A MODERN UTOPIA
veau. But here, it may be, the illustrator will not intervene.
Art has scarcely begun in the world.
There have been a few forerunners and that is all. Leonardo, Michael Angelo; how they would have exulted in the liberties of steel! There are no more pathetic documents in the archives of art than Leonardo's memoranda. In these one sees him again and again reaching out as it were, with empty desirous hands, towards the unborn possibilities of the engineer. And Dürer, too, was a Modern, with the same turn towards creative invention. In our times these men would have wanted to make viaducts, to bridge wild and inaccessible places, to cut and straddle great railways athwart the mountain masses of the world. You can see, time after time, in Dürer's work, as you can see in the imaginary architectural landscape of the Pompeian walls, the dream of structures lighter and bolder than stone or brick can yield. . . . These Utopian town buildings will be the realisation of such dreams.
Here will be one of the great meeting-places of mankind. Here—I speak of Utopian London—will be the traditional centre of one of the great races in the commonalty of the World State—and here will be its social and intellectual exchange. There will be a mighty University here, with thousands of professors and tens of thousands of advanced students, and here great journals of thought and speculation, mature and splendid books of philosophy and science, and a glorious fabric of literature will be woven and shaped, and with a teeming leisureliness, put forth. Here will
