From the standpoint of both politics and urbanism, Rome remains a significant lesson of what to avoid: its history presents a series of classic danger signals to warn one when life is moving in the wrong direction. Wherever crowds gather in suffocating numbers, wherever rents rise steeply and housing conditions deteriorate, wherever a one-sided exploitation of distant territories removes the pressure to achieve balance and harmony nearer at hand, there the precedents of Roman building almost automatically revive, as they have come back today: the arena, the tall tenement, the mass contests and exhibitions, the football matches, the international beauty contests, the strip-tease made ubiquitous by advertisement, the constant titillation of the senses by sex, liquor and violence—all in true Roman style. So, too, the multiplication of bathrooms and the over-expenditure on broadly paved motor roads, and above all, the massive collective concentration on glib ephemeralities of all kinds, performed with supreme technical audacity. These are symptoms of the end: magnifications of demoralized power, minifications of life. When these signs multiply, Necropolis is near, though not a stone has yet crumbled. For the barbarian has already captured the city from within. Come, hangman! Come, vulture!
(From The City in History, H/T to Rod Dreher)