Up to that time, the valuable collections, as well as the buildings, had been in the hands of a revolutionary committee which also might very well have been of the opinion that art could be replaced by “bigger and better” things.
Lunacharsky did not take his task lightly. He issued another public declaration asking for the solemn co-operation of all loyal Russians. “Upon me rests the responsibility of protecting the entire artistic wealth of the people,” he said, “and I cannot fulfill my duty without your help.”
It will not be known for a long time against what strong and subtle forces he had to battle to guard that trust. There was movement after movement to sell such treasures as the Rembrandt Collection in the Hermitage at Petrograd or the historic paintings and tapestries in Moscow. But Lunacharsky, ever on the alert, defeated every one of these attempts. He often fought bitter battles in his own party. Every possible sort of intrigue was manufactured against him. I remember times when he had to appear in public and defend himself against atrocious slander. Yet up to the present day he has saved absolutely everything except the pearls and diamonds of the royal family which, after all, were never of any particular artistic value. He saved even the Tsarist statues from the mobs that would have destroyed them, and stored them away in buildings for a calmer moment. He never lost his artistic perspective, art was always art and he “could look with a just regard upon the shattered corpse of a shattered king” provided that the monument was executed by a talented artist.
Nikolai Lenin has the genius to read men well; he recognized instantly that a man who could be so affected by the rumored loss of a single historic building that he could scarcely bear to face life, would be the very man to defend passionately the art of the nation. And Lenin has continued to defend Lunacharsky against every charge brought by his enemies. These charges have often been serious because they were brought by revolutionists who claimed that Lunacharsky was partial to the bourgeoisie in his efforts to get extra rates for scientists and artists; that he was not a real Communist because he put art before political propaganda. There was a terrible period when the loyalty of all men was questioned whose allegiance was not wholly given to the defense from military attack at whatever cost to art or personal life. It was through that period that Lunacharsky had to guide Russian culture.
“Think what vitality the theatre had to possess,” said Chaliapin, “to maintain itself through the revolution.” “Think what hunger the Russian masses had for learning,” said Madame Lenin, “that they could grasp even this hard moment to learn to read and study.” Both these assertions are true, but in spite of that hunger and that vitality both forces might have gone down for some years, had it not been for the splendid leadership of Lunacharsky.
Even those ardent revolutionists who could see no further than the immediate moment are beginning to realize that the very fact that the Soviets have kept intact their national art gives them a prestige which money could never buy; it is an indisputable evidence of their faith in civilization. And it is Lunacharsky who has managed to save for them this evidence of faith when hotheads would have cast it aside.
It always seems a pity that we are aware now of only the prominent political figures in Russia. If we can think back on the French guillotine days and the burning of libraries, the mad destruction of art, the sacking of palaces by angry mobs, we can understand that if there had been men in France in those days who could have held those mobs in check and made them want to read the books they were burning, made them turn the palaces into museums, Napoleon might never have worn a crown. In Russia the influence of the men who hold the political reins would be so much slighter and so much less significant if they were not backed up by men like Lunacharsky.
He had the art galleries heated in the most bitter of the fuel famine days and the immense crowds going in partly to keep warm strolled all day under historical canvases and came to know all the great pictures of Russia. The Winter Palace became a Revolutionary Museum, one of the most unique museums in the whole world, the Palace of Nicholas II at Tsarskoe Selo became a Children’s Home, as did every great estate in the provinces threatened with destruction by quarreling peasants.
It is interesting to note that the wives of three prominent revolutionists rendered Lunacharsky valuable aid in his difficult work, the wife of Trotsky, the wife of Gorky, and the wife of Leo Kaminev.
Madame Trotsky has under her direction all private art collections and all the small palaces; she hands a monthly inventory of these places over to Lunacharsky. In the last three years she has been very gradually and systematically removing the most valuable objects in the collections to the museums.