jiwiiiiiiiiHiiiiiiiiai 
 
 in 
 
 Id 
 
 tMtmi'mi fMWMwnwwiiM 
 
 
 lOL 
 
Edition for Private 
 Circulation Only 
 
 f^opy No. la. 
 
¥m 
 
 mm-itm 
 
K^^. 
 
 
ILLUSTRATED DESCRIPTION 
 
 OF A DESIGN IN THE 
 
 PERSIAN-INDIAN STYLE OF ARCHITECTURE 
 
 FOR 
 
 THE FIRST MASHRAK-EL-AZKAR 
 (BAHAITEMPLE) 
 
 TO BE ERECTED IN AMERICA. 
 HUMBLY OFFERED TO 
 
 THE CENTER OF THE COVENANT 
 
 THROUGH THE BAHAI TEMPLE UNITY 
 
 BY 
 
 C. M R. 
 
 APRIL 26_28 
 1920 
 
 ^ 
 
 COPYRIGHTED 1920 
 BY CHARLES MASON REMEY 
 
d 
 
 I. 
 
ARCHITECTS PREFACE. 
 
 The Bahai Revelation has been given to the v/orXd that through the 
 knowl^^dge of the divine teaching and through the spirit of this New Covenant, 
 man may be quickened by the power of The Kingdom and that this spiritual 
 illumination may become manifest in&ail his human activities. 
 
 'As one becomes familiar with the Bahai Teaching and its principles 
 and as one seeks to apply these in his life it is the most natural thing in 
 the world that he should desire to express these principles and religious 
 ideals in the terms and language of his own art, craft or profession. As 
 with countless others such was my own experience. Since my connection with 
 the Bahai Cause, during the past twenty years, in the pursuance of my study 
 of architecture at home and abroad in laajriyparts of the world, I have had • 
 constantly in mind^ the great Bahai Mashrak-El-Azkar the first of its kind to 
 be erected in America, my desire being that I might be able to express in 
 terms of architecture an offering toward this great temple. 
 
 This absorbing interest has led me, during the past twelve years, 
 to make a series of architectural studioc.and preliminary designs for this 
 edifice showing treatments of varying dimensions in nine different styles 
 of architecture. These wire offered to Abdul Baha in the hope that this 
 work might be of some service when the time arrived for the formulation of 
 a building design for the Mashrak-El-Azketr- 
 
 This series of designs has been exhibited in several art galleries 
 and universities throughout the country, such as the National Gallery of Art, 
 v;hich is a part of the Smithsonian Institution in Washington, the Boston Pub- 
 lic Library as well as in other public libraries, in the Museuaas of Art of 
 St. Louis and Syracuse, and at the Universities of Illinois, George Washington, 
 Cornell, the Carnegie Institute of Pittsburgh, etc. In holding these exhibi- 
 tions, which were usually accompanied by lectures attended by architects, 
 teachers, patrons of the arts and others, it was my hope tX) interest people 
 in the Bahai Covenant by thus introducing the subject through the temple of 
 the.Mashral-El-Azkar and its architectural and spiritual significance. 
 
 When the word was received from Abdul Baha that a choice of designs 
 subrpitted for the Mashrai-El-Azkar was to be made by the delegates seated in 
 this Twelfth Annual Convention of Bahais in America held in New York, April 
 26 - 28, 1920, I felt moved to make, in addition to the drawings already 
 mentioned, a set of models of the one of my designs vvhich was done in the 
 Persian- Indian «tyle in order to present to the Convention in as graphic 
 and as concrete a manner as possible the salient features of this design, 
 which, in my estimation, so far as I now understand the matter as viewed 
 from points both practical and spiritual, is, I f eel, ^ the best suited of 
 my preliminary studies to meet this present problem. With the exception 
 of this design in the Persian- Indian style, 7;hich is of quite modest dii?ien- 
 sions, each of my other eight designs are too large in size and of too cost- 
 ly construction to be considered. Moreover, with the exception of the Ara- 
 bian Moorish and the Persian designs, the others were not sufficiently 
 oriental in character to satisfy the requirements of the problem in hand. 
 Therefore between these practical and aesthetic conditions there seemed to 
 us to be but this one of my designs to feature* 
 
 Since Abdul Baha ordered the Convention to choose one from among 
 the designs which had been offered for the Mashrak-^El^Azkar, I did not deem- 
 it advisable to prepare any new designs, nor to alter those which I had 
 
-2- 
 
 previously irade. The models and the large drav/ings of this Persian- Indian . 
 design^ which I am offering together with ay first drawings, are merely eit- 
 largements and developments of the original design, there have been no changes 
 in the style of the design, its treatment nor dimensions- 
 
 STYLE. 
 
