The architecture of humanism; a study in the history of taste

198

THEARCHITECTURE OF

HUMANISM

was lacking. Pedantry, in that

astonishing time,

wasan ideal
;

itwas an inspiration

;

it was

nota

method.

Vitruvius helped the architect to master

theconventionsofan art,of

whichthe possibilities

were apprehended but not explored.

He

wrapt it

inthe pompanddignityof learning. Butin Italy

whenhewasfoundatvariance

withtheartist'swishes,

hislawswerereverently ignored.

Even

theaustere

Palladio, when itcame tobuilding, permitshimself

much

latitude,and

the

motive ofhis written work

isfarless topropagatethe

canonofVitruviusthan

tomakeknownhisownoriginalachievements,which

he reckons

'

among the noblestand mostbeautiful

buildings
erected

since

the time of the ancients.'

Vignola'soutlookisnolesspractical.

'

Ihaveused

thisoften,anditisagreatsuccess,'hewritesagainst

a classic cornice:

'

riesce moUograta.' AndSerlio,

the mostardent Vitruvianofall, admitsthecharm

ofnovelty.

These were

the masters of the academic school.

The

other camp

—

^the architects of the stylewhich

culminated in Borromini

—

^used the classical forms

when and howthey pleased,

as mere raw

material

foradecorativescheme.

Theywereconsumedbya

passion fororiginality thatat timesbecameavice.

Whatever their faults

—

^and with the main

charges

againstthebaroque

wehave alreadydealt—noone

could

accusethemofimitativeness.