And if you wish to receive of the ancient city an impression with which the modern one can no longer furnish you, climb — on the morning of some grand festival, beneath the rising sun of Easter or of Pentecost — climb upon some elevated point, whence you command the entire capital; and be present at the wakening of the chimes. Behold, at a signal given from heaven, for it is the sun which gives it, all those churches quiver simultaneously. First come scattered strokes, running from one church to another, as when musicians give warning that they are about to begin. Then, all at once, behold! — for it seems at times, as though the ear also possessed a sight of its own, — behold, rising from each bell tower, something like a column of sound, a cloud of harmony. First, the vibration of each bell mounts straight upwards, pure and, so to speak, isolated from the others, into the splendid morning sky; then, little by little, as they swell they melt together, mingle, are lost in each other, and amalgamate in a magnificent concert. It is no longer anything but a mass of sonorous vibrations incessantly sent forth from the numerous belfries; floats, undulates, bounds, whirls over the city, and prolongs far beyond the horizon the deafening circle of its oscillations.

Nevertheless, this sea of harmony is not a chaos; great and profound as it is, it has not lost its transparency; you behold the windings of each group of notes which escapes from the belfries.

Writing about music is like dancing about architecture.

Writing about music is like dancing about architecture.

Writing about music is like dancing about architecture.

I have found a paper of mine among some others in which I call architecture 'petrified music.' Really there is something in this; the tone of mind produced by architecture approaches the effect of music.

Music is liquid architecture; Architecture is frozen music.

Towered cities please us then,
And the busy hum of men.

11. We shall sing the great masses shaken with work, pleasure, or rebellion: we shall sing the multicolored and polyphonic tidal waves of revolution in the modern metropolis; shall sing the vibrating nocturnal fervor of factories and shipyards burning under violent electrical moons; bloated railroad stations that devour smoking serpents; factories hanging from the sky by the twisting threads of spiraling smoke; bridges like gigantic gymnasts who span rivers, flashing at the sun with the gleam of a knife; adventurous steamships that scent the horizon, locomotives with their swollen chest, pawing the tracks like massive steel horses bridled with pipes, and the oscillating flight of airplanes, whose propeller flaps at the wind like a flag and seems to applaud like a delirious crowd.

Over the darkened city, the city of towers,
The city of a thousand gates,
Over the gleaming terraced roofs, the huddled towers,
Over a somnolent whisper of loves and hates,
The slow wind flows, drearily streams and falls,
With a mournful sound down rain-dark walls.

To many-towered Camelot

Our hands are hot and raw with the stones we have laid,
We have built a tower of stone high into the sky,
We have built a city of towers.

The telegraph press mosaic is acoustic space as much as an electric circus.

Talking about music is like dancing about architecture.

Music, the mosaic of the air