Meanwhile they set a fashion exactly suited to the taste of the time, which in literature also was disposed to substitute dilettantism for culture, and, in its infatuation for what it called “style,” to attach more importance to form than to subject-matter. It was the age of the amateur. Lord Burlington, for example, a patron of art, designed a villa at Chiswick in a free translation of the Villa Capra, Vicenza by Palladio. Also, in conjunction with his protégé, Kent, he erected the =Horse Guards= and =Devonshire House= in London and =Holkham Hall, Norfolk=; the last-named presenting a central block connected by corridors with four outlying pavilions. One of the shibboleths of this time that passed for a principle was that to a style of this grandeur only one form of roof was appropriate--a dome. Interior proprieties were sacrificed to the securing of a dome, and where the exigencies of building necessitated a flat or pointed roof it was hidden behind an attic or balustrade. =Pope’s Satire.=--The fatuities, however, of this craze for the monumental did not escape contemporary satire. When Lord Burlington published the designs of Inigo Jones and Palladio’s drawings of the “Antiquities of Rome,” Pope referred to them in one of his epistles-- “You show us, Rome was glorious, not profuse, And pompous buildings once were things of use. Yet shall, my Lord, your just, your noble rules, Fill half the land with imitating fools; Who random drawings from your sheets may take And of one beauty many blunders make; Load some vain church with old theatric state, Turn arcs of triumph to a garden gate: ....... “’tis very fine, But where d’ye sleep or where d’ye dine? I find by all you have been telling That ’tis a house, but not a dwelling.” =Chambers.=--It was a reaction from this mania for magnificence that encouraged, in the case of more modest houses, the so-called “Queen Anne” style, and later, in large and small alike, the “Georgian.” The change to the latter, moreover, was assisted by the influence of Sir William Chambers, who acquired a real knowledge of architecture through long study in Italy and in 1759 published his “Treatise on Civil Architecture.” His most important work is the river front of =Somerset House=. He, too, however, was responsible for a craze. In early life he had visited China, where he made sketches of architecture, furniture, and costumes, which formed the basis of his “Designs for Chinese Architecture, Etc.” published in 1757. It led to an infatuation for the socalled “Chinese Style” which survives directly in the Pagoda at Kew Gardens and indirectly in the Chinese motives that Chippendale (d. 1779) introduced with so much taste into his furniture designs.