THE PRINCIPLE OF HOPE

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house, and yet the creation on paper, so delicately traced, was different. Sketched interiors seem similarly fresh, occasionally also deceptive, as even real rooms do
provided they are seen through shop­windows or are divided off by a barrier. Who would not want to rest in these nobly swelling armchairs, beneath the congenially
placed lamp, in the evening room. If only its peace was ours, the whole room speaks of happiness. But this happiness lies in the mere glance from outside, occupants
could only disturb it. So here too the appealing plan lives on, though one which has become corporeal; a striking freshness of design still lives on in the unentered room.
This freshness becomes totally alluring in the dream house of the young couple, which they savour in the drawing, engrossed in possible happiness. The model provides
something similar, the now totally embodied design on a reduced scale. For the model too, the house as a child, promises a beauty which is not always to be found
afterwards, in the real building. There is everywhere a sense of an outset here, seeming more beautiful than much that has grown up afterwards and its purpose. The
design retains the dream of the house; the glance through the window frames it, even the model stands there as if in a telephoto. A protective layer is at work, which is
transparent of course but does not yet allow us to help ourselves or to step inside. That is why everything looks so much better behind glass, co­existing more easily.
Dreams on the Pompeian wall
Even with crayon and paint it was possible to build in a thrilling way at any time. That which is painted does not collapse, no house on the wall comes too expensive or
is too bold. Pompeian painting is thus the most famous in this vein, it is nothing but a holiday city at home. A perspective view, vedutas run riot, fragilely beautiful,
impossible building shapes are conjured on to the wall. Those that are not to be found on earth, and that could not even stand up; particularly on wall decorations of the
second, and then again of the fourth Pompeian style. A villa in Boscoreale displays side by side a view of painted gardens, oddly foreshortened pillared halls, groups of
houses full of nooks and crannies in the background. Perspectives overlap in a cheeky and enchanted way, parts of buildings that lie at the front are placed at the back
and vice versa, charming balustrades, solitary elevated circular little temples mock the static rule. Despite the vulgar colours the life on the walls is extremely graceful,
people