Architecture, in the highest sense of that word, has disappeared.

A scenic scheme of panelling for empty walls has superseded the conscientious striving to construct a living and intelligible whole.
The fault inherent in Italian building after the close of the Lombard period, reaches its climax here.

That fault was connected with the inability of the Italians to assimilate the true spirit of the Gothic style, while they attempted its imitation in practice.

The fabrication of imposing and lovely facades at Orvieto, at Siena, at Cremona, and at Crema, glorious screens which masked the poverty of the edifice, and corresponded in no point to the organism of the structure, taught them to overrate mere surface-beauty.

Their wonderful creativeness in all the arts which can be subordinated to architectural effect seduced them further.