Not, indeed, that questions of this sort have ever had for the majority of men in one age, or for the collective mass of human kind, an all-absorbing interest. If we choose to look closely into the matter, and to test men's opinion as it is displayed in their actions (the only real opinion), we shall at first perhaps be struck by the slight belief which they possess in a future state. For it is slight compared to their "notional assent," that which they think they believe concerning it. With the majority, faith upon this point is at best but shadowy, of an otiose character suitable for soothing the lots of others, and sometimes, alas! called into requisition to relieve us from the stings of conscience on account of the pain which our own misconduct or neglect has introduced therein. And as it is with us, so, save under exceptional conditions, it has always been with men in the full vigour and enjoyment of life. There have been times when one aspect of the future--its terror--has been realized with an intensity, and has exercised an influence upon life and conduct, such as is unknown in our days. But these times have not been ordinary ones, and we are apt, I think, even to over-estimate the force of faith during the Middle Ages. That term, "dark ages," overrides our fancy; "we can never hear mention of them without an accompanying feeling as though a palpable obscure had dimmed the face of things, and that our ancestors wandered to and fro groping."[5] But, then, neither have the most light-hearted and sceptical of people been able to shut their eyes utterly to the warnings of death. We are wont to think of the Greeks as of just such a light-hearted, and in a fashion sceptical, temperament, and to contrast the spirit of Hellas with the spirit of mediæval Europe. Scarcely any thought of death, or of judgment after death, disturbs the serenity of Greek art, such as it has come down to us. Thanatos is not to be found;[6] even the tombs are adorned with representations of war and of the chase, or with figures of the dancing Hours. And yet Greek art was not without its darker side. It had, like mediæval poetry, its Dante--Polygnotus, namely--who adorned the pilgrims' house at Delphi with frescoes representing the judgment and the tortures of the damned,--a Greek Campo Santo. He would have given us a different impression of the Greek mind in presence of the fact of mortality, and shown us how easily we are led to exaggerate the divergence in thought between different nations and different times.