element felt by the many. Your concern is not as formerly to recollect,
but to symbolize. To this end you study frieze and statuary and frequent
lectures. Your sense of social solidarity grows through mutual
comprehension of the same truths.

And again that 'vexing, forward reaching sense of some more noble
permanence' urges you on. 'Time was;' you joyously affirm for man to
come to the knowledge of an eternal self. But that, your tradition and
education have led you to believe, is still yonder, worlds away. And you
image the soul in its quest passing from life to life as you are now
passing from building to building, from hall to hall. But glad the
thought - there will be courts wherein you may perhaps glimpse the plan
of the whole and so gather strength and purpose for another housing. All
at once you know that death has no fear for you and you feel toward your
present life as you do toward these Palaces of the Mundane - the sooner
compassed the better.

You pass from court to edifice and from edifice to court, marveling at
the symmetry of plan and structure. Unity, balance, and harmony become
manifest as spatial properties - you had been taught to regard them as
principles of art. You wonder if art itself may not be merely a matter
of right placing - the adjustment of a thing to its environment. You are
certain that this is so as each coign and niche offers you its
particular insight. Strange vagaries float through your mind - one's
duty to the inanimate things of one's possession; the house too large
for the personality of the owner; the right setting for certain
idiosyncrasies; character building as a constructive process; the ideal
as the limit of an infinite series - each pointing the way, as you
think, to a different vista of human outlook. What then your glad
surprise to find these converging toward one ideal synthesis. In