The Cargo Unveiled LECT 22-1 The 'surface-scripting' design was going-on while the body of the building itself was in the full flood of detailed invention, with the contract documentation and procurement that this requires in every sphere, technical, financial and legal, not to mention aesthetic detail. I found that iconic engineering and physical, or spatial, engineering were native to such different parts of my mentaility that the switch between them was most swiftly effected by a short nap. Sleep acts like the reset button in an electronic circuit. The 26M (82'0")-high vertical narrative of the eight registers of humanity's ontogenic and phylogenetic history is shown, fully assembled, on the right. The four tall, 19C, hospital, floors and the four low 20C ones can be discerned. A decision had been made by the Client Body to research the idea of a 'painted ceiling'. Glass roofs entailed air-conditioning and Scheerbart's 'Glasarchitektur' (published 1914), had been done to death by the 1990's. A 1: 50 model of the Gallery-space was built so that this proposal could be studied. On entering the Gallery one obtains a mainly JOA found this useful as we could then fractured view of these enormous columns, the wall-paper it with 1:50-scale print-out of largest single cylinders, by volume, in Britain. our surface scripting designs. When these This alternation of floors containing giant drums were photographed, the distant parts were and a Gallery ringed by whole shafts prevents the blurred by the short focal depth of a lens mind from sharing the paranoia of the neo-Neo- opened to admit the dim light of the model Classicists who think that authenticity lies on the interior. It gave a realistic effect of scale. Vitruvian numeromancy of 'correct proportion'. Lord Fawsley, during his long Chairmanship of the Royal fine Arts Commission, wrote to Cambridge University commending our ambition by recommending "the services of a reputable painter". His manner, which his own wit could not help describing as that of a "French Archbishop", was such as to lead one to suppose that Gianbattista Tiepolo might still be in the Venetian Telephone Directory. Perhaps only in Britain, in that year of 1991, could the Appointed Ombudsman of architectural taste propose 'a painted (Classical) ceiling' for the Business School of its premier scientific university. One has to admire the 'sang-froid' if not the inability to translate taste into reality. But I could not afford to be over-critical of a project which I held to be of supreme importance to my own project, that of creating the means to an inward-looking dimension to the modern lifespace which, it seemed to me, was necessary to facilitate that co-habitation of human beings I was pleased to call Urbane (rather than merely urban). Yet, while I, personally, felt capable of designing the inscriptions for the relatively circumscribed canvas of some column-drums, I felt incapable of composing a whole ceiling some 30 M (100'0") in length. Nothing in the late-20C training or practice of an Architect prepares one for such a dimension! Elizabeth Gregory was an architect in JOA with a huge talent for graphics. Her papier-maché collages remain collectors pieces. I was happy to leave the ceiling to Elisabeth while I designed the columns as well as led the building team by issuing the 1:5 hand-drawn (coloured-fountain-pen) technical 'sections' described on page 19-03 of Lecture Nineteen: " Ordine Robotico". The 'Edge' (STANDARD!) columns LECT 22-2 LECT 22-3 We papered the ceiling with her sketches and the columns with mine while Jean Murphy translated them into atmospheric water- colours showing the entry of the morning sun through the 'light shelves' that blocked-out the more vertical noon-day rays. The Client Body of the Judge asked us to proceed but made the criticism that my scriptings divided the columns horizonally so much that it interfered with one's aesthetic appreciation of the column's verticality. I did not share this aesthetic discomfort. None of my Committee could decipher the vertical narratives that played up and down this merely tubular form. I responded by dismembering the notebooks which narrated their genesis, some pages of of which I have made into Lecture 20: "Learning to Write". I wrote a commentary to each of these 200 pages. To my surprise, instead of soothing a bruised syntax with the balm of a revealed semantic, it led to a more heightened alarm at the thought of a 'English' building being invaded by 'Indian' ideas. But so what? What was 'Classical' culture anyway but a brilliant reinvention of Sumeria, India, Egypt, Crete and all points East of Athens? Only Celts lay to the West! JOA were designing the Exhibition "Pugin, a Gothic Passion", for the V&A Museum. I learned that our 'state style' of Gothic had been imposed on Britain by a small pressure group, JOA has attracted more than one talented water-colourist. Jean Murphy, led by Disraeli, called "New Britain". Gothic whose work this is, first came to me with her Thesis Project for the signed the rejection of Napoleon and the French technical study of a building. This happened to be my Pumping Station Revolution. 