new glory to architecture
is sure. This will come about in two ways: directly, by giving color,
quality, subtlety to outdoor and indoor lighting, and indirectly by
educating the eye to color values, as the ear has been educated by
music; thus creating a need for more color everywhere.

As light is the visible symbol of an inner radiance, so is color the
sign manual of happiness, of joy. Our cities are so dun and drab in
their outward aspects, by reason of the weight of care that burdens
us down. We decry the happy irresponsibility of the savage, and the
patient contentment of the Oriental with his lot, but both are able
to achieve marvels of color in their environment beyond the compass
of civilized man. The glory of mediaeval cathedral windows is a still
living confutation of the belief that in those far-off times the human
heart was sad. Architecture is the index of the inner life of those
who produced it, and whenever it is colorful that inner life contains
an inner joy.

In the coming Golden Age life will be joyous, and if it is joyous,
colour will come into architecture again. Our psychological state even
now, alone prevents it, for we are rich in materials and methods to
make such polychromy possible. In an article in a recent number
of _The Architectural Record_, Mr. Leon V. Solon, writing from an
entirely different point of view, divines this tendency, and expresses
the opinion that color is again renascent. This tendency is so marked,
and this opinion is so shared that we may look with confidence toward
a color-evolution in architectural art.

The question of the character of what may be called the ornamental
mode of the architecture of the New Age is of all questions the most
obscure. Evolution along the lines of the already existent does not
help us here, for we are utterly without any ornamental mode from
which a new and better might conceivably evolve. Nothing so betrays
the spiritual bankruptcy of the end of the Iron Age as this.

The only light on this problem which we shall find, dwells in the
realm of metaphysics rather than in the world of material reality.
Ornament, more than any other element of architecture, is deeply
psychological, it is an externalization of an inner life. This is
so true that any time-worn fragment out of the past when art was
a language can usually be assigned to its place and its period, so
eloquent is it of a particular people and a particular time. Could we
therefore det