Ideas of Good and Evil.
cious landscapes, painted upon wood and canvas, for the descriptions of poetry, until the painted scenery, which had in Greece been a charming explanation of what was least important in the story, became as important as the story. It needed some imagination, some gift for day-dreams, to see the horses and the fields and flowers of Colonus as one listened to the elders gathered about Œdipus, or to see 'the pendent bed and procreant cradle' of the 'martlet' as one listened to Duncan before the castle of Macbeth; but it needs no imagination to admire a painting of one of the more obvious effects of nature painted by somebody who understands how to show everything to the most hurried glance. At the same time the managers made the costumes of the actors more and more magnificent, that the mind might sleep in peace, while the eye took pleasure in the magnificence of velvet and silk and in the physical beauty of women. These
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