19c neo-Feudalism rejected the in the Isle of Dogs. She had been failed, as an external student, by a Enlightenment and the Rule of Reason which jury appointed by my Royal Institute of British Architects. Her work Britain had previously led for two centuries. My seemed technically sound. But what struck one on reading it was that V&A researches indicated that not only was Jean had taught herself sufficient ancient Egyptian hieroglyphics to pen this regressive politics, but that High Gothic, as a page of them, with water-colour drawings of splendid wit and detail, a style with pointed arches, was descended from recommending my building to the English Pharaoh-to-be, the young Buddhist architecture and mediated by Saracenic. Prince of Wales. When combined with photographs of local inhabitants High Gothic itself had been deliberately invented quipping "wicked, innit" I found her 'failure' hard to stomach. (in 1120) by the Abbé Suger: a French Bishop ambitious to promote Frankish political and I happened to know the chairman of her jury. Malcolm Higgs was now military dominance. the Professor of Architectural History at Edinburgh and a school-mate of mine at the Architectural Association where he had achieved fame by Plus ca change. espousing a radical primitivism in his aesthetics, his building technology and the aggressively Christian ideology of Andrew Anderson and Not that I was unsympathetic to my Quinlan Terry. I was sure that it could not be he who wanted to exclude Committee's aesthetic doubts. I merely this very talented, hard-working, self-taught, but 'non-conforming' feared their reasonings. The columns Student. It had to be some dumb 'Welfare Modernist'. I wrote to him and would undoubtedly be more striking if he saw to it that Jean was passed with a revised, second submission. they looked more sheerly vertical. LECT 22-2 LECT 22-3 Meanwhile, while we had glued Elizabeth's ceiling up into the 1:50 Model, no one, including Elizabeth, was certain that it had succeeded. Then, after I had appeared on a late night T.V. discussion on an Architectural Competition for a new Bus Station for Dublin. a young fresco-painter telephoned to introduce himself as Inigo Rose. When Inigo brought-in his huge (12'0"-long) egg-tempera 'sketch', we made an upwardly-curving foamcore chassis with the 'headprints' of the columns, and hung it from the high ceiling of No. 16 Devonshire Place, W.1., the 18C house in which worked the two floors of JOA. We met our Client Body under it, around an Italian glass and aluminium table. This was always how I had imagined my bureau to be - in a Venetian Palazzo - preferably the Barbaro, under painted ceilings around furniture like the polished metal engines of Bugattis - tools for the hands, thoughts for the mind. We agreed to work on the ceiling. I gave Inigo the phenomenology of Somatic Time that I call 'The Republic of the Valley'. We agreed that, so as to please the Neo-Classical tendency amongst my Clients, we would use an Hellenic Mythology. Inigo returned with the sketch above. It was 4 metres (12 feet) long and painted in the egg tempera used in the 16C. The painting that Inigo produced in We can begin his story at the far end in the perspective view on the six weeks. The 'Fluvial Narrative' left, above, and the bottom end of the plan view seen on the right. runs up the page. LECT 22-4 LECT 22-5 The 'upper-valley' runs from 'Source' to 'Confluence'. Starting on the left, the River of 'Living' Time births in the mandorla-fiuure derived from the shape of the vagina. This 'Tumbling Stream' section ends in 'Confluence' at Right. Inigo showed, above, starting on the left, the Source of the River of Somatic or 'Living', Time. A Gendered Pair, who would be Deucalion and Pyrrha in this Hellenic version, are haloed in the serpentine figures of Cyclic Time. Inigo shows them pulling two circles apart to cleverly reveal, within a 'mandorla' orifice (that originates, in remote Antiquity, from the shape of the vagina), the birth, in mountainous terrain, of the River of Somatic Time. Hermes springs from this union. He was the obvious choice to represent 'business'. Two white ribbons fan out to each side of his 'flow'. They are the two white ribbons held by those who ask for a truce in the eternal combat between men, so as to introduce the opportunity to resolve differences by discourse. His wand of power is also is put to work as the boom of a sail - a nice conceit for it both enables him to fly before the North-West wind and fill his sail with the air upon which his speciality, the 'logos' of discourse, floats out to argue differences with Reason. For Hermes was the Olympian who used talk and cunning instead of the violence, or magic, favoured by many of the other eleven. Hermes carries a scroll that he will use for drawing-up contracts, inventories and invoices. These were the first 