 While engaged in this work my concept of an architectural treatment 
 for the Mashrak-El-Azkar underwent many changes and modifications. In con- 
 sideringoa style for the first design made the Byzantine then suggested itself 
 to me as combining in one complete and developed style of architecture, the 
 characters of both the Orient and the Occident, Later on in the work I made 
 studies in various other styles from the classic to the ultra modern which 
 work included some of the styles of the Orient. Toward the close of this 
 study I received an excerpt from ^ Tablat of Abdul Bahas' addressed to Mrs. 
 Kate Ives in which He mentioned the Mashrak-EL-Azkar as follows: 
 
 "That Divine Form manifested itself in America and entered the 
 Great Temple which shall soon be constructed therein. This Glorious Temple 
 resembles the Orient Edifices and soon you will see it erected there with a 
 most solid foundation and strongest basis." 
 
 Furthermore, I learned that it was reported that Abdul Baha showed 
 
 a picture of the Taj-Mahal to Mr. P ^ suggesting that the 
 
 .'^ashrak-El-Azkar have a similar entrance. 
 
 These words of Abdul Baha quite revolutionized my thought regarding 
 the style for this first great Bahai Temple to be erected here in the West, 
 ^ith time and more study the architecture of the Orient has made its appeal 
 more and more to me as being the best suited of all styles as a foundation 
 for, and a first step toward, the universal style of world architecture event- 
 ually to find its perfect development in the Mashrak-El-Azkar of future genera- 
 tions. I have been pleased to note latterly that the majority of the people 
 who have seen my preliminary dra.vings have expressed a-preference for the 
 Persian and the Persian- Indian styles. 
 
 Styles in architecture are never one-man inventions but rather they 
 are the result of a grovvth and are brought into existence through the com^ 
 bined and united efforts of a number of people, inspired by a common reli- 
 gious ideal, expressing their zeal in the building of temples. 
 
 Knowing this principle, I have not had it in mind to attempt to 
 create anything new in style vvhich, had I attempted it, would, "at best have 
 been merely a personal expression of my own. Rather I sought merely to apply 
 to this present problem here in America to meet our local needs the Islamic 
 style of architecture of Persia and India, which style, like all other pure 
 styles, is devoid of the personality of anyone of its individual originators, 
 but which, like all other styles, is flexible in the hands of the architect 
 allowing him freely to express himself in his composition and arrangement of 
 structural and decorative motives. 
 
-3- 
 
 Here is the lins of demarkaticn^ as I find it, bet^:»een style and 
 composition of design. Style is impersonal o.nd so far as the individual is 
 concerned, is a fixed factor in architecture. Composition of structure and 
 design upon the other hand foll'ov/s the personal individual judgment and 
 fancy of the architect. 
 
 The basis from 7,'hich each of the styles in architecture of the past 
 has come forth has been found in the buildings of a previous civilization. 
 Thus the Romans adapted the Oreek architectural forms tt> meet their own 
 needs with the result that in time a ne^ style resulted! In like manner the 
 Christian styles^ the Byzantine^ the Romanesque and the Gothic, step by step, 
 grew out from the Roman style and similarly Islamic architecture tias adapted 
 from the Byzantine Churches of Turkey in Europe as these temples of the former 
 religion were appropriated by Moslem conquerors and used as mosques. 
 
 In as much as the early scenes of the Bahai Revelation were laid 
 in Persia and since, the background of this Cause partakes to so large an ex- 
 tent of the lang^aage and the t raditions of that land and of her people, from 
 many viewpoints x>f consideration the Persian style of architecture would 
 suggest itself as the point of departure for the Mashrak-El-Azkar of the 
 present day, having in mind tha.t this is but a first step toward the Bahai 
 Style eventually to be developed. 
 
