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The Life and Work

Auguste Rodin

Frederick Lawton, M.A.

London

T. Fisher Unwin

Adelphi Terrace
1906

Photo}

To face page v

\Crevaux

PORTRAIT OK RODIN
rainted ly Jacques Blanche

Author's Preface

A SUFFICIENT apology for the following book exists in
the unique position occupied by Auguste Rodin to-day,
not only among the sculptors of his own country, but in
other lands on both sides of the Atlantic. Without
attempting to establish any exact and definite pre-
cedence for his achievement over that of all others, it
may be safely asserted that his name will rank in the
future among the foremost of the great masters of the
statuary art. Eminence in foreigners England has
always been quick to recognise, and Rodin's election to
the Presidency of the International Society of Sculptors,
Painters, and Gravers, in the place of Whistler, did no
more than give an official character to the esteem in which
he has long been held in our country.

To write a life of Rodin, in the usual acceptation of the
word, is almost an impossibility. The record is rather
that of an immense labour in which all else has been
merged. Indeed, to such an extent intellectually has he
lived in his art and for his art that, whereas other men's
memories are filled with anecdotes of the past that enable
the hearer to reconstruct whole periods of personal history,
Rodin's reminiscences seldom arouse but to the touch of
some chord connected with his work, or, if they are awaked
by accident, he regards them with indifference. Indeed,
when speaking of himself, as he is forced to do in relating
the creation of his pieces of sculpture and the struggles
that have been waged round them, there is an absence of
egoism and a curious identification of his personality with
his productions that are very remarkable. Still, on the

Author's Preface

biographical side, there is a story which can be told, a
continuity which can be illustrated with some detail ; but
the salient points are those of character, and the dominant
note is the steady progress of a poor, unfriended boy,
through long effort and self-denial, to a position which he
regards less as a worldly success than as an opportunity
to proclaim his ideal.

The author's obligations are due mainly to Monsieur
Rodin himself, from whose conversations he has obtained
much of what is hereafter set down, and who has kindly
placed at his disposal letters and documents giving infor-
mation at first hand. Use has also been made of Le"on
Maillard's fine study of the sculptor's masterpieces, of
Mdlle. Judith Cladel's interesting sketch, entitled " Auguste
Rodin pris sur la Vie," and of a number of articles pub-
lished in various French reviews and magazines by such
critics as Roger Marx and Camille Mauclair. The
former of these two has been, for the last twenty years
and more, an appreciative student of his great fellow-
countryman, whose genius he was one of the earliest in
France to defend and explain.

Summed up, Rodin's career may be said to furnish a
putting into practice of Victor Hugo's advice : "Ami, cache
ta vie et repands tes ceuvres." x His life has been modest,
simple, and, except for a few friends' society, retired, even
solitary ; his work has been an ever wider-reaching diffu-
sion of plastic forms of beauty that now radiate, and will
continue to radiate, among men.

1 " Friend, hide thy life and diffuse thy works."

Contents

PREFACE ....... v

I. INTRODUCTORY ...... i

II. CHILDHOOD AND YOUTH — THE APPRENTICE . . 9

III. THE ASSISTANT — AT HOME AND ABROAD . . 27

IV. THE MASTER ...... 44

V. THE DECADE OF THE 'EIGHTIES ... 60

VI. THE BUSTS ...... 82

VII. THE DRAWINGS AND DRY-POINT ENGRAVINGS . 94

VIII. THE MAGNUM OPUS ..... 105

IX. THE DECADE OF THE 'NINETIES . . .119

X. THE "CLAUDE LORRAIN " AND "BOURGEOIS DE

CALAIS" MONUMENTS .... 138

XI. RODIN'S CONVERSATION ..... 155
XII. THE BALZAC STATUE . . . . .174

XIII. RODIN ON THE ANTIQUE — His LETTERS . . 191

XIV. RELATIONS WITH AMERICA — THE SARMIENTO

MONUMENT ...... 209

XV. THE PAVILION AND THE EXHIBITION YEAR OF 1900 . 222

XVI. RELATIONS WITH ENGLAND .... 238

XVII. THE "VICTOR HUGO" AND THE "UNFINISHED

TASK" ...... 258

XVIII. MEUDON, AND THE RODIN OF THE PRESENT . . 272

XIX. CONCLUSION ...... 289

SUPPLEMENTARY LIST OF SOME IMPORTANT PIECES
OF SCULPTURE NOT SPOKEN OF IN THE PRE-
CEDING PAGES ..... 299

Vll

List of Illustrations

With but few exceptions, the illustrations are photographs taken by the sculp-
tor's own photographer, M. Bulloz, 21 Rue Bonaparte, Paris. Rodin's
portrait, by Jacques Blanche, is from a photograph taken by the painter's
photographer, M. Crevaux, 5 Rue Vavin, Paris. The statue of the
" Prin temps " is from a photograph kindly presented to the author for
insertion in this biography by the owner of the statue, Herr Von Lucius,
of the German Diplomatic Service.

