Let there be a definite system of space and texture relations retained throughout the set.
The models for the splendor scenes would, of course, be designed by the architect, and these other scenes alternated with and subordinated to his work.

The effects which he would conceive would be on a grander scale.
The models for these might be mere extensions of the methods of those others, but in the typical and highest let us imagine ourselves going beyond Tintoretto in preparation.
Let the principal splendor moods and effects be indicated by actual structures, such miniatures as architects offer along with their plans of public buildings, but transfigured beyond that standard by the light of inspiration combined with experimental candle-light, spot-light, sunlight, or torchlight.

They must not be conceived as stage arrangements of wax figures with harmonious and fitting backgrounds, but as backgrounds that clamor for utterance through the figures in front of them, as Athens finds her soul in the Athena with which we began.

These three sorts of models, properly harmonized, should have with them a written scenario constructed to indicate all the scenes between.

The scenario will lead up to these models for climaxes and hold them together in the celestial hurdle-race.
We have in our museums some definite architectural suggestions as to the style of these models.