[b] Royal Exchange, London. A scene from a story of actual life is necessarily secondary art, because here the painter imitates what is already an imitation, and cannot ascend above experience. He is confined to the invention of the novelist, and is therefore subordinate to him. The written drama is available for the painter as a source for designs only in cases of high tragedy, or mixed plays containing strong dramatic events of tragic import. Seeing that the drama is itself an imitative art, only such actions or characters can be used by the painter which are above life experience, and it is only in tragedy that the dramatist can exalt human attributes, and ennoble the passions above this experience. Tragedy deals directly with the two great contrasting human mysteries--life and death. From one to the other is the most awful and sublime action within human knowledge, and consequently the motives and sentiments relating to it may be carried to the loftiest reach of the understanding. An exaggeration of ordinary life, where the combination of perfected parts in form and expression is not possible, means only the abnormal; while comedy, which imitates conditions inferior to ordinary life, cannot be exaggerated except into distortion. High tragedy therefore is the only section of the written drama that concerns the painter. If he draw from any other work of the dramatist he only produces secondary art, as when he draws from the novelist. The picture may be interesting, but both interest and beauty will be fleeting.