The next day I spent in vain wrestlings to get a better room. Walking about the town I found it dotted with revolutionary sculptures, some very bad, others interesting, all done in some haste and set up for the celebrations of the anniversary of the revolution last November. The painters also had been turned loose to do what they could with the hoardings, and though the weather had damaged many of their pictures, enough was left to show what an extraordinary carnival that had been. Where a hoarding ran along the front of a house being repaired the painters had used the whole of it as a vast canvas on which they had painted huge symbolic pictures of the revolution. A whole block in the Tverskaya was so decorated. Best, I think, were the row of wooden booths almost opposite the Hotel National in the Okhotnia Ryadi. These had been painted by the futurists or kindred artists, and made a really delightful effect, their bright colours and naif patterns seeming so natural to Moscow that I found myself wondering how it was that they had never been so painted before. They used to be a uniform dull yellow. Now, in clear primary colours, blue, red, yellow, with rough flower designs, on white and chequered back-grounds, with the masses of snow in the road before them, and bright-kerchiefed women and peasants in ruddy sheepskin coats passing by, they seemed less like futurist paintings than like some traditional survival, linking new Moscow with the Middle Ages. It is perhaps interesting to note that certain staid purists in the Moscow Soviet raised a protest while I was there against the license given to the futurists to spread themselves about the town, and demanded that the art of the revolution should be more comprehensible and less violent. These criticisms, however, did not apply to the row of booths which were a pleasure to me every time I passed them.