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

THE ROMANTICFALLACY

63

force,hasbroughtwithitmuchthatisvaluable,and

holdstheimagination oftheage, with anemphatic

andpervasivecontrol. Butthedangerisgreatlest

a spirit which has rendered intelligible so many

ancientandforgottenbeauties,andcreatedsomany

thatare new,may-,initsimpetus,renderineffective

forus somelessinsistent types ofart, towards the

perfection of which the tradition of centuries has

austerely worked. Such an artis the

architecture

oftheRenaissance. Here,then,ifweindulgeatall

inliteraryideas,letusatleastbesurethattheydo

notobscurefromusthevalueofthestyle.

|

V

One fact should be stated in defence. These

'

literary

'ideas ought not tobethe primaryvalue,

ofa.materialart; theyare,nevertheless,

itsultimate

value.

For, since man is a self-conscious being,

capable ofmemoryand association,

allexperiences,

"of

whatever

kind, will be merged, after theyhave

been experienced,

in the world of recollection

—

^will

become part of theshifting web of

ideas which is

the material

of literary emotion. Andthiswill be

true ofarchitectural

experience.

|

Itmaybeginasa

sensuous

perception,butassuchitis

necessarilymore

transient andoccasional

thanitsrememberedsignifi-

cance, and

more isolated andparticular

than when

fusedby reflectionwith

the restofourremembered

life. Its

significanceoutlivesitinthe

mind. There

is,therefore, sotosay,

aliterarybackgroundtothe