PORTRAIT OF RODIN, FROM A PHOTO BY MOREAU,

BD. DBS ITALIENS, PARIS . . . Frontispiece

PORTRAIT OF RODIN, BY JACQUES BLANCHE . Facing page v

BUST OF RODIN, BY JULES DESBOIS . ,, ,, i

DRAWING ...... ,, ,, 5

PORTRAIT OF RODIN, BY BARNOUVIN . . ,, ,, 9

BUST OF LEGROS ..... ,, ,, 13

„ MADAME RODIN .... ,, ,, 18

THE LION ...... ,, ,, 22

MAN WITH THE BROKEN NOSE . . . ,, ,, 26

PRIMEVAL MAN . . . . . ,, ,, 32

BUST OF Puvis DE CHAVANNES . . . ,, ,, 39

PRIMEVAL MAN (Front View) . . . >» » 45

STJOHN ...... ,, ,, 51

GENIUS OF WAR ..... >, » 55

BUST OF MADAME RODIN (in Relief) . . » » 59

THE CREATION OF MAN (ADAM) . . . „ „ 61

PORTRAIT OF RODIN, BY SARGENT . . . „ ,, 65

„ „ BY J. P. LAURENS . . „ ,, 71

BASTIEN LEPAGE ..... „ „ 77

List of Illustrations

DANAID ...... Facing page 80

BUST OF MADAME MORLA VICUNA . ,, ,, 85

,, MDLLE. CLAUDEL (THOUGHT) . „ „ 86

,, DALOU „ „ 89

,, ROCHEFORT .... ,, ,, 91

„ J. P. LAURENS .... „ ,, 93

DRY-POINT ENGRAVING (SPRING) . . . ,, ,, 97

DRAWING ...... ,, „ 101

,,..... ,, ,, 104

EVE . „ „ 109

THE "PRINTEMPS" (SPRING) ... ,, ,, in

UGOLINO AND HIS CHILDREN ... „ ,, 113

FRAMEWORK OF HELL GATE (FRAGMENTS) . ,, ,, 117

THE TOWER OF LABOUR .... ,, ,, 118

CELLE QUI FUT HEAULMIERE ... ,, „ 121

ILLUSION ...... ,, „ 125

THE CARYATIDE ..... ,, ,, 128

THE INNER VOICE ..... ,, ,, 132

CLAUDE LORRAIN . . . . . ,, ,, 139

CITIZENS OF CALAIS . . . . . ,, ,, 145

,, ,, (Second View) ... ,, ,, 151

FIGURES AT THE TOP OF HELL GATE . . ,, ,, 156

ORPHEUS AND EURYDICE .... ,, ,, 161

ROMEO AND JULIET ..... ,, ,, 166

BKLLONA ...... ,, ,, 170

HEAD OF BALZAC . . . . . ,, ,, 175

BALZAC ...... ,, ,, 178

„ (Side View) . . . . . „ „ 181

THE "BAISER" (OR Kiss) .... ,, „ 185

BUST OF FALGUIERE . . . . . „ ,, 189

List of Illustrations

BUST OF GUILLAUME .... Facing page 194

FLIGHT OF LOVE ..... ,, „ 199

THE ETERNAL IDOL . . . . . ,, ,, 204

SARMIENTO ...... ,, ,, 210

HAND SCULPTURE ..... ,, ,, 215

FRANCESCA AND PAOLO .... ,, „ 219

ORPHEUS AND EURYDICE (Second Treatment) . ., ,, 221

THE HAND OF GOD ..... ,, ,, 223

SISTER AND BROTHER . . . . ,, ,, 227

MAN AND HIS THOUGHT . . . . ,, ,, 230

THE PRODIGAL SON . . . . . ,, ,, 234

THE " PENSEUR " (OR THINKER) . . . „ ,, 239

MINERVA ...... ,, ,, 245

METAMORPHOSIS ACCORDING TO OVID . ,, ,, 250

EARTH AND MOON ..... ,, ,, 256

VICTOR HUGO . . . . . ,, ,, 261

SOUL AND BODY ..... „ ,, 266

THE LAST VISION . . . . . ,, „ 270

RODIN IN HIS GARDEN AT MEUDON . . ,, ,, 273

VILLA DES BRILLANTS AND MUSEUM . . „ ,, 278

VIEW IN THE GARDEN AT MEUDON . . „ ,, 284

,, ,, HOUSE AT MEUDON ... ,, „ 288

INTERIOR OF THE MUSEUM . . . . ,, ,, 292

SIREN ON THE PILLAR . . . . ,, ,, 296

MYSTERY OF THE SPRING . . . . ,, ,, 298

BUST OF RODIN
By Jules Desbois (see page 64)

1 of ace page i

The Life of Rodin
I

CHAPTER I

INTRODUCTORY

IN setting out to speak of a sculptor whose hand has
been perforce against most of his brethren and that of
most of his brethren against him, a few preliminary words
touching on Renascence and contemporary sculpture are
called for, to explain what has been protested against and
what is the nature of the protest. A more detailed
account of the characteristic features of Rodin's art will
be reserved for later chapters. The hostility of sculptors
of the orthodox style or styles has been throughout, and
is still, only too patent ; and, if Rodin's position during
the last few years as Vice-President of the " Socie'te'
Nationale des Beaux Arts"1 has enabled him to give
more weighty utterance to his own convictions, these are
none the less considered by the majority of French
statuaries as rank heterodoxy. The " master's " own
account of the matter is to the point.

"They will not understand my realism," he says,
referring to his opponents. " For them sculpture should
not endeavour to represent flesh and blood and bone,
since marble and bronze do not possess the colours which
in painting create the illusion of life. I, on the contrary,
claim that the sculptor can reach the same result if he

1 National Society of Fine Arts.
A I

The Life of Rodin

will reproduce with fidelity and intensity the model he
has before him. It is with his eyes fixed on life that he
must work ; and his art will be able to represent it entire,
when he has observed sufficiently and has sufficiently
trained his fingers."

A like effort and a like artistic faith have nothing
revolutionary about them in France. As Roger Marx, in
one of his critical essays on Rodin, remarks : " Always
and above all, Rodin is an artist of pure French tradition.
Such a statement may puzzle at first, because those who
are supposed to embody tradition practise a rigid art
quite different from that of Rodin ; but, if one reflects and
recalls the past, it will be easy to acquire the certainty that
from the Gothic sculptors to Jean Goujon, from Germain
Pilon to Puget, from Houdon to Rude, sculpture in France
has had little of the tranquil about it, to quote the expres-
sion of Philippe de Chennevieres ; and the truly great
French sculptors have never feared to be expressive, to
seem tormented."

