 If we follow Ziff’s suggestion about aesthetic verdicts, then just about anything could be grounds for aesthetic evaluations of a theatrical performance. But Ziff’s suggestion may not be the right idea about aesthetic verdicts. According to Jerrold Levinson, Hume appealed to what he called “ideal judges” to resolve the puzzling conflict between the fact that there are demonstrably better and worse artworks and the fact that our tastes—what we prefer—differ with respect to works of art (Hume 1757). Levinson, who refines and defends Hume’s solution to this conflict, notes that if we have good reason to appeal to “ideal critics”, who possess good taste and who can discern which objects are worthy of aesthetic attention, both of the fact claims that appear to be in conflict could turn out to be true. And there are real advantages in Hume’s solution: it seems to square with the fact we are able to learn from others, others whose judgment we trust, and so whose good taste should lead us to choose the right works of art; and it also squares with the fact we do seem to acquire “taste” from following the judgments of others whom we trust.