The motifs and details, conceived for application in working out the design, had come direct from the original source, the Artist-Mind of the Almighty, whose prolific unlimited power of artistic expression manifested knowledge of all form and substance; and this was impressed upon the beholder and heard by him, an unobtrusive still small voice whispering from that Spirit which had conceived it. Such manifestations in nature were exquisite to both eye and ear; one did not feel disposed to be loquacious about it, but only note and apply what had been done by the Trinity of Usefulness, Beauty and Adaptability. The Voice had said, “Follow me,” and men had tried to do so.
The style chosen was that which in time became the Parent of all styles subsequently born—born through man’s observance of natural forms, his environment, his mental endowments, and his intellectual appreciation; his virility to produce artistic work. The Supreme Architect had been unceasingly painstaking and exact; in human parlance, He had been sensitive, conscientious, profuse yet never wasteful of His virile powers; in fact, to the last degree jealous for what He knew to be the truth in art. Being the One who knows, He knew how, and would not otherwise. He would have naught unless it were equally good, true and beautiful, the three combined in one—a Trinity of Truth, like Himself, Himself in His Work.
The doctrine of the Trinity pervaded this Cathedral, as ever with truth physical, intellectual, spiritual.
To Professor Cultus and the Doctor after noting these things, it seemed really to imply much more; namely, as if the truth, the whole truth, and nothing but the truth, could only be expressed in terms of Three in One.
“I love to think of it,” said Adele, “it’s so helpful.”
Thus appeared the Himalaya Cathedral to these Nineteenth Century inquisitives. A place of worship—not the Lord’s barn, but his Temple, His Holy Dwelling Place, adequate, artistic and pure; worthy of humanity endowed by Heaven with the power to worship in Spirit and in Truth; worthy of its Master Architect.
XXXVI
PROGRESS OF THE BUILDING
PROFESSOR CULTUS and the Doctor had many talks concerning the progress of this Himalaya Cathedral during construction, its “evolution,” as they expressed it; and geological records were found safely deposited for those who know how to read rocks. It appeared that the design had been originally conceived and sketched by the hand of the Master, and then worked out, or developed according to forms suitable to all climes, from the tropical in the valleys below to the arctic amid glaciers and domes of eternal snow. Pupils of the Master had embodied His ideas; His own assistants and workmen, the forces of Nature; born, brought up, educated in His own industrial and artistic schools; where His own master mind, masterful technique, and masterly spirit dominated—the Trinity of Mind, Matter, and Spirit.
There had never been a period during the work when the real progress had been arrested, nor had the original purpose of design ever been changed by alterations, extras, or further information on the subject.
In the beginning He had conceived it; the work commenced; it grew; it continues. In itself manifesting a clear distinct purpose, namely; a place in which to live, learn, and worship; thereby manifesting the Trinity existent and operative, in action, action, action; three as one. Within and without its needs and decorations have ever been growing and progressing, as the world grows older and the worshipers grow wiser. The purpose pointed clearly towards what the intellect of man designated as “perfection;” and of what the Holy Spirit in man dreamed of as “The Perfect Day.”