familiar hills and valleys, but on a stark, strange, devastated
landscape, the ploughed land of some future harvest of the years.
It is the end of the Age, the _Kali Yuga_--the completion of a major
cycle; but all cycles follow the same sequence: after winter, Spring;
and after the Iron Age, the Golden.

The specific features of this organic, divinely inspired architecture
of the Golden Age cannot of course be discerned by any one, any more
than the manner in which the Great Mystery will present itself anew to
consciousness. The most imaginative artist can imagine only in
terms of the already-existent; he can speak only the language he has
learned. If that language has been derived from mediaevalism, he
will let his fancy soar after the manner of Henry Kirby, in his
_Imaginative Sketches_; if on the contrary he has learned to think in
terms of the classic vernacular, Otto Rieth's _Architectur-Skizzen_
will suggest the sort of thing that he is likely to produce. Both
results will be as remote as possible from future reality, for the
reason that they are so near to present reality. And yet some germs of
the future must be enfolded even in the present moment. The course
of wisdom is to seek them neither in the old romance nor in the new
rationalism, but in the subtle and ever-changing spirit of the times.

[Illustration: PLATE IX. ARCHITECTURAL SKETCH BY OTTO RIETH]

The most modern note yet sounded in business, in diplomacy, in social
life, is expressed by the phrase, "Live openly!" From every quarter,
in regard to every manner of human activity, has come the cry, "Let
in the light!" By a physical correspondence not the result of
coincidence, but of the operation of an occult law, we have, in a very
real sense, let in the light. In buildings of the latest type devoted