of for eyes at many points of view, above and below and
at the sides, and what is no better than a trade might become an art. With
the eyes watching from the sides of a half-round, on the floor and in the
boxes and galleries, would go the solid-built houses and the flat trees
that shake with every breath of air; and we could make our pictures with
robes that contrasted with great masses of colour in the back cloth and
such severe or decorative forms of hills and trees and houses as would not
overwhelm, as our naturalistic scenery does, the idealistic art of the
poet, and all at a little price. Naturalistic scene-painting is not an
art, but a trade, because it is, at best, an attempt to copy the more
obvious effects of nature by the methods of the ordinary
landscape-painter, and by his methods made coarse and summary. It is but
flashy landscape-painting and lowers the taste it appeals to, for the
taste it appeals to has been formed by a more delicate art. Decorative
scene-painting would be, on the other hand, as inseparable from the
movements as from the robes of the players and from the falling of the
light; and being in itself a grave and quiet thing it would mingle with
the tones of the voices and with the sentiment of the play, without
overwhelming them under an alien interest. It would be a new and
legitimate art appealing to a taste formed by itself and copying nothing
but itself. Mr. Gordon Craig used scenery of this kind at the Purcell
Society performance the other day, and despite some marring of his effects
by the half-round shape of the theatre, it was the first beautiful scenery
our stage has seen. He created an ideal country where everything was
possible, even speaking in verse, or speaking in music, or the expression
of the whole of life in a dance, and I would like to see Stratford-on-Avon
decorate its Shakespeare with like scenery. As we cannot, it seems, go
back to the platform and the curtain, and the argument for doing so is not
without weight, we can only get rid of the sense of unreality, which most
of us feel when we listen to the conventional speech of Shakespeare, by
making scenery as conventional. Time after time his people use at some
moment of deep emotion an elaborate or deliberate metaphor, or do some
improbable thing which breaks an emotion of reality we have imposed upon
him by an art that is not his, nor in the spirit of his. It also is an
essential part of his method to give slight or obscur