But not music only, every production of art ought to excite emotions greater and thoughts larger than itself. Thoughts and emotions which never perhaps were in the mind of the artist, never were anticipated, never were intended by him—may be strongly suggested by his work. This is an important part of the morals of art, which we must never lose sight of. Art is not only for pleasure and profit, but for good and for evil. Goethe (in the _Dichtung und Wahrheit_) describes the reception of Marie Antoinette at Strasbourg, where she passed the frontier to enter her new kingdom. She was then a lovely girl of sixteen. He relates that on visiting before her arrival the reception room on the bridge over the Rhine, where her German attendants were to deliver her into the hands of the French authorities, he found the walls hung with tapestries representing the ominous story of Jason and Medea—of all the marriages on record the most fearful, the most tragic in its consequences. “What!” he exclaims, his poetical imagination struck with the want of moral harmony, “was there among these French architects and decorators no man who could perceive that pictures represent things,—that they have a meaning in themselves,—that they can impress sense and feeling,—that they can awaken presentiments of good or evil?” But, as he tells us, his exclamations of horror were met by the mockery of his French companions, who assured him that it was not everybody’s concern to look for significance in pictures. These self-same tapestries of the story of Jason and Medea were after the Restoration presented by Louis XVIII. to George IV., and at present they line the walls of the Ball-room in Windsor Castle. We might repeat, with some reason, the question of Goethe; for if pictures have a significance, and speak to the imagination, what has the tragedy of Jason and Medea to do in a ball-room?