Knowledge and love are both indefinitely extensible; therefore, however good a life may be, a better life can be imagined. Neither love without knowledge, nor knowledge without love can produce a good life. In the Middle Ages, when pestilence appeared in a country, holy men advised the population to assemble in churches and pray for deliverance; the result was that the infection spread with extraordinary rapidity among the crowded masses of supplicants. This was an example of love without knowledge. The late War afforded an example of knowledge without love. In each case, the result was death on a large scale. Although both love and knowledge are necessary, love is in a sense more fundamental, since it will lead intelligent people to seek knowledge, in order to find out how to benefit those whom they love. But if people are not intelligent, they will be content to believe what they have been told, and may do harm in spite of the most genuine benevolence. Medicine affords, perhaps, the best example of what I mean. An able physician is more useful to a patient than the most devoted friend, and progress in medical knowledge does more for the health of the community than ill-informed philanthropy. Nevertheless, an element of benevolence is essential even here, if any but the rich are to profit by scientific discoveries. Love is a word which covers a variety of feelings; I have used it purposely, as I wish to include them all. Love as an emotion――which is what I am speaking about, for love “on principle” does not seem to me genuine――moves between two poles: on the one side, pure delight in contemplation; on the other, pure benevolence. Where inanimate objects are concerned, delight alone enters in: we cannot feel benevolence towards a landscape or a sonata. This type of enjoyment is presumably the source of art. It is stronger, as a rule, in very young children than in adults, who are apt to view objects in a utilitarian spirit. It plays a large part in our feelings towards human beings, some of whom have charm and some the reverse, when considered simply as objects of aesthetic contemplation.