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THE UNDISCOVERED COUNTRY Expectancy of freedom is the dominant note of to-day. Amid the crash of armies and the clash of systems we await some liberating stroke which shall release us from the old dreary thralldoms. As Nietzsche says, ""It would seem as though we had before us, as a reward for all our toils, a country still undiscovered, the horizons of which no one has yet seen, a beyond to every country and every refuge of the ideal that man has ever known, a world so overflowing with beauty, strangeness, doubt, terror and divinity, that both our curiosity and our lust of possession are frantic with eagerness."" Should a name be demanded for this home of freedom, there are those who would unhesitatingly call it The Fourth Dimension of Space. For such readers as may be ignorant of the amazing content of this seemingly meaningless phrase, any summary attempt at enlightenment will lead only to deeper mystification. To the question, where and what is the fourth dimension, the answer must be, it is here-in us, and all about us-in a direction toward which we can never point because at right angles to all the directions that we know. Our space cannot contain it, because it contains our space. No walls separate us from this demesne, not even the walls of our fleshly prison; yet we may not enter, even though we are already ""there."" It is the place of dreams, of living dead men: it is At the Back of the North Wind and Behind the Looking Glass. So might one go on, piling figure upon figure and paradox upon paradox, to little profit. The effective method is the ordered and deliberate one; therefore the author asks of his reader the endurance of his curiosity pending certain necessary preparations of the mind.

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Claude Fayette Bragdon (August 1, 1866 - 1946) was an American architect, writer, and stage designer based in Rochester, New York, up to World War I, then in New York City. The designer of Rochester's New York Central Railroad terminal (1909-13) and Chamber of Commerce (1915-17), as well as many other public buildings and private residences, Bragdon enjoyed a national reputation as an architect working in the progressive tradition associated with Louis Sullivan and Frank Lloyd Wright. Along with members of the Prairie School and other regional movements, these architects developed new approaches to the planning, design, and ornamentation of buildings that embraced industrial techniques and building types while reaffirming democratic traditions threatened by the rise of urban mass society. In numerous essays and books, Bragdon argued that only an ""organic architecture"" based on nature could foster democratic community in industrial capitalist society. He advocated a theosophical approach to building design, urging an ""organic"" Gothic style (which he thought of as reflective of the natural order) over the ""arranged"" Beaux-Arts architecture of the classical revival. He had yet another overlapping career as an author of books on spiritual topics, including Eastern religions. These books include Old Lamps for New (1925), Delphic Woman (1925), The Eternal Poles (1931), Four Dimensional Vistas (1930), and An Introduction to Yoga (1933). His autobiography More Lives Than One (1938) alludes to both his belief in reincarnation and his varied career paths.

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