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rences in an, so to speak, unlimited number,—theatres, concerts, cinematographs placed at the disposal of the masses and requisitioned, in the broadest meaning of the word, for teaching aesthetics simultaneously with social truth and justice; Beethoven, Mozart, Glueck, Wagner and Scriabine are played to and understood by workers and peasants. A pianist of great talent was telling me quite recently how astonished he had been in noticing how music possessing such difficult shades as that of Scriabine was profoundly appreciated by the working public before whom he had now the occasion of interpreting it; asserted to me that he played at present with much more spirit, much more artistic conviction than formerly, for he „felt himself much more in contact with his new public than with the snobs who before the revolution came to listen to him because it was the fashion“. The most original artistic collections are brought together in the most varied branches of human genius, supplying the material for innumerable expositions,—competitions for decoration, music, poetry, theatre. Wide scope is offered for sculpture by the erection of monuments, some of which have been powerfully conceived, in honour of the greatest figures of History. The living thought of human and creative France finds abundent personification in Danton, Robespierre, Blanqui, Victor Hugo; etc. . . . . . Schools have been opened for popular painting, sculpture, singing and poetry, in many of the former palaces and most sumptuous private hotels. Colonies have been established for poor workers and peasants' children, who are thus taken away from a rude joyless existence life, wit-