 The great universal Bahai Style of architecture will undoubtedly 
 appear through the rise of the people to live the Bahai life, through the 
 sacrifice of the individual wills of the people and all personal desires to 
 the will of The Covenant, through the establishment of the Divine institutions 
 of The Cause of God, and through the working together of many architects and 
 builders in perfect harmony for the one great end which is to glorify God in 
 the building of many M.ashrak-El-Azkars. Future generations will see appearing 
 in these temples yet to be built, a great and new style in architecture which 
 shall far transcend all previous styles in its structure and beauty. Undoubt- 
 edly this style will only be realized through the unity and fusion of many 
 souls and will be forthcoming only as the Cause grows and spreads in the 
 heart of J^umajiity creating the Abha civilization of the Kingdom upon earth 
 of ;vhich it, the Bahai Style, will be an impersonal expression. 
 
 THE PERSIAN- INDIAN STYLE OF ARCHITECTURE. 
 
 The Persian Style of Architecture was developed under the influence 
 brought into Persia by the early Moslem civilization. Some of its grandest 
 applications are found in the mosques of Esphahan, Khoum, Kashan, and Khazvin, 
 while the same style is found in these and other cities, successfully applied 
 to such buildings as bazaars, caravansaries, palaces, colleges, gateways, 
 bridges, and other civic structures. 
 
 The lower wall surfaces of the more elegant of these buildings are 
 often revetted with slabs of marble, while the main walls and upper parts are 
 usually in stone, brick, terra cotta, aivi brightly colored tiles. Though 
 some of these buildings have stood for centuries, the coloring in many 
 instances remains quite fresh and even brilliant • 
 

-4~ 
 
 The richness in color decoration of the domes and minarets of the^ Per- 
 sian mosquesj rising from a foreground of gardens and silhouetted against a 
 cloudless sky^ is memorable and very beautiful. This style of decoration, 
 so in harmony with its oriental environment^ has a charm of its own, to which 
 many Persian writers^ as well as foreigners travelling in that country^ have 
 testified. 
 
 The Indian Style of Architecture, which is an adaptation of the 
 Persian Style^ had its development during the Mogul rule in India. Soi.13 of 
 the finest examples of this style are found in the vicinity of Eelhi, India's 
 ancient capital^ while the world-famous Taj-Mahal, near the city of Agra is 
 •.vithcut doubt the best kno-vvn and by many the most admired building dt the 
 epoch. 
 
 The Taj -Mahal is finished within and without with white marble in- 
 laid with jasper, lapis lazuli, and other semi-precious stones. It is sur- 
 rounded by a garden intersected by waterways separated by richly colored 
 flowers and foliage, and produces an effect of beauty beyond the power of 
 words to describe. 
 
 THE MASHRAK-EL-AZKAR OF ESHKHABAD. 
 
 The Mahsrak-El-Azkar of Eshkhabad in Russian Turkistan is built on 
 the lines of the Persian- Indian style. Like the Taj-Mahal its main portal is 
 in the form of a high pointed oriental arch extending two stories in height* 
 This main or principal entrance to the temple, flanked by two 'turrets or 
 r.inarets, faces in the direction of The Holy Land. Several doorways of les- 
 ser importance give access to the building from the other sides while the .> 
 garden is .laid off as specified in the Tablets and Holy Writings. There 
 are nine avenues of approach to the temple dividing the grounds into nine 
 gardens, each with its fountain, flower beds and lawns. 
 
 The construction of this t emple is of masonry - that is to say it 
 is "wall bearing" (the masonry walls carrying the weight of the floors and 
 r0vjf3)'.^'^hile some steel or iron strengthening is used in the floors and the 
 dome. This architecture is not heavy to the aye, yet the walls and abutments 
 of the building are massive and it is quite evident that the permanency and 
 durability of the edifice was of major consideration in the minds of its 
 builders. 
 
 SYMBOLOGY. 
 
