Conceive, then, every revolting detail of adultery, prostitution, incest, or of dishonesty, or of violence, which the perverted invention of modern writers has ever dressed up for the theatres of great cities in this and other countries. They will perhaps yield in turpitude to that which the theatres of the Roman empire exhibited. But what these theatres represented in mimic action was the exact image, as reflected in a mirror, of what was transacted at the solemn service of the gods in unnumbered temples.(19) The exact image so far as it went, yet stopping short in some respects, for our eye-witness above cited declares that gratitude was due to the actors, inasmuch as they spared the eyes of men, and did not lay bare upon the theatre all that was hidden within the walls of temples. It was not enough, then, that all the many games and spectacles in which such things were represented were dedicated to the gods, acted under their especial sanction, even enjoined by them as means of gaining their favour or averting their wrath, which alone would have made them answerable for the immorality so portrayed; not enough, even, that actions of this quality were in the theatres ascribed to the gods who presided over them; but these acts of immorality were not the fictions of poets or the acting of players, but the very substance of the theology itself in which the worship of all these nations was embodied. Priapus appeared to make a laugh on the stage exactly in the costume in which he was worshipped in the temples, or in which he entered into the rites of marriage; a costume of indescribable turpitude, the shame of our human nature. The players on the stage and the statues in the temples equally exhibited Jove bearded and Mercury beardless, Saturn in decrepitude and Apollo in youthful beauty. In the rites of Juno, of Ceres, of Venus, of the mother of the gods, words were uttered and scenes acted such as no decent person would suffer to be spoken or acted before his own mother; or rather they contained, as a portion of themselves, the worst crimes which the theatres represented; nay, crimes which they stopped short of acting, and persons so infamous that they were not tolerated even on the stage, where yet to take part was a civil dishonour. What, then, was the nature of those rites wherein those were chosen to take part whom the utmost license of the stage banished from its boards?(20) Let us conceive—if such a conception can be adequately represented to the mind—that the vilest drama ever acted upon a modern theatre was being daily carried on in all the churches of Christendom by troops of priests and priestesses, with all the paraphernalia of costliest worship, with prayers, invocation, and sacrifices, as a service acceptable to the Ruler of man’s lot, and as an account of what that ruler had Himself done, and of what He loved to be imitated by others. That would be a picture of heathen worship in the time