It ceased at last to be possible to express modern ideas freely in the correct Latinity required by cultivated ears, while no room for originality, no scope for poetry of invention, remained in the elaborated method of the architects.

Neo-Latin literature dwindled away to nothing, and Palladio was followed by the violent reactionaries of the _barocco_ mannerism.
In one all-important respect this parallel breaks down.

While the labours of the Latinists subserved the simple process of instruction, by purifying literary taste and familiarising the modern mind with the masterpieces of the classic authors, the architects created a new common style for Europe.
With all its defects, it is not likely that the neo-Roman architecture, so profoundly studied by the Italians, and so anxiously refined by their chief masters, will ever wholly cease to be employed.

In all cases where a grand and massive edifice, no less suited to purposes of practical utility than imposing by its splendour, is required, this style of building will be found the best.

Changes of taste and fashion, local circumstances, and the personal proclivities of modern architects may determine the choice of one type rather than another among the numerous examples furnished by Italian masters.