There are proofs in abundance of what Monsieur Marx
advances. First, we have Rodin's unreserved admiration
for those Gothic carvers of stone, great notwithstanding
Cicognara's neglect of their merits, who cared more for
the beauty of what they wrought than for the perpetuation
of their name, and whose handiwork is the glory of many
an old cathedral. In Rodin's work, as in theirs, we find
form subservient to the idea and obeying it, yet gaining
by the relation. This characteristic is intuitional in him,
as doubtless in them, not an imitation of some preceding
school. The bond of union between his present and their
past is a real spiritual affinity.

So too for the masters of the Renascence period Rodin
has a sincere worship. To say that his art and theirs are
exactly similar would be to deprive the modern Michael
Angelo of his peculiar praise, seeing that he has added to
sculpture a new perfection. But it needs only to compare

Introductory

his "Baiser," for instance, with Jean Goujon's "Diana" or
Puget's " Milo of Croton " in order to find the same admir-
able leading of curved lines in such a way that the light
ripples over the marble and kisses it into living form. In
this intimate comprehension of the effects of light and
shadow Rodin goes back farther than French tradi-
tion ; he is at one with the ancient Greeks, whom he is
never tired of exalting. "For me," he says, "the Greeks
are our masters. No one ever executed sculpture as they
did. They knew how to make the blood flow in the veins
of their statues. In comparison with this essential thing
the subject is nothing."

The quarrel between Rodin and the orthodox sculpture
of his time is not difficult to state. The latter restricts
subject and pose to certain categories that are considered
noble, and judges all others by the norm thus supplied.
Rodin, on the other hand, holds that subject and pose are
capable of being infinitely varied, and one of his pre-
occupations is to seek continually a fresh revelation. In
part, the quarrel is one that has raged from time to time
in other domains of art, and will probably continue to
break out periodically as long as original talents are born
and become strong enough to lead the way to some higher
attainment.

It is one thing to do as the ancients did ; it is another
to copy what they did. The former method implies a
study of nature in her thousand moods, and yields an
enlarged horizon ; the latter tends to narrow the horizon
by evolving rules and imposing them, without regard to
the changed conditions of living in the course of centuries.
In sculpture, perhaps more than in any other art, the
influence of classicism has made itself felt. It is respon-
sible for several French styles that have run parallel to
the saner national tradition. Some of them reached a
relative excellence, notably the neo-Greek, in the hands
of certain masters. But it is responsible also for a sort of

artistic intolerance tending to oppose and condemn all
that is not contained within its formulas. This dogmatism
hardly existed as a force in sculpture before the nineteenth
century. In the eighteenth, those who exercised the art
endeavoured on the whole to be natural ; and, if their
morbidezza of modelling was often excessive, they none
the less succeeded, especially in the smaller productions,
in putting a wonderful variety and grace of movement
into their statuary. Houdon's "Ecorche""1 and Pigalle's
" Mercury " are good examples of what was thus accom-
plished.

It is possible that, with the advent of the First Empire,
sculpture, as well as literature and painting, suffered
from the Emperor's interference; but the real cause of
the stiffness and insipidity in the works of Milhomme,
Delaistre, Deseine, Moitte and others, was the failure to
make their representation of life the expression of their
own experience. A first reaction against the falseness of
this Empire and early Restoration style set in after 1820,
under the endeavours of Dupaty, Cortot, David d'Angers,
Rude, and Pradier.

The greatest and sincerest of these reformers was Rude.
His life offers some analogy to that of Rodin. Born of
poor parents — his father was a pot-maker — he reached
greatness by his native talent and singleness of purpose.
After a twelve years' absence from France, spent in
Belgium, whose capital possesses some of his work, he
returned to Paris between 1820 and 1830, and began a
series of sculptures which ended only with his death.
His "Depart des Volontaires," 2 on the Arc de Triomphe
facing the Champs Elyse'es, is the finest piece of carving
in that edifice; the Louvre and the churches of the
Madeleine and St Vincent de Paul also contain fine
specimens of his power. If the example of genius were

1 Figure showing the muscles, the skin being absent.
2 Departure of the Volunteers.

To face page 5

Introductory

sufficient to counterbalance and correct false tendencies
in the crowd, then Rude's work should have taught the
sculptors of his age much. Unfortunately, neither he nor
the other would-be reformers were able to prevail against
the increasing dogmatism of the official style ; and, under
the Second Empire, academic statuary became as artificial
as that of the First. Pradier's execution grew less sincere,
and, like that of Marochetti and Clesinger, aimed more at
polish, which, says Ruskin, is often attained at the expense
of thought. The death of Rude in 1855 and of David
d'Angers in 1856 left Barye, the animal sculptor, almost
alone to carry on the sounder national tradition. There
was one other older contemporary of Rodin, Carpeaux,
born in 1827, who may be said to have disdained the
facile smoothness and mechanical construction so com-
monly accepted in lieu of the more difficult perfection.
His " Ugolino" in the Tuileries, his four allegorical figures
supporting the Globe, and his group " La Danse," 1 on the
facade of the Opera, are original creations, with a fresh-
ness and vigour of execution that make us regret his
short thread of existence. He died in 1875, in the same
year as Barye.

