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 mediæval 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 mediæval 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
