Granted that coercive power is necessary if a State, or even
a harmonious lesser order of society, is to exist, several very basic questions remain.
Scully employs a reductive vocabulary of thick horizontal and vertical bands of color, which perform an interplay of mass, light and shadow, through which he reconciles the
ordered character of early European Modernism, with its ideals of harmony and spirituality, and late American Modernism, with its use of
less harmonious, expressionistic compositions.