On first thought, it may seem strange that nineteenth-
century sculpture was so little stirred by the Romantic
revival. Painting was strongly affected by it, and that
in two successive movements, the former represented by
Delacroix and his fellows, the latter by a host of land-
scape painters, Rousseau, Fran^ais, Daubigny, etc. The
reason lies mostly in the narrower limits occupied by the
statuary art, which render escape from a dominant style
less possible, the authority the style exercises within
this domain being all the more effectual. Such outside
influence as sculpture can receive has generally come
through its sister art. Indeed, many sculptors being also
painters, it is natural that this should be so. The Luxem-

1 The Dance.

The Life of Rodin

bourg contains productions of brush and chisel by Carrier-
Belleuse, Daumier, Falguiere, Ge'rdme. Rodin himself
is an artist-draughtsman of rare talent. That the in-
fluence can be reciprocal appears plainly in the paintings
of one of Rodin's old friends,1 Eugene Carriere, who may
be called the French Whistler. In the sculptor's sitting-
room at Meudon is a picture presented to him by Carriere,
which is strikingly sculptural both in colour and outline.
Opposite, hangs a photograph of the three figures that
crown Rodin's "Porte de 1'Enfer." The comparison is
instructive. One could imagine that both were by the
same man. There are many other pictures of the artist
that have the same character ; they have been called
bas-reliefs bathed in shadow, transcriptions in grey tones
of Rodin's carving. On the other hand, there is a good
deal of the vague suavity and mist of the painter's former
pictures in the more recent creations of the sculptor.

One survival of art-classicism which makes itself felt
to-day, and is still far from being discredited, in both
painting and statuary, is the theory of the Academic
nude. The Academic nude is a fixed type of nude con-
struction, each limb and member of the body being
supposed to have an exact, measured proportion to each
other and the whole, outside of which all is deemed
abnormal, false, and condemnable. With such a rigid
system, it is evident that the student's technique becomes
a mere mechanical business, and that whatever originality
he may possess will be destroyed. Moreover, the living
model is useless, if no deviations from the type are
allowed ; a wax dummy, with all its dimensions cal-
culated and fashioned to the fraction of an inch, would
be the best object of study.

This system has been defended by an appeal to the
Greeks in oblivion of the fact that Greek statues are by
no means all conformable to any one set of measurements.

1 Died 1906.
6

Introductory

If such a uniformity exists anywhere in ancient sculpture,
it will be rather in Roman statuary, the heavy immobility
of which is the antithesis of Greek life and movement.
Part of the perfection in a Greek statue depends on the
possibility of rendering its peculiar force and beauty by
more than one combination of forms ; and, in all Greek
masterpieces representing the human body, there is an
appreciable deviation of the nude figure not only from a
set type but from the real individual. Says Monsieur
Camille Mauclair : " The idea of the androgynous haunted
the Greeks too much for them not to have tried in most
of their masculine effigies to mingle the characters of the
two sexes, even to almost straining their anatomy. Many
of their statues of adolescents (the Borghese herma-
phrodite is the most celebrated attempt of the kind)
testify to a development of the breast, a slenderness of
the neck, a build of the hips and thighs that suggest the
female body. The Greeks, in order to produce this effect,
were not afraid to use the amplification of modelling
which Rodin has rediscovered and revived to-day. They
were admirable handicraftsmen who made free with nature
and rules."

The best Renascence artists will be found to have
worked with the same freedom, and yet with a fidelity
to the Nature they had before them that gives to their
productions a permanent interest. As Monsieur Mauclair
remarks, Botticelli paints his girls lithe, Correggio his
blondes chubby ; Rubens gives to his maidens a substantial
milky complexion ; Rembrandt makes his heavy women
amber-tinted ; Goujon fashions tapering nymphs ; Michael
Angelo swells the muscles of his colossus ; Fragonard and
Boucher put on their canvas a plump, nervous Parisian
dame; Houdon and Clodion represent their Parisian as
pure or puerile, whereas Puget had previously shown her
sublime in grief ; Degas marks her with the plaits of the
corset and depicts her awkward and sensual ; Renoir

The Life of Rodin

reveals her as a tropical flower, and Besnard as a pearl in
human form. And all are right, all have expressed what
is true ; and all have made mistakes of proportion, but it
is life which has dictated and is responsible.

Thus we have a tradition of art followed by a minority,
in which individual nature, with its attributes of time and
place, has been closely studied and reproduced according
to the interpretation of the artist. He gives to his effigy
the likeness he sees, but adds relief or shadow, amplifies
here, diminishes there, knowing that only by so doing can
he create an illusion of life and accentuate its significance.
On the other hand, we have an academic tradition,
followed by a majority, in which the reproduction of
nature is carried out according to artificial rules which
general experience shows to be erroneous. Both tradi-
tions practise a deformation of the living model, but that
of the former gains by it a more spiritual and bodily
reality, while that of the latter attains only something
that is impersonal and conventional. Painting or sculpture
therefore of this academic kind must fail to permanently
touch and interest the emotions.

It is amidst these divergent tendencies that Rodin's
life-effort has been made. To illustrate in detail what he
has contributed to the healthier tradition, to relate the
battle he has waged against the academic Baal to which
so many of his contemporaries have bowed, is the object
of the ensuing chapters. Told, as it must be, with certain
reticences, which are due to a man still alive, the narration
will throw quite enough light on Rodin's character for it
to conquer our sympathies and our profound respect.
To the renown of his masterpieces this book can add
nothing. What it may reasonably hope is to lay open
through their history a little of the sculptor's mind.

PORTRAIT OF RODIN AS A YOUTH
By Barnouvin {see page 65)

o face page g

CHAPTER II

CHILDHOOD AND YOUTH — THE APPRENTICE

AUGUSTS RODIN, or, to give him his full name, Francois
Auguste Rodin, was born in Paris on the I2th of November
1840, in a house that no longer exists, but which stood in
the Rue de PArbalete and bore the number 3. The street
is a small one lying between the Val-de-Grace Hospital
and the Church of St Medard, in the outskirts of the
Latin Quarter, and not far from the Jardin des Plantes,
the Pantheon, and the Sorbonne. The cutting of wide
boulevards and the rebuilding of houses and some old
monuments have a good deal changed the physiognomy of
this part of Paris ; but the changes are not so complete
as elsewhere, and a present-day visitor to the Rue de
1'Arbalete will find nooks and corners that have conserved
their appearance of sixty years ago.

