IV + 

When we turn our attention from Rabelais’ conceit of an anti-monastic order, we discover that he has given us an excellent picture of the Country House, and of what I shall take the liberty of calling Country House culture. We see pretty much the same outlines in the introduction to Boccaccio’s Decameron; it is elaborately described in terms of that most complete of Country Houses, Hampton Court, in Pope’s “Rape of the Lock”; it is vividly pictured by Meredith in his portrait of The Egoist; and it is analyzed in Mr. H. G. Wells’ cruel description of Bladesover in Tono-Bungay, as well as by Mr. Bernard Shaw in Heartbreak House. Whether Mr. W. H. Mallock holds the pattern of Country House culture up to us in The New Republic or Anton Chekhov penetrates its aimlessness and futility in The Cherry Orchard, The Country House is one of the recurrent themes of literature. + 

This renaissance idolum of the Country House, then, is powerful and complete: I know no other pattern which has imposed its standards and its practices with such complete success upon the greater part of European civilization. While the Country House was in the beginning an aristocratic institution, it has penetrated now to every stratum of society; and although we may not immediately see the connection, it is responsible, I believe, for the particular go and direction which the industrial revolution has taken. The Country House standards of consumption are responsible for our Acquisitive Society. + 