 Ba!hai ^Symbology is observed in many ways in the composition of 
 this design, 1-3- 5-7-^9- 12 -19 -40 and 95 will be found recurring 
 in this number of repeated architectural and decorative motives. For example 
 there are nineteen windows or bays in the drum of the dome. Three of these 
 are over the main entrance which faces the East, while two are over each of 
 
'\ ?*' 
 
 The Mashrak-El-Azkar of 
 Eshkhabad Under Construction 
 

-5- 
 
 the other eight faces of the building. This treatment gives a compoaition 
 based upon 9 and 19 which is both s3rEibolic and practical allowing for the 
 architectural development of the main front of the edifice with its great 
 portal facing the East - thus giving to this front an importance over the 
 other sides of the building. 
 
 CONSTRUCTION. 
 
 The mode of construction to be adhered to and the materials to be 
 j-sed are of primary consideration in making the design for a building; because 
 chesa structural features need to be considered at every point in formulating 
 the composition^ in the architectural treatment and in designing the decoration 
 of the building. 
 
 At the present time in this country there ar*e two systems of con- 
 struction generally used in ouildings of monumental proportions - namely - 
 masonry and steel encased in i^asonry . These t-.70 systems are as diametrically 
 opposite to one another in principle of structure^ as s5tone construction dif- 
 fers from that of timber. 
 
 In the former construction of all masonry the walls carry their own 
 weight together with that of the floors, roofs and other parts of the super- 
 structure, the equilibrium of the whole depending upon the mass- of the masonry 
 and its distribution. 
 
 In the latter construction of steel supporting masonry, as typified 
 in the high American office building, the solidity of the structure depends 
 upon a frame work of steel which supports the building, only a thin veneer of 
 -nasonry in the form of concre-^e, terra cotta, brick or stone, being used to 
 enclose the steel and protect it against the action of the elements. 
 
 In mentioning these two principles of structure, I am treating of, 
 and giving emphasis to, the difference of these two extremes of construction 
 yet many large buildings of importance combine both of these two structural 
 principles in a proportion commensurate with their particular requirements. 
 
 For buildings such as factories, warehouses, office buildings and 
 the- like where space and economy of construction are of primary requirements 
 and where permanency beyond that for a few immediate decades is of secondary 
 consideration, the reinforced steel structure is without doubt the most effi- 
 cient. Upon the other hand where a building is being put up for all time, 
 or as nearly for all time as is possible, I feel that a construction of all 
 masonry is the only type to be considered. This latter is our problem in 
 the Ma.ahrak-El-Azkar. 
 
 We Bahais.-.'are building an edifice which should be so built as to 
 stand for countless ages to come as well as meet our needs of the present day. 
 Therefore, I feel that we cannot afford to take any risks, but should confine 
 our building efforts along the well tried out lines of architecture which have 
 endured for centuries in the old world of Europe and the Orient, 
 
-6- 
 
 All of the great temples of the past^ built during the days when 
 the various styles were pure and before any decadence had set in, were built 
 of self supporting masonry. This principle was adhered to alike by all the 
 ancients and also in comparatively more modern tinges by the builders of the 
 Byzantine, Romanesque, G-othic, Arabian, Moorish, Persian and Indian epochs. 
 
 In this present day the Shrine of The Bab on Mount Carmel^, built 
 by Abdul Baha, is likewise of massive masonry. Also the Mashrak-El-Azkar 
 of Eshkhabad is of this construction. Though some of its floors and the 
 upper part of its dome are of steel construction, yet all of its bearing 
 walls, which give solidity and permanency to the structure^ are of self sup- 
 porting masonry. 
 
 A considerable study of this problem of construction has convinced 
 me that for the American Mashrak-51-Azkar a structure of masonry is better 
 than one of steel, because of its lasting qualities. Therefore this design 
 in the Persian- Indian style, I have conceived to be built entirely of masonry 
 not depending upon steel reinforcing to hold the masonry in place. My reason- 
 ing in addition to that already mentioned is as follows. Steel, though 
 stronger than masonry is yet more perishable. Where steel is used to support 
 masonry, the time is sure to come when the steel must give away because of 
 the two materials it is the less durable. Since this steel is encased in 
 masonry, Which is less perishable than itself, its deterioration is hidden 
 from view and cannot be seen nor known until a catastrophe reveals the true 
 state of affairs. In my estimation, in all construction where permanency 
 is an important factor, the more durable material should support the less 
 durable. One of the structural perfections of the human body is that the 
 most durable tissues, namely the bones, support the less durable tissues 
 of the other parts and orgariS. This basic stifuctural and mechanical reason- 
 ing applied to the construction of the I/ashrak-El-Azkar has caused me to 
 conceive this design in the Persian- Indian style to be executed in masonry. 
 