The date of the birth was registered two days subse-
quently at the Mairie of the Twelfth Arrondissement, the
witnesses being the baby's father, an architect named Denis
Xavier Moine, and a baker, Jacques Guillier, whose three
names, ages, and addresses figure on the certificate. The
father's age is given as thirty-eight. By a curious coincid-
ence, in this same year another future sculptor was born,
though of much less fame, who, during the Balzac contro-
versy, attempted to rival with his greater brother-artist in
a statue-sphinx of the novelist, which was exhibited at
the 1896 Salon, two years before Rodin allowed the
public to see his statue. When the infant Auguste came
into the world, the July monarchy appeared to be firmly
established, and nothing betokened the uprising of 1848,

The Life of Rodin

in the course of which the Panthdon was seized and occu-
pied by the insurgents, whose fighting he was destined
to catch glimpses of, without understanding what it all
meant. Politically, 1840 was marked by nothing more
important than the fall of the Thiers ministry and the
advent to power of Monsieur Guizot. In literature, which
was the only branch of art really prolific throughout the
reign, there was not much produced at this date. The
two publications of note were Me'rimeVs " Colomba," and
a volume of poems by Victor Hugo. In painting, the
ardour of the early Romantic movement had cooled.
One of its apostles, GeVicault, was dead, and Decamps
with his orientalism was the rising celebrity. Sculpture
was about at its lowest vitality. By contrast, therefore,
all the more significance attaches to the fact that, amid
this lull and stagnation, a child was born whose single
efforts were to raise the statuary art of his country to
a higher achievement than it had ever reached in the
past.

Jean Baptiste Rodin, the sculptor's father, was of
Norman origin ; by profession, he was a clerk in the
offices of the Prefecture of the Seine, and remained in
this post until he was pensioned off. The family of the
sculptor's mother, whose maiden name was Marie Cheffer,
came from Lorraine. At the time of her son's birth,
Madame Rodin was thirty-four. There was one other
child, a girl, by name Clotilde. It is possible that some
of the Rodin ancestors may have been of the number of
those anonymous Gothic sculptors already mentioned in
the Introduction, and that the skill of the forefathers,
after slumbering through a long line of descendants, at
last awoke in this modern scion to fresh activity and
recognised renown. Be that as it may, Rodin knows no
relative, either ascendant or collateral, who has dis-
tinguished himself in art

Being the son of a modest employee, he passed his

Childhood and Youth

first childhood in a small elementary school near his
home. When he was between nine and ten, his parents,
by dint of sacrifices not uncommonly made in France in
matters of education, contrived to send him to a board-
ing-school, kept by a relative, an uncle, at Beauvais, a
town celebrated for its carpet manufacture founded by
Colbert, but more famous for its Cathedral, which has
been termed the Parthenon of the Gothic. Here he
remained until he was fourteen. His life during this
absence from home was not very happy. Boarding-
schools are useful to knock the nonsense out of a boy
who has been spoiled by his parents, or who has an
exaggerated opinion of his own capacities ; but for a boy
of retiring disposition, and such was the young Auguste,
they are not always the best mental and moral nurseries.
Something of the disdain of the rich for the poor was
manifested towards the son of this Paris employee.
Moreover, he was short-sighted, without knowing it, and
much of what his teachers wrote on the black-board
escaped him, arithmetical operations almost entirely.
Yet, even with these disadvantages, he readily assimilated
most of what he was taught. His general intelligence
and his docile temperament stood him in good stead.
Amid his ungenial surroundings, too, the charm and
pleasure of childhood itself with its dreams and ever-
fresh impressions gave him encouragement to make plans
for the future. He was fond of drawing, though he had
no inkling then that his future would be determined by
it. The careers suggested to him by his boyish fancy
were those of a doctor, an author, or a public speaker,
the last especially. Often in play hours he would slip
into the teacher's desk and begin to harangue the empty
forms, his playmates on one occasion surprising him in
a flight of eloquence. It was the artist instinct stirring
and striving for some sort of expression.

At the age of fourteen, he returned to Paris with the

The Life of Rodin

intention of adapting himself to a handicraft. By this
time, his tastes had declared themselves plainly enough
for it to be seen that he was not inclined to engage in
trade or business. It was not so clear what he was best
fitted for. There was no paramount bent. His mind
was equally alert and interested in several directions.
In drawing, his skill had grown steadily during the latter
part of his stay at Beauvais ; but he was far from any
precocious comprehension of art. It attracted him be-
cause its horizons were wider and did not cramp his fancy.
Within the range were architecture, painting, engraving,
sculpture, all connected ; so that it seemed easy, at least
in imagination, to pass from one to the other ; but he
thought less of their intrinsic worth than of the use they
might be to him. For a year or two longer he was to
take more notice of the outer aspect of things, reflecting
only by intermittence and allowing the impulses of boy-
hood to sway his moods. To some extent he was affected
by the general fever and excitement of the first Universal
Exhibition which was soon to take place in the French
capital ; but what appealed to him most was the life of
the Latin Quarter, half academic, half bohemian, the daily
contact with the world of letters and art that surrounded
him. The temptation to enter it was great, the more so
as narrow means were not an insuperable barrier to any
one whose aims were higher than mere selfish enjoyment.
A free Drawing School, situated close to the School of
Medicine, which still flourishes, but has assumed the
grander title of " L'Ecole des Arts decoratifs," appeared
to offer the access sought; so he joined it.

