Candida Höfer's 2007 photograph, Masonic Temple Philadelphia (above), was taken in the Corinthian Room of the Grand Lodge of Free and Accepted Masons of Pennsylvania.  Born of the historicizing impulses that defined much late nineteenth-century architecture, the lodge includes Egyptian (middle), Norman, Gothic, and other such historically styled rooms, all encased in a building with a modified Romanesque façade, the latter of which possibly speaks to the perceived origins of the order. The discrete character of each, set in a sort of architectural conglomerate, suggests an affinity of these builders' buildings with those of the contemporary vernacular and the post-modernists who mined it.  The Pennsylvania lodge's freeform pastiche of styles, including polychromed Greco-Roman-based forms, a familiar trope of the recent past (below: Michael Graves, St. Coletta, Washington, DC, 2006), proposes reconsideration of familiar dialectics: the post-modern condition does not strictly post-date modernism.