'Art', he says, 'is a human activity, consisting in this--that one man consciously, by means of certain external signs, hands on to others feelings he has lived through, and that other people are infected by these feelings and also experience them.' Now this is well enough as far as it goes, but it is not enough, and just because it is not enough it leads Tolstoy into error. Clearly, if art is nothing but the infection of the public with the feelings of the artist, it follows that a work of art is to be judged by the number of people who are infected. And Tolstoy with his usual sincerity accepts these conclusions; indeed, he wrote his book to insist upon them. He judges art entirely as a thing of use, moral use, and he says it can be of no use unless a large audience is infected by it. A work of art that few can enjoy fails as art, just as a railway from nowhere to nowhere fails as a railway. A railway exists to be travelled by and a work of art exists to be experienced by as many people as possible. Here are the actual words of Tolstoy: 'For a work to be esteemed good and to be approved of and diffused, it will have to satisfy the demands, not of a few people living in identical and often unnatural conditions, but it will have to satisfy the demands of all those great masses of people who are situated in the natural conditions of laborious life.' Now this sounds plausible; but consider the effect of it upon yourself. You listen to a symphony by Beethoven; and before you esteem it good, you must ask yourself, not whether it is good to you, but whether it will satisfy the demands of those great masses of people who are situated in the natural conditions of laborious life. Tolstoy does proceed to ask himself this question about Beethoven's Choral symphony and about King Lear, and condemns them both because, he says, a Russian peasant would not understand them. But if we all obeyed him and asked this question about all works of art, we should none of us ever experience any work of art at all; for, while we listened to a piece of music, we should be wondering whether other people understood it; that is to say we should not listen to it at all. And what is this Jury of people situated in the natural conditions of laborious life who are to decide not individually but as a Jury? Who can say whether he himself belongs to them? Who is to choose them? Tolstoy chose them as consisting of Russian peasants; he, like Whistler, believed in the primitive, but for him it was the primitive man, not the primitive artist, who was blessed. In his view there would be no Jury in all western Europe worthy of deciding upon a work of art, because we none of us are situated in the natural conditions of laborious life. So we must change all our way of life or despair of art altogether. Not one of the great ages of art would satisfy his conditions. Certainly not the Greeks of the age of