H. L. Mencken was so much more than an iconclast:
The chief beauty of such a town as Paris lies in the harmony visible in its architecture, and particularly in the architecture of its private buildings. Look down any of the principal streets and you will note at once that most of the houses are of a height, and, what is more, that most of them are of the same general style. In the treatment of details there remains plenty of room for individual enterprise and skill. Some houses are quite commonplace. But taken together they produce an effect of order and dignity. There are no bloody wars between Doric and Gothic, Moorish and Tudor English, the pointed arch and the mansard roof, the Corinthian column and the Byzantine minaret. Huge towers do not leap indecently from squat Greek temples. The stories of one house are not twice as high as the stories of the house next door.
Even in London, a town generally hideous, an effort at harmony is still visible. True enough, you will find huge sarcophagi shouldering pretty little Georgian houses in Pall Mall, and a saturnalia of styles in Park lane, but in most other parts of the West End every separate street, beside its virtues in detail, has some virtue as a whole. It is, in fact, a street, and not a mere hodge-podge of houses. The roofline is broken, not by leaps, but by intelligible progressions. And if we cross the Channel and proceed to such streets as the Ludwigstrasse, in Munich, we find harmony become almost perfect.
Harmony, of course, does not mean sameness. Here in Baltimore, at least in our residence sections, we have plenty of sameness. One wanders for hours through endless rows of undifferentiated houses. Citizens in liquor are constantly pulling the wrong bells, swearing at the wrong keyholes. It is difficult, so I hear, even for a teetotaler to find his house on foggy nights; the wine-bibber, in despair, frankly gives it up and so stays down town. But that ugly and depressing monotony is not harmony–no more, indeed, than the beating of a tom-tom is music. Harmony means the agreeable co-ordination of distinct but related details. It is important that they have elements in common, but it is also important that they have elements not in common.
Such harmony is rare in Baltimore. South street, for example, which might well have had character and beauty, for its builders did not lack money, is unspeakably and amazingly ugly. It has beautiful details, true enough, but the general effect is cacophonous and repulsive. So with Baltimore street, Lexington street, Hopkins Place. Even Mount Vernon Place, for all its charm, is still chaotic and disturbing. The serene dignity of a London square is not in it: the war between its antagonistic details is too savage and too noisy.