(_c_) The architecture of the Romans possessed moreover generally, and apart from this novel employment of arch construction, an entirely different scope and character than that of Greece. The Greeks distinguished themselves, while carrying throughout their work its main purpose, and by virtue of their perfection as artists, in the nobility, the simplicity no less than the airy delicacy of their decorations. The Romans on the contrary are, as artists, at least on the mechanical side of construction more rich and more ostentatious, but at the same time of less nobility and grace. Add to this in their architecture we meet with a variety of intention which was unknown to the Greek. As I have already observed the Greeks entirely devoted the splendour and beauty of art to public objects. Their private dwellings remained insignificant. Among the Romans, however, not only do we find an increase of public buildings, whose main purpose of construction was splendidly embellished in theatres, spaces for animal combats and other means of public sport, but architecture received a deliberate impulse in the direction of private use. More especially after the civil wars villas, baths, colonnades, flights of steps were constructed with the imposing character of the most luxurious extravagance, and by this means a new opening was made for the arts of building, which also included that of gardening, which was perfected in a way that evinced very considerable talent and taste. The villa of Lucullus is a striking example. This type of Roman architecture has in many respects rendered service as a model to Italians and Frenchmen of t more recent times. Among ourselves we have for a long time to some measure followed in the steps of the Italians, and also to some extent in those of the French; finally men have once more devoted their attention to the Greeks, and have accepted as an object of imitation the antique in its purer form. CHAPTER III ROMANTIC ARCHITECTURE The Gothic architecture of the Middle Ages, which constitutes here the characteristic centre of the truly romantic type, has for a long time, more especially since the popularization and predominance of the French taste, been regarded as something rude and barbarous. In recent times it was Goethe who mainly, in the first instance, and in the youthful freshness of his own nature and artistic outlook, brought once more the Gothic type to its place of honour. Critical taste has been more and more concerned to appreciate and respect these imposing works as giving effective expression both to the distinctive purpose of Christian culture, and the harmonious unity thereby created between architectonic form and the ideal spirit of Christendom. I. GENERAL CHARACTER