Marie Andreeva (Madame Gorky), who is herself an actress of note and was at one time a star in the famous Art Theatre in Moscow, had charge of Narodny Dom, a people’s theatre, which was started under the Tsar and is continued under the Soviets. Marie Andreeva recently made a tour of Europe to study the theatres. But it is Stanislavsky, the director of the Moscow Art Theatre, who has rendered Lunacharsky the greatest assistance. Stanislavsky is conceded to be the greatest stage director in the world. Under his guidance, all the great Russian playwrights for the last generation have blossomed. It was Stanislavsky’s firm conviction that the Russian people must maintain the theatres, hundreds of theatres, during the revolution, in order that they might not find a life of hunger and cold too monotonous for a desire to live. With his brave little company he has managed to keep his theatre in the capital at the very highest pitch. He established and kept under his direction three other theatres in Moscow and he has put on a number of new operas. Absolutely nothing seems to discourage him. The loss of his personal fortune, which had been very great, and even the loss of his beloved workshop which was turned into a Chauffeurs’ Club, did not destroy his calm. “It is never Lenin or Lunacharsky, big men, who are to blame for these mistakes of the Soviet Government,” he told me. “It is always the little foolish, frantic men. When they took my workshop I wrote to Lenin. He did everything he could and when he was outvoted by Kaminev and the Moscow Soviet, he managed to get me another place, really just as good but lacking the old atmosphere.” Many tales could be told about Lunacharsky. The most typical, I think, and the one that shows his persistency is the story of the Hermitage museum, which Catherine the Great founded in Petrograd. When the Germans were knocking at the gates of Petrograd in 1917 the historic tapestries in the Winter Palace and the entire Hermitage collection were sent by dead of night to Moscow and stored in the Kremlin. One day in the winter of 1921 I called at Lunacharsky’s office. He was in a fine state of happiness. “I have great news for you,” he exclaimed. “To-day we sent the Hermitage collection back to Petrograd--intact! I wonder if you can realize what that means? I wonder if the world will know how nearly those precious things came to destruction? How wonderful it is, after all, that in another month one can go to Petrograd and behold everything arranged as it has been for centuries.