“... AND THERE IT WILL STAND, AS A MONUMENT TO nothing but the egotism of Mr. Enright and of Mr. Roark. It will stand between a row of brownstone tenements on one side and the tanks of a gashouse on the other. This, perhaps, is not an accident, but a testimonial to fate’s sense of fitness. No other setting could bring out so eloquently the essential insolence of this building. It will rise as a mockery to all the structures of the city and to the men who built them. Our structures are meaningless and false; this building will make them more so. But the contrast will not be to its advantage. By creating the contrast it will have made itself a part of the great ineptitude, its most ludicrous part. If a ray of light falls into a pigsty, it is the ray that shows us the muck and it is the ray that is offensive. Our structures have the great advantage of obscurity and timidity. Besides, they suit us. The Enright House is bright and bold. So is a feather-boa. It will attract attention—but only to the immense audacity of Mr. Roark’s conceit. When this building is erected, it will be a wound on the face of our city. A wound, too, is colorful.”

This appeared in the column “Your House” by Dominique Francon, a week after the party at the home of Kiki Holcombe.

On the morning of its appearance Ellsworth Toohey walked into Dominique’s office. He held a copy of the Banner, with the page bearing her column turned toward her. He stood silently, rocking a little on his small feet. It seemed as if the expression of his eyes had to be heard, not seen: it was a visual roar of laughter. His lips were folded primly, innocently.

“Well?” she asked.

“Where did you meet Roark before that party?”

She sat looking at him, one arm flung over the back of her chair, a pencil dangling precariously between the tips of her fingers. She seemed to be smiling. She said:

“I had never met Roark before that party.”

“My mistake. I was just wondering about ...” he made the paper rustle, “... the change of sentiment.”

“Oh, that? Well, I didn’t like him when I met him—at the party.”

“So I noticed.”

“Sit down, Ellsworth. You don’t look your best standing up.”

“Do you mind? Not busy?”

“Not particularly.”

He sat down on the corner of her desk. He sat, thoughtfully tapping his knee with the folded paper.

“You know, Dominique,” he said, “it’s not well done. Not well at all.”

“Why?”

“Don’t you see what can be read between the lines? Of course, not many will notice that. He will. I do.”

“It’s not written for him or for you.”

“But for the others?”

“For the others.”

“Then it’s a rotten trick on him and me.”

“You see? I thought it was well done.”

“Well, everyone to his own methods.”

“What are you going