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 artistically conceived recreations, but also to involve the masses themselves in a creative artistic activity.

6. Establishment of courses for instructors with a view of educating the future directors of People's Houses;

7. Establishment of an information bureau continually in touch with the Moscow districts, its suburbs and provinces; the bureau will not only inform on the Section's activities but will serve also as an advisory board to persons connected with such kind of work in localities;

8. Organization of a technical and art supervision over theatrical and musical Moscow enterprises and organization of a control of State taxes in theatrical establishments;

9. Further widening of activity of the repertoire committee and of the Section's magazine. For all these beginnings detailed plans have been worked out and on their basis an estimate has been drawn and already submitted to the Soviet.

The Documents presented under Part III showed the methods used by the Soviet Government to popularize the study and production of contemporary art; Part IV contains documents to illustrate the piety with which the Soviets approach the art of the past, as preserved in museums, and the affectionate zeal with which they are safeguarding its treasures. Document No. 21 is a lengthy general statement on activities in this direction covering a period of one month (May 28–June 28, 1918); Documents No. 22 and No. 23 deal with individual famous collections: the Tretiakov Gallery in Moscow, which is the subject of No. 23, is one of the most celebrated collections of recent paintings in Europe, including, among other fine things, many of the paintings of the famous Russian painter, Verestchagin (1842—1904).

The Section in charge of museums and preservation of art