The Principal was a man of no particular ability. One
of , the masters, however, Lecoq de Boisbaudran, combined
with his real pedagogic talent a profound knowledge of
drawing and painting. " During the time I attended his
class," says Rodin, " I was able to initiate myself into
many secrets." While there, the now ardent pupil rubbed

BUST OF LEGROS
(see page 88)

To face page 13

Childhood and Youth

elbows with not a few budding artists, some of them old
pupils of the modest institution of the Rue de 1'Ecole de
Mddecine, who had already entered the National School
of Fine Arts. Among those who have since become
noted may be mentioned two friends of his, Jules Dalou
and Alphonse Legros, the former not long dead, the
latter still living. It is interesting to remark that both
of them, like Rodin, have had very close relations with
England. Indeed, Legros may claim to have become
English, since he has lived for forty years in London,
where, in addition to his official teaching at South
Kensington and the University, he has long been known
as an engraver and etcher comparable to Rembrandt.
His painting and sculpture are less celebrated, but his
statue, " The Sailor's Wife," and his pictures, " The
Angelus " and " The Stoning of St Stephen," which
were exhibited in the Paris Salon, as well as a number
of other productions, prove that his artistic execution in
these branches also can attain excellence. Dalou had
the advantage of being a pupil of Carpeaux. Compelled
to fly from Paris after the Commune, in which he was
involuntarily implicated through his appointment as
curator of the Louvre during its reign, he took refuge
in England; where, following Legros' example, he became
a professor at South Kensington. Much of his sub-
sequent sculpture was bought by English patrons of
art, not the least specimen being his group of the late
Queen Victoria's dead children at Windsor ; another
piece, the " Deux Boulonnaises," was bought by the
Duke of Westminster. Returning to France after an
eight years' exile, he produced, among other master-
pieces, the fine bas-relief at the Chamber of Deputies,
representing the Assembly of the States-General. Both
Legros and Dalou were at the Drawing School a little
before Rodin, the former being three years and the latter
two years his senior ; but their friendship, which in its

The Life of Rodin

commencement dates back to the late 'fifties, was none
the less fostered by their common connection with Lecoq
de Boisbaudran. The professor had a method which was
known as " drawing from memory." His pupils were
taught to study a subject so as to seize all the points
that distinguished it as an individual from others of the
same species, and then to endeavour to reproduce it
according to these characteristic traits from the image
remaining in the mind. The method was not looked
upon with much favour by the professors of drawing
most in vogue ; but it formed such artists as Fantin-
Latour, Cazin, Lhermite, and Guillaume Rdgamey.

Besides the lustre shed upon it by its distinguished
professor, the Drawing School in its humbler days pos-
sessed a tradition of the eighteenth century, which it
has since lost to its detriment. Free from the dictation
of official academies, it then drew together a band of
moneyless but earnest students in the morning, and of
hard-working and equally earnest apprentice sculptors
and ornamentists in the evening, who all initiated them-
selves into the art of the Louis XV. and Louis XVI.
periods, and copied its masterpieces with their warmth
of expression and their grace of design. It was while
attending the morning class that Rodin found out his
vocation. In due course, he began to try his hand at
modelling, and the clay figures which his hands shaped
gave him a pleasure he had not experienced in his
drawing. Still, there was no sudden illumination or
revelation. The pleasure brought increased ardour, the
ardour a hope of some definite achievement later on, and
for the moment that was all. As showing that at this
age and for some time after he was unacquainted with
that which was really superior in sculpture, the master
relates a story of his passing by the statue of Marshal
Ney, by Rude, which stood not far from his home, and
of joining in the laugh of his companions at what were

Childhood and Youth

deemed to be its demerits. It was the fashion to sneer
at Rude in those days.

Each part of the young student's day was now
parcelled out and had its own occupation. Arriving at
the school about eight o'clock in the morning, he worked
till twelve in company with half-a-dozen companions,
spending most of the hours in front of the sculptor's
block. In the afternoon, he frequented the Louvre in
order to make drawings of the Antique, or else went to
what was then called the Imperial Library, where
Michael Angelo's and Raphael's creations could be
examined in engravings and some other books per-
taining to sculpture. There was no great eagerness on
the part of the staff to bring him the volumes he asked
for ; but, when he had them open before him, he made
up for lost time, sketching with great rapidity, some-
times more than a dozen drawings being done at a
sitting. The evening was usually devoted to recopying
with care the hasty sketches made in the library or
elsewhere, if anything had struck him. Sometimes, too,
he went to read at the library of St Genevieve, situated
close to where he lived, and open to the public at
night.

Nearly all of these early studies have perished; it is
probable, however, that they contained indications of
that independence and originality of artistic treatment
that come out more and more strongly in each successive
stage of Rodin's career; it is practically certain that,
even then, instinctively he avoided in his copying the
servile imitation which he has so often condemned in
utterances of his riper experience. One of these, though
referring to a later date, may be usefully quoted here.1
"When it was decided to copy Antiquity," he says,
" what did we get ? the sculpture of Louis Philippe's
epoch — the quintessence of ugliness. I am sometimes

1 Related by Mile. Judith Cladel.
15

The Life of Rodin

said to belong to the Greeks. It is true perhaps, but
that is not through copying them. If so, I should also
produce Louis Philippe sculpture. There are people
who fancy that, coming one day out of the Louvre, I
exclaimed : ' I too will execute some antique ' ; and that
I returned to my studio in order to reproduce what I
had seen. Not at all ! A visit to the Louvre is for
me like an hour of beautiful music ; it exalts me ; it
gives me a desire to work in my turn ; it gives me, too,
a transitory intoxication which one has to beware of; for
work should be quiet and reflective."

