Manasara Series (I. A Dictionary of Hindu Architecture; II. Indian Architecture according to Manasara-Shilpashastra; III. Manasara on Architecture and Sculpture: Sanskrit Text; IV. Architecture of Manasara: Translation; V. Architecture of Manasara: Illustrations; VI. Hindu Architecture in India and Abroad; VII. An Encyclopaedia of Hindu Architecture) v2.c16.57

v2.c16.57

“Thus also, in the other sciences,” concludes Vitruvius, “it is not important that pre-eminence in each be gained; but he must not, however, be ignorant of the general principles of each. For in such a variety of matters, it cannot be supposed that the same person can arrive at excellence in each, since to be aware of their several niceties and bearings, cannot fall within his power . . . . . . . Wherefore Pythius seems to have been in error, forgetting that art consists in practice and theory. Theory is common to, and may be known by all, but the result of practice occurs to the artist in his own art only. The physician and musician are each obliged to have some regard to the beating of the pulse, and the motion of the feet, but who would apply to the latter to heal a wound or cure a malady? So, without the aid of the former, the musician affects the ears of his audience by modulations upon his instrument. The astronomer and musician delight in similar proportions, for the positions of the stars, which are quartile and trine, answer to a fourth and fifth in harmony. . . . . Throughout the whole range of art, there are many incidents common to all. Practice alone can lead to excellence in any one. That architect, therefore, is sufficiently educated, whose general knowledge enables him to give his opinion on any branch when required to do so. Those unto whom nature has been so bountiful that they are at once geometricians, astronomers, musicians, and skilled in many other arts go beyond what is required of the architect.”