Author's Introduction
ment; our system of notation, which has made possible the composition and production of modem musical works, and thus their very survival; our sonatas, symphonies, operas; and finally, as means to all these, our fundamental instruments, the organ, piano, violin, etc.; all these things are known only in the Occident, although programme music, tone poetry, alteration of tones and chromatics, have existed in various musical traditions as means of expression.
In architecture, pointed arches have been used elsewhere as a means of decoration, in antiquity and in Asia; presumably the combination of pointed arch and cross-arched vault was not unknown in the Orient. But the rational use of the Gothic vault as a means of distributing pressure and of roofing spaces of all forms, and above all as the constructive principle of great monumental buildings and the foundation of a style extending to sculpture and painting, such as that created by our Middle Ages, does not occur elsewhere. The technical basis of our architecture came from the Orient. But the Orient lacked that solution of the problem of the dome and that type of classic rationalization of all art—in painting by the rational utilization of lines and spatial perspective—which the Renaissance created for us. There was printing in China. But a printed literature, designed only for print and only possible through it, and, above all, the Press and periodicals, have appeared only in the Occident. Institutions of higher education of all possible types, even some superficially similar to our universities, or at least academies, have existed (China, Islam). But a rational, systematic, and specialized pursuit of science,
