bases of the columns of the temple of Apollo near Miletus—each one a separate masterpiece of various ornamentation adorning an established architectural form (Illustration 28).
[Illustration 28]
[Illustration 29]
The builders of the early Italian churches, instinctively obeying this law of Diversity in Monotony, varied the size of the arches in the same arcade (Illustration 29), and that this was an effect of art and not of accident or carelessness Ruskin long ago discovered, and the Brooklyn Institute surveys have amply confirmed his view. Although by these means the builders of that day produced effects of deceptive perspective, of subtle concord and contrast, their sheer hatred of monotony and meaningless repetition may have led them to diversify their arcades in the manner described, for a rigidly equal and regular division lacks interest and vitality.