ne of each of the great architectural styles, harmonizing them into
one whole."

"It is the first new idea in architecture since the 13th century,"
declared a distinguished architect, H. Van Buren Magonigle, President of
the Architectural League, after gazing upon a plaster model of the Temple
on exhibition in the Engineering Societies Building in New York, in June
1920. "The Architect," he, moreover, has stated, "has conceived a Temple
of Light in which structure, as usually understood, is to be concealed,
visible support eliminated as far as possible, and the whole fabric to
take on the airy substance of a dream. It is a lacy envelope enshrining an
idea, the idea of light, a shelter of cobweb interposed between earth and
sky, struck through and through with light--light which shall partly
consume the forms and make of it a thing of faery."

"In the geometric forms of the ornamentation," a writer in the well-known
publication "Architectural Record" has written, "covering the columns and
surrounding windows and doors of the Temple, one deciphers all the
religious symbols of the world. Here are the swastika, the circle, the
cross, the triangle, the double triangle or six pointed star (Solomon's
seal)--but more than this--the noble symbol of the spiritual orb ... the
five pointed star; the Greek Cross, the Roman cross, and supreme above
all, the wonderful nine pointed star, figured in the structure of the
Temple itself, and appearing again and again in its ornamentation as
significant of the spiritual glory in the world today."

"The greatest creation since the Gothic period," is the testimony of
George Grey Barnard, one of the most widely-known sculptors in the United
States of America, "and the most beautiful I have ever seen."

"This is a new creation," Prof. Luigi Quaglino, ex-professor of
Architecture from Turin declared, after viewing the model, "which will
revolutionize architecture in the world, and it is the most beautiful I
have ever seen. Without doubt it will have a lasting page in history. It
is a revelation from another world."

"Americans," wrote Sherwin Cody, in the magazine section of the New York
Times, of the model of the Temple, when exhibited in the Kevorkian Gallery
in New York, "will have to pause long enough to find that an artist has
wrought into this building the conception of a Religious League of
Nations." And lastly, this tribute paid to the features of, and the ideals
embodied in, this Te