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TOWARDS A NEW ARCHITECTURE
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BELLANGER. SALOON
In this period of science, of strife and drama in which the individual is violently tossed about at every moment, the Parthenon appears to us as a living work, full of grand harmonics. The sum of its inevitable elements gives the measure of the degree of perfection to which man can attain when he is absorbed in a problem definitely stated. The perfection in this case is so much outside the normal, that our apprehension of the Parthenon can only correspond nowadays with a very limited range of sensation, and, unexpectedly enough, with sensations of a mechanical kind; its correspondence is rather with those huge impressive machines with which we are familiar and which may be considered the most perfect results of our
