Other instances, more picturesque, or at least more suggestive, of the naturalization of continental examples, at English holiday resorts may be given. Eastbourne is indebted for the full development of its natural attractions and for the addition of its beauties of art to the Duke of Devonshire. Amongst other buildings with which the place has been enriched is a town hall of graceful proportions and artistic aspect. This building is crowned by a clock tower so exquisitely shaped and standing out in such classic profile against the dark South Downs in the background as to justify the local vaunt that had it been in Florence sightseers from all parts of the world would have flocked to see it; and guide books would long since have commemorated the glories of, a new Campanile added to the historic list of fair structures. While the Eastbourne clock tower is awaiting the architectural canonization it deserves, the town itself has still more closely approached to southern exemplars by starting a carnival of its own.[45] The slovenly and bedraggled mummeries into which the Italian saturnalia have degenerated have not prevented the enterprising authorities of the Sussex watering place from mimicking the battles of flowers and confetti that are still supposed to relieve the approach of Lent in the City of the Popes, but which as a fact have during late years only formed another feature in Roman vulgarity. One advantage over its more Southern original the Sussex shore imitation possesses. Real confetti are not employed. Pellets of tissue paper are missiles at once less costly and less dangerous than sugar plums. In other respects the continental type has been reproduced rather too faithfully. Whether on the Corso, the King's Road, Brighton, the Esplanade or Terminus Road, Eastbourne, the whole pageant, as to the costume, the humours, and the hand artillery of the mummers, resembles equally the scenes on the return from the Derby by road to be witnessed between Clapham Common and Hyde Park Corner. It was, perhaps, the foreign imitations in the social scheme of English life increasingly visible during his later years to Matthew Arnold which inspired that close observer with the advice to his countrymen to organize the theatre. To some extent, indeed, the counsel had long been anticipated. The organization of the stage into a wholesome agency of popular amusement and teaching began with Macready, the earliest of that line of considerable actors who have served their generation during the Victorian epoch. But the prejudice against the play prevailing among other than the austerer classes long survived the work of this great reformer of the English stage. The company which fills a theatre to-day in respect of ethics and behaviour is not inferior to the fashionable occupants of an opera box on a subscription night.