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

150 THEARCHITECTUREOF

HUMANISM

'

repose—discord, even—tillthe eye

comesto rest

in

thebroadunityofthescheme, and themovements

oftheattention are

resolvedonitscontrollinglines.

Inproportionasthemovementis

tempestuous,

these

linesareemphatic

;

inproportionasitisbold,these

arestrong. Hence,sometimes,the

necessity

—

aneces-

sityofaesthetic,ifnotofconstructivelogic—^forthat

worst

insolence and outrage upon academic taste,

the triple pediment with its thrice-repeated lines,

placed,likethechordsinthelastbarsofasymphony,

toclosethetumultandtorestoretheeyeitscalm.

Inthissense

aloneis

baroquearchitecture—

^inthe

handsof its greatestmasters—slovenlyor ostenta-

tious,andforthesereasons. Butwedonotcomplain

ofacataractthat

it

is

slovenly,nor

find

ostentation

intheshoutofanarmy. Themoraljudgmentofthe

criticwashere unsoundbecausethe

purposeofthe

architectwasmisconceived

;

andthatwasattributed

tocoarsenessofcharacterwhichwas,in fact,a fine

penetrationofthemind. Themethodsofthebaroque,

granted its end, are justified. Otherarchitectures,

by othermeans, have

conveyed strength in repose.

Thesestylesmaybeyetgrander,andofaninterest

moresatisfyingandprofound.

Butthe laughter

of

strengthis expressed
inonestyleonly: the Italian

baroque
architecture oftheseventeenth century.

This

brings ustothelastcharge.

Real strength,

thecriticcanreply,

maybesufferedto

be

exultant.