I said that this state of affairs may in the long run be bad for art, but the contrary may equally well prove to be the truth. It is of course discouraging and paralysing to the old-style artist, and it is death to the old individual art which depended on subtlety and oddity of temperament, and arose very largely from the complicated psychology of the idle. There it stands, this old art, the purest monument to the nullity of the art-for-art's-sake doctrine, like a rich exotic plant of exquisite beauty, still apparently in its glory, till one perceives that the roots are cut, and that leaf by leaf it is gradually fading away. But, unlike the Puritans in this respect, the Bolsheviks have not sought to dig up the roots, and there are signs that the paralysis is merely temporary. Moreover, individual art is not the only form, and in particular the plastic arts have shown that they can live by mass action, and flourish under an intolerant faith. Communist artists of the future may erect public buildings surpassing in beauty the mediaeval churches, they may paint frescoes, organize pageants, make Homeric songs about their heroes. Communist art will begin, and is beginning now, in the propaganda pictures, and stories such as those designed for peasants and children. There is, for instance, a kind of Rake's Progress or "How she became a Communist," in which the Entente leaders make a sorry and grotesque appearance. Lenin and Trotsky already figure in woodcuts as Moses and Aaron, deliverers of their people, while the mother and child who illustrate the statistics of the maternity exhibition have the grace and beauty of mediaeval madonnas. Russia is only now emerging from the middle ages, and the Church tradition in painting is passing with incredible smoothness into the service of Communist doctrine. These pictures have, too, an oriental flavour: there are brown Madonnas in the Russian churches, and such an one illustrates the statistics of infant mortality in India, while the Russian mother, broad-footed, in gay petticoat and kerchief, sits in a starry meadow suckling her baby from a very ample white breast. I think that this movement towards the Church tradition may be unconscious and instinctive, and would perhaps be deplored by many Communists, for whom grandiose bad Rodin statuary and the crudity of cubism better express what they mean by revolution. But this revolution is Russian and not French, and its art, if all goes well, should inevitably bear the popular Russian stamp. It is would-be primitive and popular art that is vulgar. Such at least is the reflection engendered by an inspection of Russian peasant work as compared with the spirit of _Children's Tales_.