'writings'. Hermes promotes literacy - as would be proper in a University. Two figures bracket Hermes. A winged Fortuna (who can be blindfolded), sits, unstably, on a sphere. Her left hand holds a red phone whose other end is a handset with wings of thought. Like an oracle, she 'sees' with words. Fortuna is within a cubic frame that rests upon upright torches with blue flames. Her right hand, as befits a name deriving etymologically from Vortumna, (the revolver of the year), turns the wheel of the 'Confluences' of the River(s) of Time. The second figure is a Drummer, also seated on the globe. He is set within a cave with six sides. Twenty-four torches project from its rim. These 'mesh' like gear-wheels with the twelve, Zodiacal, divisions of the 'Solar' Wheel of Fortune that is the locus of the Confluence. The Figure of Fortune spins the 'wheel of Fate' while the Drummer beats out the 'proton chronon', the metre of time that powers it like a great water-wheel, pumping the River of Time on its way. Opposite the wind, with its pink breath, is a television set. Its screen shows one of the arms of Fortuna, as photographed by an African boy. All three of these 'personae' sit in roofless, cubic, 'rooms' (or are they legless thrones, or small aediculae?). They are flanked by upright torches with blue flames. Between these is a hind on one side and, on the other, a bronze-leaved tree growing from a conch shell. LECT 22-4 LECT 22-5 This second illustration shows the largest single element of Inigo's composition. Inigo represents the 'choros', oor dancing floor, as it is often employed in Claude's pastorales as a circular wheel. The dances of the 'classical' worlld have come down to us as cicling figures that coil and uncoil as do the figures of cyclic and linear time that are one of my prinipal icons. This also called the Confluence, and the Crossing, because it coincides with the vertical axis found in the more artificially Architectural versions of the horizontal narrative of the River of Somatic Time . The inverted, downward-pointing torch signs the end of life. The upright signs vitality. A blue flame is clearly not 'naturalistic'. Inigo thought of it as signing the idea that the objects 'enthroned' within the little cream-painted aediculae are not to be 'read' naturalistically. They are to be read as 'ideas'. They are flames that shed the light that comes from the imagination rather than the heat of the body. The tree in its shell would be appropriate to more than one 'event-horizon of the Narrative of the Valley. Inigo has painted two. One is down in the Delta, where its congruence is very exact. for the Delta is the locus of the Flood whose arrival erases and whose departure fertilises in the manner described in my icon relating the congruence of the Forest and the Ocean in signing 'Infinitude'. The 'deadness' of the brown leaves are again a clue that the icon is not to be read naturalistically. Deciduous trees do not grow in the waters of the seas which are the habitat of this sort of shell. Perhaps we can conjure this tree, up near Deucalion and I use the Ocean as the locus of Death in an infinity Pyrrha, as one of the apotropaic pair planted outside the door of their hut, that≈ the 'gendered pair' became after they died. of Illumination. The Forest, contrariwise, births The Hind is also a sign of the wild and 'innocent' quality of this the River of Living Time from its infinite stasis of 'Tumbling Stream' section. The myth of Artemis/Diana and an Eternal Present. I show the loci of Birth and Actaeon comes to mind if we cross to the opposite side of the Death in a drama recreating both a 'Flood' as well Zodiac circle and see Artemis in her moon. as a 'Denudation. The name of 'Tumbling Stream' is taken directly from the iconography of Claude Lorraine. It occupies the foreground of many of his magical canvases. Its forms are often accompanied by a plank bridge of rustic primitivism. Nothing in this part of Lorraine smacks of 'Urbanity' It is the territory of shepherds, cowherds and their subject animals who Lorraine introduces to as to point-up the contrast to his next 'Event-Horizon' - that of the 'Confluence', or Crossing. LECT 22-6 LECT 22-7 The circular 'Confluence' becomes the largest single formal entity of Inigo's composition. It signs the intersection of a vertical narrative with the horizontal of the River. This Inigo has done by adopting a composition most memorably employed by Mantegna for the oculus in the ceiling of the Camera degli Sposi in the Ducal Palace of Mantua. Mantegna, as one would expect, shows the sky in his 'lens'. Inigo has based his more-elaborated composition upon the analogy of the River. So he shows the swirls of water in his aperture. However, as the icon that we use to sign that the cylindrical beams of our 'rafted' entablature are 'moved' to the place in which they finally rest, swirls can mean clouds as well as water. Inigo has invented a frieze of zodiacal figures below the putti and other beings whose formal purpose is to lead