nation that it is quoted here entire.

A young man who has "finished his education" at the
architectural schools comes to me for a post-graduate
course--hence a free form of dialogue.

I proceed with his education rather by indirection and
suggestion than by direct precept. I subject him to certain
experiences and allow the impressions they make on him to
infiltrate, and, as I note the effect, I gradually use a
guiding hand. I supply the yeast, so to speak, and allow the
ferment to work in him.

This is the gist of the whole scheme. It remains then to
determine, carefully, the kind of experiences to which I shall
subject the lad, and in what order, or logical (and especially
psychological) sequence. I begin, then, with aspects that
are literal, objective, more or less cynical, and brutal, and
philistine. A little at a time I introduce the subjective,
the refined, the altruistic; and, by a to-and-fro increasingly
intense rhythm of these two opposing themes, worked so to
speak in counterpoint, I reach a preliminary climax: of
brutality tempered by a longing for nobler, purer things.

Hence arise a purblind revulsion and yearning in the lad's
soul; the psychological moment has arrived, and I take him
at once into the _country_--(Summer: The Storm). This is the
first of the four out-of-door scenes, and the lad's first
real experience with nature. It impresses him crudely but
violently; and in the tense excitement of the tempest he is
inspired to temporary eloquence; and at the close is much
softened. He feels in a way but does not know that he has been
a participant in one of Nature's superb dramas. (Thus do
I insidiously prepare the way for the notion that creative
architecture is in essence a dramatic art, and an art of
eloquence; of subtle rhythmic beauty, power, and tenderness).

Left alone in the country the lad becomes maudlin--a callow
lover of nature--and makes feeble attempts at verse. Returning
to the city he melts and unbosoms--the tender shaft of the
unknowable Eros has penetrated to his heart--Nature's subtle
spell is on him, to disappear and reappear. Then follow
discussions, more or less didactic, leading to the second
out-of-door scene (Autumn Glory). Here the lad does most of
the talking and shows a certain lucidity and calm of mind. The
disc