He then went on to say that battles are won by force of circumstances, by chance, by luck; and he quoted Suvaroff to this effect. He liked Lanfrey's "History of Napoleon" and Taine's book on the Empire, evidently because both are denunciatory of men and things he dislikes, but said that he did not believe in Thiers. We came finally under the shade of the great tower and into the gateway through which Napoleon entered the Kremlin; and there we parted with a hearty good-bye. The question has been asked me, at various times since, whether, in my opinion, Tolstoi is really sincere; and allusion has been made to a book published by a lady who claims to have been in close relations with his family, which would seem to reveal a theatrical element in his whole life. To this my answer has always been, and still is, that I believe him to be one of the most sincere and devoted men alive, a man of great genius and, at the same time, of very deep sympathy with his fellow-creatures. Out of this character of his come his theories of art and literature; and, despite their faults, they seem to me more profound and far-reaching than any put forth by any other man in our time. There is in them, for the current cant regarding art and literature, a sound, sturdy, hearty contempt which braces and strengthens one who reads or listens to him. It does one good to hear his quiet sarcasms against the whole fin-de-siecle business--the "impressionism," the "sensationalism," the vague futilities of every sort, the "great poets" wallowing in the mud of Paris, the "great musicians" making night hideous in German concert-halls, the "great painters" of various countries mixing their colors with as much filth as the police will allow. His keen thrusts at these incarnations of folly and obscenity in the last quarter of the nineteenth century, and especially at those who seek to hide the poverty of their ideas in the obscurity of their phrases, encourage one to think that in the next generation the day of such pretenders will be done. His prophesying against "art for art's sake"; his denunciation of art which simply ministers to sensual pleasure; his ridicule of art which can be discerned only by "people of culture"; his love for art which has a sense, not only of its power, but of its obligations, which puts itself at the service of great and worthy ideas, which appeals to men as men--in this he is one of the best teachers of his time and of future times. Yet here come in his unfortunate limitations. From his substitutions of assertion for inference, and from the inadequacy of his view regarding sundry growths in art, literature, and science, arises endless confusion. For who will not be skeptical as to the value of any criticism by a man who pours contempt over the pictures of Puvis de Chavannes, stigmatizes one of Beethoven's purest creations as "corrupting," and calls Shakspere a "scribbler"!