the eye upwards, One may read this as a 'classical' allusion to the vertical vector as being the one that leads the mind out into the Cosmos. This dimension had already been rendered problematic by the introduction of Hell into the spatial ethology of Latin Christianity. The 20C Postitivsm that underlay the post WWII variants of Architectural Modernism, tabooed any signing of a vertical dimension to its iconologies. The sunken-down, white-painted flat ceiling, shorn of even the most vestigial of cornice-frames to its iconically flatlined picture-plane, has been the 'fools crown' worn by the the 20C. Inigo's use of the Zodiac should not be taken as a licence to engage in some latterday, neo-alchemical, cult. All of the icons on this ceiling come with what Banham foolishly termed 'cultural baggage'. But it is precisely that which makes them so conceptually fertile to an iconically literate mind. We had a licence, issued by our Client Body, to invent a 'painted ceiling'. Inigo, as an experienced buon-fresco panter suited the instructions that JOA were to "use no modern techniques" to achieve this end. Inigo also, as my brief iconography shows was iconically-literate. Nevertheless, I remember reading at the time, in 1992, that certain Pension funds who had invested in Fine Art were removing any depictions of the nude from off the walls of their iconically subliterate, suburban, spanking-new headquarters and closing their offensive 'purity' within dark bank-vaults. They were concerned less they be thought 'sexist' or cause offence to the parking-lot 'stakeholders' created by the suburbanisation of the 1960's. It was just one more confirmation of the deep iconic illiteracy of my times. For while some paintings may give a pleasure that one can call 'artistic', and others, if not most, an equal and opposite degree of pain by their muddled pursuit of 'Fine Art', the main function of surface-scripting at the scale of a building, or even a plaza, must be to satisfy the mind with a rich and complex fabric of narrative symbolism. If it can be 'Art' then so much the better. But 'Art' should The oculus painted by Mantegna onto the ceiling never be the primary purpose of inscribing the human of the Camera degli Sposi in the Ducal palace lifespace. That way lies merely the idiocy of Curators of Mantua shows merely the open blue sky. The and the Art Establishment. The signs and symbols 'crossing' of an Hellenic Cathedral, on the other in a painting are nothing more than that. Moreover hand is always covered by a gigantic depiction the key to their iconographic decipherment, and of the Pantokrator - Christ - the ruler of all. The intellectual emplotment, is precisely the "cultural Renaissance never found a persusive iconography baggage" that the self-styled "failed technologist" for the developing Narural Science which was the Reyner Banham instructed his unlucky Architectural 'novelty' that Europe gradually introduced, and Undergraduates to "jettison". So much for late 20C used to conquer the globe. The route from this mere Architecturaal education. Most to blame for the 'hole' to the glasbau of the 20C is a direct one. This demise of the medium, and the Profession, can only iconic incompetence was the cause of the collapse be its 'theorists'. of Western Architecture - and therefore the City. To discover a more capable iconic lexicon for both 'Downstream' of the Confluence the bed of the Science, the vertical axis of the spatial narrative, and River is flanked by two 'sentry-boxes. They are the Columnar 'Order' itself, I have had to go to the mirrored by two more on the further edge of the literature and Architecture of Vedic India. Event-horizon of the 'City'. These four 'sentries' are naked male protagonists who hold a pre-mobile, hard-wired, telephone up to their ear. Dismay is evident on their faces. The winged handset, tied umblically, but otherwise independent, as thoughts must be, proves useful as a novel fig-leaf to plausibly screen their gender. Perhaps these Noble Savages, moving naked through a landscape peppered with T.V. sets, telephones and voyeuristic putti holding anciently large video-cameras, are properly concerned about their heroic and noble future in a world in which thoughts no longer need wings, but go down wires, and visions appear, like the magic reserved to Gods, inside handy little boxes the size of treasure- chests. LECT 22-6 LECT 22-7 Reading from left to right, in this thrd illustration of the River of Somatic Time, we show the edge of the Confluence, the quadrated 'City' and the 'Balcony of Appearances' over its three-Arched Bridge/Portal. Downstream of this the River of Somatic Time divides into three to form the Delta and its hypostylar 'Field of Reeds'. The four figures mark, like the immured spirits of four pyramidion-topped hollow obelisks, the four corners of the Event-Horizon of the 'City'. The City is not immediately contingent upon the Confluence in either the painterly, Claudian, as well as the more generally Architectural, models