 Despite not always containing entirely new ideas, Moore’s ethical writings, and especially Principia Ethica, were extremely influential, both outside and within philosophy. Outside philosophy one influence was through the literary and artistic figures in the Bloomsbury Group, such as Keynes, Lytton Strachey, and Leonard and Virginia Woolf, several of whom had come to know Moore while members with him of the Apostles. They were most impressed by the last chapter of Principia Ethica, whose identification of aesthetic appreciation and personal love as the highest goods very much fit their predilections. Keynes said the book’s publication was for them “the opening of a new heaven on a new earth” and its theory of the good became for a time their “religion” (1949: 82) Many of them – the gay men in particular – sexualized Moore’s account of love, adding an erotic element not present in his formulations. But according to Keynes (though Leonard Woolf (1960: 146–49) disagreed), they tended to ignore the impartial consequentialism within which he embedded those goods, concentrating on pursuing them just within their own lives rather than encouraging their wider spread in society. The novels of E.M. Forster, another Cambridge Apostle, contain several figures representing Moorean ideas, for example the Schlegel sisters in Howards End (Sidorsky 2007). An important element in Principia Ethica’s extra-philosophical appeal was its brash iconoclasm, its claiming, however inaccurately, to sweep away all past moral philosophy. This tone entirely fit its time, when the death of Queen Victoria had led many in Britain to think a new, more progressive age was dawning.