IT WAS APRIL WHEN ROARK AND WYNAND RETURNED TO THE CITY. The skyscrapers looked pink against the blue sky, an incongruous shade of porcelain on masses of stone. There were small tufts of green on the trees in the streets.

Roark went to his office. His staff shook hands with him and he saw the strain of smiles self-consciously repressed, until a young boy burst out: “What the hell! Why can’t we say how glad we are to see you back, boss?” Roark laughed. “Go ahead. I can’t tell you how damn glad I am to be back.” Then he sat on a table in the drafting room, while they all reported to him on the past three months, interrupting one another; he played with a ruler in his hands, not noticing it, like a man with the feel of his farm’s soil under his fingers, after an absence.

In the afternoon, alone at his desk, he opened a newspaper. He had not seen a newspaper for three months. He noticed an item about the construction of Cortlandt Homes. He saw the line: “Peter Keating, architect. Gordon L. Prescott and Augustus Webb, associate designers.”

He sat very still.

That evening, he went to see Cortlandt.

The first building was almost completed. It stood alone on the large, empty tract. The workers had left for the day; a small light showed in the shack of the night watchman. The building had the skeleton of what Roark had designed, with the remnants of ten different breeds piled on the lovely symmetry of the bones. He saw the economy of plan preserved, but the expense of incomprehensible features added; the variety of modeled masses gone, replaced by the monotony of brutish cubes; a new wing added, with a vaulted roof, bulging out of a wall like a tumor, containing a gymnasium; strings of balconies added, made of metal stripes painted a violent blue; corner windows without purpose; an angle cut off for a useless door, with a round metal awning supported by a pole, like a haberdashery in the Broadway district; three vertical bands of brick, leading from nowhere to nowhere; the general style of what the profession called “Bronx Modern”; a panel of bas-relief over the main entrance, representing a mass of muscle which could be discerned as either three or four bodies, one of them with an arm raised, holding a screwdriver.

There were white crosses on the fresh panes of glass in the windows, and it looked appropriate, like an error x’ed out of existence. There was a band of red in the sky, to the west, beyond Manhattan, and the buildings of the city rose straight and black against it.

Roark stood across the space of the future road before the first house of Cortlandt. He stood straight, the muscles of his throat pulled, his wrists held down and away from his body, as he would have stood before a firing squad.

No one could tell how it had