 SIZE. 
 
 In asmuch as the desire of Abdul Baha is that the building of this 
 Mashrak-El-Azkar be accomplished as speedily as possible, preferably during 
 the d ay of The Covensmt, the size of this Persian- Indian design has been 
 kept down as much as possible in order to show the architectural possibili- 
 ties of a building of moderate cost and dimensions. 
 
 The main part of this building is 95 feet in outside diameter, 
 while added to this is a projection toward the East forming the main portal 
 of the temple with its steps of approach, the height from the ground to the 
 extreme top of the dome being 160 feet. 
 
 One feature of the Mashrak-EI-Azkar of Eshkhabad, which adds much 
 to its size, is the series of spacious loggias upon both the main and the 
 gallery floors encircling this building and opening out upon the gardens. 
 Loggias form a most important feature of the oriental architecture of the 
 semi-tropical countries where the people are able to live out of doors most 
 
-7- 
 
 of the time. The climate of Chicago being so different from that of the 
 Orient it seemed to me to be Eore practical not to have open loggias where 
 for several month^ of the year ice and snow would collect causing trouble. 
 Having no loggias, therefore^ the diameter of this design is considerably 
 less than that of the Eshkhabad Temple^ although as I recall the interior 
 ^f that ^lashrak-El-Azkar, the interior of this design is of about the same 
 dimensions. 
 
 COST. 
 
 Until working drawings with specifications are completed, it is 
 impossible to estimate with exactness the cost of any building, and in 
 these -days of economic pressure and unrest even with complete drawings and 
 specifications estimates are at best approximate on account of the changing 
 conditions in the world of la.bor. However, after having confer|:ed with 
 several men of much practical experience in building, I believe that this 
 design could be built for from $400,000 to $650,000 depending upon the 
 materials employed. These approximate f igures do not include the elaborate.! 
 mosaic decoration of the interior nor the embellishment of the grounds^ 
 approaches, fountains, retaining walls with the balustrades surrounding 
 the grounds, etc., v/hich all taken together with the building, would pro- 
 bably cost in the neighborhood of a million dollars. The interior decora- 
 tion as well as the girden embellishments could be carried out any time 
 after the temple of the I/iashrak-El-Azkar is built. 
 
 Through the kindness of a brother Bahai, Mr. Allen B. McDaniel, 
 who is one of the eminent structural engineers of this country, two esti- 
 mates were made for the building of this design. One was for its execu- 
 tion in Bedford limestone, whi,ch amounted to $550,000; the other was for 
 a fine grade of white granite and was $650,000. Mr. McDaniel is at present 
 doing some work here in Washington for the Government, In his office he 
 has several ocpert estimators of experience and reputation who are in touch 
 with general building conditions throughout the country. These gentlemen 
 worked with him in formulating these figures so I feel that this is ao 
 exact an estimate as we can with reason expect to have under these present . 
 building conditions. 
 
 Another Bahai, Mr. E. R. Boyle, of the Boyle-Robertson Construction 
 Company of Washington, D. C, which concern has had a large experience in 
 the putting up of big buildings, also kindly figured on this design. His 
 approximate figure for a structure in Bedford limestone was $540,000 - dif- 
 fering but ^0^000 from Mr. McDaniel 's figure for the same material. Mr. 
 Boyle thought that the building could be done in terra cotta for $400,000, 
 or in concrete and cement even cheaper than this, but he, like Mr. McDaniel^ 
 urged that these cheaper materials be not considered as they would not be 
 suitable for a building of such importance as the Mashrak-El-Azkar. 
 
 My own thought coincides with that of these two engineers and is 
 that only the very best and most durable material should be used in this 
 temple. There are several kinds of fine white granite, some of which take 
 
-8- 
 
 vary bdautiful carving and give an effect similar to that of marble. This 
 material is of course more expensive than the more perishable materials^ 
 such as marble^ lime and sandstones, but the best and most durable of aay- 
 thing is always more costly in the beginning than the cheaper materials. 
 However, in the end th3 best is found to be the cheapest and the most satis- 
 factory; therefore, I hope the Mashrak-El-Azkar v7illi.be built of the best 
 and the most durable of materials which is granite, economizing, if neces- 
 sary in the size of tha building rather than in the quality of its construc- 
 tion. 
 
