The most convenient spot for a mere dancing-place is some flat place. But any one who travels through Greece will notice instantly that all the Greek theatres that remain at Athens, at Epidaurus, at Delos, Syracuse, and elsewhere, are built against the side of hills. None of these are very early; the earliest ancient orchestra we have is at Athens. It is a simple stone ring, but it is built against the steep south side of the Acropolis. The oldest festival of Dionysos was, as will presently be seen, held in quite another spot, in the _agora_, or market-place. The reason for moving the dance was that the wooden seats that used to be set up on a sort of "grand stand" in the market-place fell down, and it was seen how safely and comfortably the spectators could be seated on the side of a steep hill. The spectators are a new and different element, the dance is not only danced, but it is watched from a distance, it is a spectacle; whereas in old days all or nearly all were worshippers acting, now many, indeed most, are spectators, watching, feeling, thinking, not doing. It is in this new attitude of the spectator that we touch on the difference between ritual and art; the _dromenon_, the thing actually done by yourself has become a _drama_, a thing also done, but abstracted from your doing. Let us look for a moment at the psychology of the spectator, at his behaviour. * * * * * Artists, it is often said, and usually felt, are so unpractical. They are always late for dinner, they forget to post their letters and to return the books or even money that is lent them. Art is to most people's minds a sort of luxury, not a necessity. In but recently bygone days music, drawing, and dancing were no part of a training for ordinary life, they were taught at school as "accomplishments," paid for as "extras." Poets on their side equally used to contrast art and life, as though they were things essentially distinct. "Art is long, and Time is fleeting." Now commonplaces such as these, being unconscious utterances of the collective mind, usually contain much truth, and are well worth weighing. Art, we shall show later, is profoundly connected with life; it is nowise superfluous. But, for all that, art, both its creation and its enjoyment, is unpractical. Thanks be to God, life is not limited to the practical.