Every philosophy is tinged with the colouring of some secret imaginative background, which never emerges explicitly into its trains of reasoning. The Greek view of nature, at least that cosmology transmitted from them to later ages, was essentially dramatic. It is not necessarily wrong for this reason: but it was overwhelmingly dramatic. It thus conceived nature as articulated in the way of a work of dramatic art, for the exemplification of general ideas converging to an end. Nature was differentiated so as to provide its proper end for each thing. There was the centre of the universe as the end of motion for those things which are heavy, and the celestial spheres as the end of motion for those things whose natures lead them upwards. The celestial spheres were for things which are impassible and ingenerable, the lower regions for things impassible and generable. Nature was a drama in which each thing played its part. I do not say that this is a view to which Aristotle would have subscribed without severe reservations, in fact without the sort of reservations which we ourselves would make. But it was the view which subsequent Greek thought extracted from Aristotle and passed on to the Middle Ages. The effect of such an imaginative setting for nature was to damp down the historical spirit. For it was the end which seemed illuminating, so why bother about the beginning? The Reformation and the scientific movement were two aspects of the historical revolt which was the dominant intellectual movement of the later Renaissance. The appeal to the origins of Christianity, and Francis Bacon’s appeal to efficient causes as against final causes, were two sides of one movement of thought. Also for this reason Galileo and his adversaries were at hopeless cross purposes, as can be seen from his _Dialogues on the Two Systems of the World_.