of the Republic of the Valley, They are widely-separated by the considerable extension of the 'lazy river' of Claude, and the 'nave' of the Cathedral, to take one Architectural exmple. This long extent is, however, deliberately reticent. I compare it, later, in Lecture 27-18, to the trunk of a hollow tree which supports a myriad of insects, fungi and other forms of life. The Lazy River section of the Republic supports the many slow and small activities which need peace and quiet to go their own way without any larger narrative than to be bracketed between the 'centres of power' that give narrative shape to the whole territory. Inigo correctly signifies the 'City' by quadrating its 'field'. Apart from the four corner compartments that have already been described, he sections its 'site' into three. A city, of appealingly quattrocento picturesqueness, occupies the two flanking 'fields'. The centre is more provocative. A tug-of war is going on upon the watery plaza of this ingenious town. It beautifully signs the characteristic of all freely democratic cities - the politics of the polis. Four parties, allied into opposing pairs, are trying to pull each other into the 'drink'. What could be a cheerier icon of the endless struggles of 'politics'? Then, overlaid upon one side of this is the rearing figure of the winged horse Pegasus, born of the blood of a beheaded (gynocratic) Gorgon, His hoof strikes the side of the mountain Helicon, here elegantly reduced to a pyramid, from which flows the Hippocrene stream to which the Muses come in the evening to refresh their poetic energies. Does Inigo mean that the Muses, who spend the day travelling to where they incline, return to the 'City' at night, to refresh themselves of its Urbanity? It seems a nice fancy! The other side harbours the figure of a red-haired huntress Artemis standing in the Moon. She draws her bow upstream and has her perfect profile thrown- up on TV by a handy papparazzi-putti. Artemis projects a paradoxical persona - virginal, yet far from shy, she hunts great stags with her troupe of equally chaste virgins and punishes any, especially male, beings who look upon her, speak to her or fail to sacrifice. LECT 22-8 LECT 22-9 The Antique hunting-grounds of this Feminist so rampant that she exceeds the aggression of most men, would have been the woods and crags of the Event-Horizon above the Confluence which I call that of the Tumbling Stream. Could it be that Inigo has placed her inside the City, as he placed the wild horse Pegasus, because more than half of the world's humans now live in cities, with more following every day? Should we not be thankful for this, and be bending every effort to make this novel lifespace a satisfaction to our species, so as to leave the regions of the tumbling streams to be the lonely habitats of the hinds that Artemis previously pursued? Let her quarry now be humans, Actaeons, and city-dwellers at that! Her only tender spot was music - which may be carried-on under the aegis of both Her, the Muses, and the Moon that she inhabits in Inigo's conceit. The 'metropolitan' narrative painted by Inigo is rather exact. There are first of all, the four 'totemic' figures which define its quadrated 'field'. They are possesed by the thirst for the 'inside story' which is the anxious reason behind many an immigrant's move. How is one to know what is 'going-on' in the centre from which all 'movement' ripples-out if one is not there oneself? Yet all that these secrets bring is unhappiness - presumably because 'the news' is typically both unpleasant, cryptic and beyond one's own power to use. Then, the picture of the city itself is, while beautiful if one likes the Mediaevo-humanist cities of the Italian cinquecento, soon overlaid by Inigos impassioned protagonists of the Muses, Politics and the Virginal Huntress, sister of Apollo, who protects the ethics of the latter's gifts to a fallible Humanity. Inigo's city has a very 'contemporary' spirit! It is a place that is all too familiar! A last curiosity is the upturned figure whose legs support the moon of Artemis, presumably rotating it like a juggler. Who is this irreverent giant - looking, in all capabability, right up the fierce maidens billowing skirt! I omitted, in the rush of those days, to get his identity from Inigo, and he puzzles me still. I gave Inigo, downstream of the City, the event-horizon of the 'Balcony of Appearances' on the Three-Arched Bridge that houses the Tripartite Doors that close-off the more 'sacred' and 'innocent' upper valley from the profane world of the downstreamed Delta. This 'event' seems to have passed the painter by - at least in this, his first, six-week, sketch. The actual Balcony is painted as if with a mere 'undercoat''. For it is too bright for its context. It stands out even more strongly because it remains totally empty - an almost white void, like a square hole in the canvas. As the 20C progressed, the invention and analysis of iconic narratives came under an increasingly paranoid taboo. For