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

26 THE

ARCHITECTURE OF

HUMANISM

architectural

history—helped, no

doubt, to create

the demand which

architecture satisfied.

But

the

significant point is precisely

that it was

to

artistic

usesthat

thiswealth,thispower,and

theseopportun-

ities,were

devoted,andtoartisticuses

of

aparticular

kind. Rich

andflourishingsocietieshavenotseldom

grownup,andaregrowingup

inourowntime,

without

anycorrespondingresult. Prosperity

is

a condition

of great achievements

;

it is not their cause. It

does

not even stand in any fixed relation to

their

progress. Itprovides power,butdoesnot,artistic-

ally,controlitsuse. Theeconomicconditions

which,

inItaly,assistedthe

architecture

of

theRenaissance

toassumesuch prominence, did not vary with the

markedandswiftalterationsofitsstyle.

Thestyle

hadanorbit, andanimpetus,

ofitsown. InItaly

nothing is commoner than to find an architectuigl

displaywhollydisproportionate,

andevenunrelated,

tothe

socialpurpose

itostensiblyfulfils,andtothe

importanceorprosperityof

the

individuals

or

com-

munitiesresponsible

foritsexistence. Princelygates,

more

imposing

than those of a greatmansion,lift

up their headsin the loneliest

places of the Cam-

pagna,butnothing

gloriousgoesin. Theylead,and

have always led, to unpeopled pastures

or

humble

farmsteads. The baroque

spirit delighted in

this

gay inconsequence. It

appreciated

grandeur

forits

ownsake,

aesthetically

;

and

ithadasenseofparadox.