 As for an exterior wall treatment in concrete or cement, I strongly 
 advise that these be not considered. In terra cotta, cement and concrete 
 ornament, as commercially done in this country, one section is made and re- 
 produced many times. In this hapless multiplication of detailed ornament 
 there is no possibility of obtaining the beauty which so enhances the effect 
 of a structure in which each stone is cut individually, for in the individual 
 cutting of each particular bit of ornamentation is found a subtle variation 
 which not only pleases the eye but makes its appeal to the aesthetic sense 
 of the beholder giving a charm of which the commercial machine made ornament 
 is devoid. 
 
 Most people recognize this principle as applied to textiles. For 
 example, a hand made embroidery, tapestry, or piece of lace is superior to : 
 the same design reproduced by machinery. Thus in condemning any cast, terra 
 cotta, concrete or cement treatment of ornament for the Mashrak-EL-Azkar, 
 I am merely applying to this problem the recognized principle of the super- 
 iority of hand made decoration ajid ornament over that which is machine made. 
 
 The climate of Chicago is rigorous and the elements are very active 
 in their attack upon all stxnictures. In my estimation, as well as that of 
 the engineers with whom I have conferred, this should be sufficient reason 
 to debar the use of any plastic materials, such as concrete, cement or 
 stucco which do not withstand the action of the weather as does stone for 
 the exterior treatment of walls, roofs, domes, etc. If there be einy doubt 
 in the minds of the friends as to the reality of this matter, I would strong- 
 ly urge them to seek the advice of a commission of several engineers of • 
 known and established reputation. 
 
 DRAWINGS . 
 
 The f ollowing six photographic reproductions are of a series of 
 drawings illustrating this design for the Mashrak-El-Azkar in the Persian- 
 Indian style. They are as follows:- 
 
 Main elevation as viewed from The East. 
 
 General Plan of the building and grounds, a Plan of the roof 
 of the building, and a Longitudinal Section showing the interior 
 arrangement of the temple. 
 
 Perspective View of the temple as seen from one of the nine 
 avenues of approach. 
 
 Large Plan of the Temple. 
 
 Large Elevation showing main portal v;ith details of decoration. 
 Interior of the Rotunda of the Jfe.shrak-El-Azkar as viewed 
 from one of the ::alleries. 
 

 ?jf? 
 
EXTERIOR MODEL. 
 
 This models built in sections so as to adhdt of handling and 
 transportation, is constructed of wood, compo and bristol boards, plaster 
 of Paris and other materials, the object being to reproduce, at a reasonably 
 small scale, as realistic an effect as' possibl.e of this architectural treat- 
 ment of the building from all sides, and also to give an idea of the arran^'s- 
 ment of the surrounding parking with the system of nine radial avenues of 
 approach to the temple — fonning nine gardens each. with its walks, fountaiii^ 
 trees, hedges, lawns and flovver beds. 
 
 The temple proper with the fountains, garden vases, balustrades, 
 steps and copings, are treated in white to give the effect of stone. The 
 windows of the temple are filled with imitation stained and colored glass. 
 The long mirror lake, suggested by the garden arrangement of the Taj - Mahal, 
 and the basins of the nine fountains, are of green mirrored glass giving 
 reflections of the building and the surrounding foliage, while the walks 
 and pavements are sanded to represent gravel. The lawns are painted green 
 after having been roughened to produce the effect of grass, v;hile the hed- 
 ges, shurbs and trees of different sizes are painted in various shades of 
 the same color in order to lend as mcuh reality as possible to the ensemble. 
 
 This model is bUilt at the scale of 3/8 of an inch to the foot 
 and it represents the g eneral layout suggested for the larger of the tw9 
 pieces of land which comprise the sight for the Mashrak-BL-Azkar. This- 
 piece of land is. of such- shape that it is. capable of containing a circular 
 layout of parking and gardens about five hundred feet in diameter. The model 
 shows this entire circular layout in addition to which is an encircling walk 
 outside of which is a driveway. The model is over seventeen (17) feet in 
 diameter, the temple proper being about five feet high. 
 
