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what different views: "There is no great art possible to a nation but that which is based on war." Yet as every man is entitled to his own opinion in such matters, there is no reason why we should quarrel with either the Russian or the Englishman for their chosen principles. But Ruskin is no greater as an essayist because he approves of war, and Tolstoï gains nothing as a novelist because he adheres to peace. The glory of the battlefield, its pathos and its horror, are all fitting subjects for the artist's pen or pencil. He may stir our blood and rouse our fighting instincts, like Homer or Scott; or he may move us to pity, and sorrow, and shame, by the revelation of all the shattered hopes and bitter agonies that lie beyond. But his own greatness depends exclusively on his treatment of the subject, and not on his point of view. Who knows and who cares what De Neuville thinks of war? He paints for us a handful of men roused at dawn, and rushing gallantly to their deaths, and we feel our hearts beat high as we look at them. The terror, the awfulness, the self-forgetting courage, the gay defiance of battle, all are there, imprisoned mysteriously in the artistic group-