The next day we visited the art school. The children’s classes were the more interesting. There was no discipline, no rigid rules, no mechanistic control of their art impulses. The children did drawing, painting, and modelling--mostly Jewish motifs: a pogromed city, by a boy of fourteen; a devout Jew in his _tales_ praying in the synagogue, mortal fear of the pogrom savages written in his every feature; an old Jewish woman, the tragic remnant of a whole family slaughtered; and similar scenes from the life of the Russian Jew. The efforts were often crude, but there was about them nothing of the stilted manner characteristic of the _Proletcult_. There was no attempt to impose a definite formula on art expression. Later we attended the studio. In a bare room, without scenery, lighting, costumes, or make-up, the artists of the _Kulturliga_ gave several one-act plays and presented also an unpublished work found among the effects of a playwright. The performance had an artistic touch and finish I had rarely seen before. The play is called “The End of the World.” The wrath of God rolls like thunder across the world, commanding man to prepare for the end. Yet man heeds not. Then all the elements are let loose, pursuing one another in wild fury; the storm rages and shrieks, and man’s groans are drowned in the terrific hour of judgment. The world goes under, and all is dead. Then something begins to move again. Black shadows symbolizing half beast, half man, with distorted faces and hesitating movements, crouch out of their caves. In awe and fear they stretch their trembling hands toward one another. Haltingly at first, then with growing confidence, man attempts in common effort with his fellows to lift himself out of the black void. Light begins to break. Again a thunderous voice rolls over the earth. It is the voice of fulfilment. It was a stirring artistic achievement. When the _Liga_ was first organized the Bolsheviki subsidized its work. Later, when they returned to Kiev after its evacuation by Denikin, they gave very scanty support to the educational institutions of the _Kulturliga_. This unfriendly attitude was due to the _Yevkom_, the Jewish Communist Section, which intrigues against every independent Jewish cultural endeavour. When we left Kiev the ardent workers of the _Liga_ were much worried about the future of the organization. I am not in a position to say at this writing whether the _Liga_ was able to continue its work or was closed altogether. However, laudable as were the innovations of the _Kulturliga_ and the attempts of the Kamerney and Semperante at new modes of expression, they could not be considered as having any bearing on the Revolution.