 The following six illustrations are iiaade from photographs of this 
 Exterior Model. 
 
««l«^B»i^-^^..^^V':^^;.^.^:l^.^^ff^.r^'>^»^^ 
 
 ^a^Viiajfe , k... -..>■*£ 
 
INTERIOR MODEL, 
 
 This model shows the architectural treatment of the interior of 
 the temple^ with its central rotunda surrounded by an ambulatory and galleries. 
 The walls, ceilings and dome are conceived to be.lin mOoai:;6 Oj' gold aad colors, 
 while the floors, colcjUi^s and base courses are of colored ziarbls. It is at 
 the saiiie scale as the exterior model, namely 3/8 of an inch to the foot, and 
 is built on a frame '?ork of wood^ the decorative features being executed in 
 gold and colors on heavy bristol board. The windows, filled v.'ith imitation 
 colored glass are lighted from behind in such a way as to proaace an effect 
 of sunlight, penetrating the interior from without. Blue is the predominating 
 light in the x jtunda which enters from aoove througn the nineteen windov/s of 
 the dome, while the lighting of the aisles 3.nd galleries of the building 
 through the windows is a golden yellow. This combination of light effect 
 has been very successfully worked out in the dome of the Invalides in Paris, 
 which has great dignity and produces a profound effect upon all who enter. 
 
 In building this interior mode^ . .nought was to produce as near- 
 ly as possible a realistic effect of how the interior of this design would <. 
 appear were it ever built. Unfortunately, I was unable to obtain- a good 
 photograph of this model - however the accompanying photographic illustration 
 of the perspective drawing of the interior gives approximately the same idea 
 of- the interior as does the model. 
 
 DIORAMA. 
 
 The diorama gives a glimpse into the interior of the temple as 
 seen from one of the galleries. This comprises a complete model of one of 
 the chambers of the gallery executed at the scale. of one inch to the foot 
 and showing in colors and gold the decorative treatment of the interior. 
 The other portions of the interior - such as the rotunda with its encircling 
 aisles and galleries and the main entrance into the interior, seen through 
 the archway^ which separates the gallery from the rotunda, are drawn on tha 
 flat and re-ndered in color, the object being to produce as realistic an im- 
 pression as possible of this interior view of the temple. 
 
-2- 
 
 AFTERWORD. 
 
 This design is humbly offered to the Center of the Covenant through 
 the Bahai Temple Unity. 
 
 My aim in this work has been to formulate a design as nearly as 
 possible in harmony with the desire of Abdul Baha regarding this problem. 
 This has been somev;hat difficult on account of the fewness of the Revealed 
 Words pertaining to the subject. Therefore I have been obliged to resort to 
 my own initiative which I have reasoned out along the lines of thought out- 
 lined in this text, drawing for my inspiration largely from the design of ;±he 
 Mashrak-El-Azkar of Eshkhabad, which I understand was executed in harmony with 
 the will of The Covenant. 
 
 . Inasmuch as Abdul Baha has said that the design for the Mashrak-El- 
 Azkar should be evolved through the combined efforts of a number of archi- 
 tects and designers^ I have not considered my efforts in any other light 
 than that of the offering* of one individual toward this gref,t spiritual edi- 
 fice, any acceptable f eatui-es of which are to be merged, with those from 
 other sources, in the design to be built. 
 
 If any of my architectural ideas find favor in the sight of Ab.dul 
 Baha, I shall be very happy, my hope being that through cooperation others 
 may improve upon that which I have attempted. 
 
 Chas. Mason Remey, 
 
 Washington, D. C. , 
 
"^^S BOOK IS nrrr. ^^^^^^^^ 
 
 «'"-'- BE "i4^^//^^ OP 2a CENTS 
 
 °Ay AND rol^°^0 CENTS ON th/!^^'-'^ 
 OVE.OOE. ^'-^ ON THE ^slZ^^T^^ 
 
 ^021-100^.7 
 
4C20i)i 
 
 /VA 
 
 U.C. BERKELEY LIBRARIES 
 
 C0Q4D'n=iai 
 
 UNIVERSITY OF CALIFORNIA LIBRARY 
 
kM