The last sentence in this quotation is apparently a
reference to the excess of his early enthusiasm, which
caused him to encroach on his hours of rest and recrea-
tion, the penalty paid being attacks of gastritis. Another
conversation of his maturity makes the confession that
during this season of youth, like many others of his age,
he had exaggerated notions of what sudden inspiration
could do, and did not realise that perfection of any kind
is only attained after long toil. To-day, by a compre-
hensible counter-effect of experience, he is apt to under-
rate the role of inspiration. " Inspiration," he exclaims,
" has no meaning in the artistic sense. It is the dream
of the boy who fancies he can reach the summit of his
ambition by some happy chance, just as in his sleep he
finds a treasure that has no reality on waking. This
dream has to be replaced by work — work which is
accompanied by calculation and repeated effort. That
is how I have learnt my profession, and such inspiration
as I possess to-day does not come from accident, but is
the result of years of toil."

This criticism notwithstanding, Rodin's natural genius,
has to count in any estimate of his achievement. Tracing
his development back through his productions, it is
possible to discover certain dominant predilections which
were born with him and have in a sense inspired every-

Childhood and Youth

thing he has produced. The two most patent are his
deep religious sentiment and his Greek naturalism. One
needs only to glance at the " St John," the " Creation of
Man," the " Porte de 1'Enfer," the "Main de Dieu," for the
one, at the " Age d'Airain," the " Baiser," the " Printemps,"
for the other, in order to see how parallel the influence has
been. The mind of the artist has doubtless come to deal
with these forces more freely as it has developed, under-
going them less, mastering them more ; but they continue
to pervade its atmosphere. How strong the religious
sentiment was in boyhood is shown by the statement : l
" When I was young and was present at the church
services, I really absorbed a something that transformed
me." Rodin then felt profoundly and still feels all that
part of the Catholic religion which attracts by its grandeur
and its attempt to render spiritual entities comprehensible
through outward form and substance. Music, too, which
has always been a passion with him, moved him strangely
in its drawn-out harmonies of chant and anthem, while
the edifices in which he heard it, with their carved
windows, arches, and statuary, which he was to regard
later with his enlightened sculptor's vision, evoked by
means of his emotions a state favourable to the activity
of his nascent powers.

Towards the end of his third year's instruction at the
Drawing School, he ventured to send in his name for the
competitive examination that then, as now, gave admit-
tance into the " Ecole des Beaux Arts." This school,
founded in 1648, has since been the recognised public insti-
tution for the teaching of painting, sculpture, engraving,
and architecture. It possesses a large staff of professors ;
and the majority of those who devote themselves to these
branches of the fine arts seek to obtain their training
within its walls. The candidates for the sections of
painting and sculpture were required to come to the

1 Related by Mile. Judith Cladel.
B I7

The Life of Rodin

examination hall for two hours a day during a week.
The living model placed before them in common was a
man whom they had to reproduce in what way they chose,
the ones on their canvas, the others in a clay model.
The painters sat round in half-circular rows, in front ;
the sculptors stood up behind. Each candidate, there-
fore, had twelve hours for the trial piece which decided
the question of his entrance to the school. Unluckily
for Rodin's hopes, there were many, many youths who
presented themselves with recommendations that he
could not boast of. They were either friends of known
sculptors, or pupils that had caught the trick of the
popular style ; and, consequently, they were preferred to
him. He was refused, not once only, but twice and
thrice. It is certain that his contribution was not inferior
to those of his fellows ; it is probable that it was much
superior. The master, looking back upon his various
pieces of work and passing condemnation here and there,
praises these early efforts of his 'prentice hand. They
were conceived and executed according to the eighteenth-
century style, which has been the object of his consistent
admiration ; his competitors themselves admired them,
surrounding him as he stood fashioning the clay, and
envying him the touch that his fingers imprinted ; they
judged the merits of the composition with truer insight
than their elders.

The failure to enter the Ecole, des Beaux Arts was
less of a misfortune than it appeared at the moment to
the disappointed candidate. His nature, then eminently
susceptible to impressions of the aesthetic order, and not
yet provided with the experience necessary for their
correct appreciation, might, if he had succeeded, have
been biassed and warped, and never have grown to what
it is. As the matter turned out, instead of being placed
in a hothouse of art and having his talent forced to a
speedy fruitfulness, he was compelled to seek for himself

BUST OF MADAME RODIN
(see page 87)

To face page 18

Childhood and Youth

the culture he needed. In after years, he recognised
that this necessity had been a blessing. Dalou, who
had been a student at the School of Fine Arts, once
said to him, referring to these failures, " You were lucky.
Whenever I do anything in my statuary that is bad, I
attribute it to what I learnt there."

As a substitute for the official teaching he had been
so anxious to obtain, Rodin for a while attended the
class that assembled at the Jardin des Plantes, under the
superintendence of Barye, who, in addition to his speciality
as a sculptor of animals, had a considerable reputation as
a painter. In 1854, Barye had been appointed to a
professorship of drawing and sculpture in connection with
the Garden Museum, but he was rather an influence and
an example than a professor in the pedagogical sense of
the term. In the afternoon, for nearly a year, the new
pupil worked under Barye's supervision. The studio
was a sort of cellar, and the blocks a few planks nailed
together. Here, after the lecture, he and his fellow-
students did their modelling at their ease; but first
they had, like Mahomet going to his mountain, to visit
the animals in the cages. When once sketch-book and
memory were sufficiently garnished, they repaired to their
blocks and endeavoured to transfer their designs to the
clay ; sometimes 'they did the same with the skeletons
in the museum, fashioning the anatomical structure of
the model, and then filling in the solid parts of the body.
Neglecting no opportunity, Rodin paid visits also to the
Horse Market, and, on one occasion, came across Rosa
Bonheur there, dressed in the male attire she preferred
when mingling in the crowd. Her famous picture had
been finished and sold some years before, but, as she
painted several reproductions of it, she made a point each
time of refreshing her memory in the most practical
manner possible. Although Barye's most distinguished
pupil was not destined to adopt his master's speciality,

