Raphael, then, determined to represent the idea of Law, by representing three of its qualities: _Prudence_, _Firmness_ and _Moderation_. These three again are abstract ideas. No one has ever seen them or will see them; we can only see the results of them, the acts which they influence man to do. So if _Prudence_, _Firmness_ and _Moderation_ have no visible shape, how could he represent them to the eye? He probably took a hint from a form of a stage play that was popular in his day. At any rate he did what the authors of these “Moralities” or “Allegories” were in the habit of doing. For they introduced as characters in their plays the Vices and Virtues; making an actor, for example, personify Gluttony or embody in his own person the idea of Gluttony. Thus, a fat man would be chosen for the part, and he would pad himself so as to look still fatter; he would make his face shining and greasy, and perhaps cover the front of his coat with grease, to suggest what a greedy and dirty feeder he was. He would come on the stage eating, and anything he had to say or do would help the audience to realise that the only thing he lived for was to stuff himself with food. This was called an embodiment or personification of Gluttony; for the idea of Gluttony was suggested in the person of the actor by the peculiarities of his body and behaviour. While the personifications of the Vices were for the most part comic, those of the virtues were beautiful or heroic, so that these Moralities or Allegories were as popular with the crowd as with people of taste. Sometimes the allegory was represented, not with figures moving about the stage, speaking and acting, but as a stationary group, in which the figures were raised on steps, so that a very imposing composition or tableau was presented. And no doubt, when these were given on a grand scale artists often arranged the spectacle.