it works as well as any Freudian technique - such as the decipherment of dreams - for revealing the truth. Downstream from this empty stage a gendered pair lift a globe that is the same 'voided' cream. Is it the colour of 'light'? This 'pair' are the only such since the 'birth' of Time and Hermes at the Source-Event. Do these two pairs denote a symmetry of opening and closing, birth and death? They both emerge or 'stand upon' mountains which, in their accumulations, can represent the 'Heap of History'. For many years this remained a mystery to me. Finally, after I was able to study, far away from Britain, the equally tabooed medium of Beaux-Arts City-Design, I conceived that this 'emptiness derived from a definite lack in the paintings of Claude Lorraine - the key with which I had been able to unlock some of the mysteries of Architecture. The 'stage' upon the three-arched bridge that was the Balcony of Appearances was that upon which had stood the 'secular power'. But Claude would render these in very distant haze - almost swallowed into the infinity of Ocean. Claude seemed to have no rendering for what I would denote the 'seat of government', or as it is in French: 'La Place des Pouvoirs'. If this 'fluvial narrative' was to deserve the meanings which I had awarded it I must go beyond its analogies to the phenomenologies of an individual life and the process of becoming a socialised adult. I needed this Event-Horizon if it was to guide me towards my goal - a theory of city-design. Every city must have a 'seat of power'. But where was its analogy to be found, if at all, within the Fluvial Narratives of Claude Lorraine? It was true that the state of Narcissistic self-absorption reified by the Forest of Infinitude had been 'disturbed' by the issuance of the Arrow of Time from the 'Sundered Mountain'. The great columns, which flanked the ceiling of the Gallery, reified the condiiton obtaining before the Birth of Time. Inigo had 'scripted' my skeletal 'Fluvial Narrative' into an iconic richness quite beyond my capability. But something, which I was later to denote as the 'Seat of Government' was missing. The seat of Government is, today, more often than not located in 'The City'. But was that its proper locus in the 'Polis' of the whole 'Valley-state - as it would have been denoted by the Hellenes - inventors of Democracy? LECT 22-8 LECT 22-9 The 4C Apse Mosaic from Rome's Sta. Pudenziana shows' Christ enthroned'. The celestial city above the figures flanks the mount of Golgotha which is itself topped by a cross installed by Constantine or Theodisius. From our The 'seat of power' inside the church 'iconic' perspective the cross 'reads' as a 'Columna Lucis' and the Mount as was the bishop's chair, flanked by a 'Heap of History'. The curvature of the apse is a 'rotated 'cave from which the bench (synthronon) for the clergy. flows the River of Time that, in this case, sources from the advent of Christ. Sta. Maria delle Grazie, Grado, Italy. From 'The Early christian and Byzantine World' by Jean Lassus. Perhaps this was pushing my Claudian landscape analogy too far. But it was surely not an improper question for a 20C 'Functionalist' to ask of Architecture itself? For example: the earliest Churches indicate two 'seats of power'. The 'seat of power' of the Sacred Authority was at the Eastern extremity that I call the Event-Horizon of 'Source'. The Bishop, flanked by his clergy, sat in the apsidial 'cave' of (spatial and temporal) origin'. As if to reinforce this 'auctoritas' this Ecclestistical The 'seat' of the Secular Power was normally situated over the entrance Court might have, over and above that was normally on the Western Front. Here the Secular Representative its seating, a mosaic of Christ could both face outwards, over the clear space before the Chursh, and flanked by his disciples. face inwards, looking down over the Ecclesia and Clergy. From Baldwin Smith: 'Symbolism of Imperial Rome in the Middle Ages'.. The other 'seat of power' is that for the Emperor, King, Duke or other secular representative. This was above the main Western entrance. It acquired the name of the Balcony of Appearances. In some polities the Rular was obliged to show himself every morning. By this means he assured everyone that he had survived the Terrors (mostly human) of the Night. The State could continue without the battle for succession becoming physical. When HRH the Queen opened the Judge Institute the dais was positioned, by the organisers, on the Common Room Balcony - the biggest room-space in the building, It was not entirely obvious that The 5C church at Qualb Louzeh shows a HRH stood directly over the front door, for it was two floors below. variant of the City-Gate device proposed The opportunity was offered. It was taken because it 'seemed right'. by C Baldwin Smith as the model for the Western Front of the Christian Temple. These precedents stretch back into Antiquity. The 'Balcony of Appearances' signs the 'seat of power' of the Secular arm. LECT 22-10 LECT 22-11