music was heard, and the gay company fell to waltzing away the hours. Meanwhile, from below on the road level, there streamed out of the darkness on either side of the building and up the half-lit steps, their fetters ringing in harmony with the music, the enslaved and toiling masses coming in response to command to build the monument for their masters. It is impossible to describe the exquisite beauty of the slow movement of those dark figures aslant the broad flight of steps; individual expressions were of course indistinguishable, and yet the movement and attitude of the groups conveyed pathos and patient endurance as well as any individual speech or gesture in the ordinary theatre. Some groups carried hammer and anvil, and others staggered under enormous blocks of stone. Love for the ballet has perhaps made the Russians understand the art of moving groups of actors in unison. As I watched these processions climbing the steps in apparently careless and spontaneous fashion, and yet producing so graceful a result, I remembered the mad leap of the archers down the stage in _Prince Igor_, which is also apparently careless and spontaneous and full of wild and irregular beauty, yet never varies a hair-breadth from one performance to the next.
For a time the workers toiled in the shadow in their earthly world, and dancing continued in the lighted
