An Uncanny Similarity

It's something of a marvel to us that no one (or, rather, no one to our knowledge) has made note of the uncanny similarity — a similarity approaching an almost virtual identity — between composer Richard Wagner and the great American architect Frank Lloyd Wright in both their personal and professional lives, and, mutatis mutandis, in their respective artistic domains. A proper examination of this uncanny similarity would require a full-scale dissertation replete with detailed examples to do justice to; a project we might at some later time actually undertake should the opportunity to get paid for it ever present itself. For the nonce, however, we'll rest content merely to note the uncanny similarity and bullet-point a few of its features that don't require a detailed exegesis.

⚫ Born some 54 years apart, the later having no special interest in or special knowledge of the earlier, both men, from childhood on, were (in)famous for their unfettered arrogance and monstrous ego, for their sense of their own glorious destiny not only in their respective artistic domains but as saviors of an entire culture, and for their perfect awareness of and absolute belief in the supremacy of their own respective stellar genius. In all these respects, both men would have made even Napoleon blush.
⚫ Both men were, by nature, tyrannical sorts incapable of understanding or seeing things in any way but their own, both insisting that others see things their way as well or risk public censure for their impertinence and stupidity. Yet both men were utterly charming when it suited them to be so, and attracted the devotion of men and the attentions of women throughout their lives despite their less than imposing physical stature (they were both only about 5 1/2 feet tall) and less than movie-star good looks.
⚫ Both men were extravagant and eccentric in their needs and desires, incapable of living within their means, and expert in manipulating others to supply their wants without any realistic regard to ever repaying the debt.
⚫ In the glare of vicious widespread public censure, both men escaped bourgeois marriages to acquire a wife who was at the time of wooing married to another; a wife devoted totally to the serving of each man's needs and the nurturing of his special genius, and who devoted herself to carrying on her husband's work and preserving and enlarging his legacy after his death.
⚫ Both men wrote autobiographies that were largely commercials for the self, replete with the half-truths and falsehoods, large and small, such an enterprise requires.
⚫ Both men founded institutions as monuments to themselves and their art: Wagner, the Bayreuther Festspiele, and Wright, the Taliesin Fellowship, both of which are today still in existence.
⚫ Both men had little love or reverence for the status quo in their respective artistic domains, and struck out on their own creatively as their respective genius dictated without regard to the practical consequences of their actions, and in the process created revolutionary and enduring masterpieces which won the accolades of their fellows, the informed critical press, and the educated public alike, and reserved for both artists an exalted place in their respective artistic domains and in the domain of Art that remains unchallenged to this day.
⚫ Both men were intransigent anti-Semites.