required him to kill his own wife, who was standing opposite, the people began loudly to express their disapprobation of this demand; and there was a great risk that the piece would have been interrupted. They insisted that the old man should take his sword back, in which case all the subsequent situations in the drama would have been completely spoiled. At last the distressed son plucked up courage, advanced to the proscenium, and humbly entreated that the audience would have patience for a moment, assuring them that all would turn out to their entire satisfaction. But, even judging from an artistical point of view, this situation was, under the circumstances, silly and unnatural, and I commended the people for their feeling.
I can now better understand the long speeches and the frequent dissertations, pro and con, in the Greek tragedy. The Athenians liked still more to hear speaking, and were still better judges of it, than the Italians. They learned something from the courts of law, where they spent the whole day.
In those works of Palladio which are completed, I have found much to blame, together with much that is highly valuable. While I was reflecting how far I was right or wrong in setting my judgment in opposition to that of so extraordinary a man, I felt as if he stood by and said, "I did so and so against my will, but, nevertheless, I did it, because in this manner alone was it possible for me, under the given circumstances, to approximate to my highest idea."
The more I consider the matter, the more it seems to me that Palladio, while contemplating the height and width of an already existing church, or of an old house to which he was to attach façades, only considered, "How will you give the greatest form to these dimensions? Some part of the detail must, from the
