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Extensively hand-corrected typed manuscript draft for "The New Architecture: A Testament" by Frank Lloyd Wright, 224 pages, 8.5 x 11, annotated at the head of the first page in another hand, "Definitive manuscript. Corrections by FLLW and by B. R.—all retained by FLLW as final," and stamped with the address of the publisher, Horizon Press in New York. This definitive, hand corrected, pre-publication manuscript opens (as corrected): "Philosophy is to the mind of the architect as eyesight to his steps and the term 'genius' when applied to him simply means a man who understands what others only know about. A poet, artist or architect necessarily 'understands' in this sense and is likely, if not careful, to have the term 'genius' applied to him; in which case he will no longer be thought human, trustworthy or companionable. Whatever may be his medium of expression he utters truth with manifest beauty of thought…
Everyone engaged in creature work is subject to persecution by the odious comparison. Odious comparisons dog the footsteps of all creation wherever the poetic principle is really concerned because the inferior mind, infected by them, leans by them only. Comparisons are usually equivocal—made by selfish interests in one form or another. But the superior mind learns by analyses: the study of Nature.
What has been brought together here in this collected evidence of my own active work-time is for my guidance, pride and pleasure as much as for any other reason half so good. Romanticist by nature—self-confessed—I am pleased by the thread of structural consistency I see inspiring the complete texture of my work as revealed in this collection of designs and plans now coming forward, varied building for my American people over a long period of time: from the beginning—1893—to this time, 1957. This architecture is often called 'engineering-architecture.' I plead guilty to the tough impeachment."
Wright goes on to touch upon some of his artistic influences—William Blake, Victor Hugo, and others—and offers a robust philosophical summation of his architectural career. Hardly a page goes by without major edits and revisions; Wright's are typically made in pencil in his distinctive cursive, while those by editor Ben Raeburn are often printed in blue ink.
Wright discusses the development of American architecture at length, levying criticisms at the American Institute of Architects, writing at the bottom of one page: "If the A.I.A. had not been more interested in architects than in architecture, the story by now might have been different. How could the architect's vision in such circumstances become effective action?" In a section headed "The Common Man and His Education," Wright pens a complete passage: "Form—birth—is needed. But it is not to be formed in sporadic endeavour to remodel our philosophy by hearsay, or by imported aesthetics. We will not be able to maintain the religion of democracy by profit-system equipment, nor help it grow by the conditioning our youngsters receive by current education. Managed publicity of any kind designed to please the public taste cannot be good enough." Commenting on the politics in America, he writes: "When quality does not find its way into government, the individual becomes sacrificed to quantity." In addition to writing out these longer revisions, Wright makes frequent edits and deletions to single words or sentences as he formulates his final draft for publication. In fine condition. Accompanied by a handsome custom-made full morocco slipcase with chemise.
During the last years of his life, Frank Lloyd Wright—an acknowledged and self-proclaimed genius—was often before the publish, where his outrageous remarks and irreverence for established institutions enhanced his reputation as an 'eccentric' genius. A Testament, his aptly titled final personal statement, is a reflective work where the renowned architect outlines his influential philosophy of organic architecture. The book combines personal anecdotes, design principles, and critiques of modern architecture. Wright emphasizes harmony between architecture and nature, advocating for buildings to be integrated with their environments. Most importantly, it serves as an autobiographical statement on his approach to architecture, with significant commentary on his beliefs and influences.
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