The Life of Rodin

yet on the two or three occasions when he has introduced
horses or other animals into his pieces of sculpture, he
has demonstrated in a striking manner that his hand
can shape the animal body as cunningly as it can the
human. His time with Barye, therefore, was not wasted.
There was the technical training ; but, besides, there was
the quickening germ that Barye deposited in his mind.
Speaking of this, Rodin says : " It was he who, by fixing
my attention on Nature and the necessity of understand-
ing her, carried my artistic education to the point from
which I could pursue it alone. A genius by his con-
ception of art and by his power of expressing it, his
works lacked only size in order to have had their claim
to immortality more fully acknowledged. This lack of
size was a pathetic testimony to his lack of means."

The life of the poor art student has its dark side. The
keener his sentiment of the aesthetic, the more keenly
must he feel the limitations that hedge him round.
Rodin had reached that first crisis of youth, when the
boy merges into the man, when the thoughts and desires
of the former assume a more virile character ; and the
outlook was not very promising. The palliative to his
anxieties was furnished mainly by the quiet determination
of his will, and the mutual encouragement that he and
some companions derived in discussing their ideas and
hopes together. Often on a winter's evening they would
meet in a small room, where the fire sometimes burnt
down ; but such was their inner glow that they troubled
little about the coal's waning heat.

At the age to which he had now come, the would-be
sculptor's immediate aim was to earn his own living. For
a few months he worked in the studio of a sculptor named
Roubaud, his friend Dalou also ; but Monsieur Roubaud
did not pay them, and money was the great desideratum.
After some inquiry and search it was found that the
readiest way of putting his acquired knowledge and skill

Childhood and Youth

to account was by becoming the assistant of an orna-
mentist Nominally, the ornamentist is a man who
models in plaster all the ornamental parts outside or
inside a building, except the statues and groups that are
supplied by the sculptor proper ; he especially concerns
himself with the traceries of foliage and flowers, with
grotesque heads and caryatides. The designs are given
him by the architect ; and, after he has made the plaster
model, it is handed over to the mason or another work-
man to be copied into the solid material of the building.
In reality, however, the ornamentist frequently plays a
more active r61e. He suggests changes to the architect,
proposes designs of his own to suit the plans submitted
to him, and may encroach so far on the province of the
sculptor as to produce pieces rivalling with the latter's
bas-reliefs. In this profession of apparently minor im-
portance there is room for the display of gifts of a high
order. Rodin's opinion to-day is that the ornamentist's
work can be quite as significant as the sculptor's. Of
yore, it was so deemed, both by the ornamentist himself
and those that employed him. This is why in so many
old houses there are delicious bits of decoration that
none of the imposing nineteenth-century structures can
exhibit. Modern industrialism has killed out the per-
sonal element from a good deal that used to contain
it, or accords to it so little attention where it exists,
that its excellence is slowly but surely deteriorating.
"I thought too," says Rodin, "that I was undertaking
something quite inferior. I had to advance a long
way before I discovered the erroneousness of my
opinion."

In spite of his feeling of humiliation, the young assis-
tant threw himself into his task with good will and a
resolution to make the best of it. Near the workshop
there was a garden. Putting into practice the precepts
of Barye, he used to go there while modelling, and strive

The Life of Rodin

to note every detail in the intimate formation of leaf and
stem ; then, weaving the impressions he had received
from plant or tree with the creations of his own fancy, he
often attained results that astonished and delighted his
employer. These, perhaps, would not have been so
quickly reached, had it not been for an older workman,
by name Constant Simon, who was in the same employ.
A native of Blois, Simon had come to Paris to gain his
livelihood. Notwithstanding his peasant origin, he was a
born artist. Had he possessed his younger companion's
energy, he might have risen to a higher position. Instead,
he contented himself with showing a taste and perfection
in his modelling that profited others more than himself.
Rodin began to attempt similar effects, and found, when-
ever he followed the lead of his elder, he satisfied himself.
The example of one other older contemporary seems to
have been beneficial to him during this first apprentice-
ship, that of the figurist Chapman, to-day almost if not
completely forgotten. The suppleness and elegance of
his forms, quite in accordance with eighteenth-century
style, pleased Rodin the more as he was just in that stage
of development when beauty of every kind comes upon
the senses as a novelty.

Up to the age of twenty-four, he continued to work as
an ornamentist. The history of the years that lie between
can be best reconstituted by their outcome ; apparently
devoid of incident, one week succeeding to another with
little if anything to distinguish it from its predecessor,
they were filled with a steady growth of knowledge,
experience, and skill. Now that he could no longer
dispose of his day, the evening was more than ever given
up to self-improvement. For some time, he attended a
designing-class at the Gobelins Tapestry Manufactory,
more especially intended for those connected with the
establishment, but open also to outsiders. The class was
held six days in the week and lasted three hours. These

To face page 22-

Childhood and Youth

eighteen supplementary hours, therefore, he took from his
leisure and added on to his labour. It was, perforce, a
period of privation ; the wages earned were not large,
and half was spent on materials and models for studies
carried on outside of his trade.

When he was about twenty, his sister Clotilde died.
She was a couple of years his senior, and, during the
latter part of his boyhood, she had played somewhat the
same rdle in his life as Henriette Renan in that of the
author of the "Vie de Je"sus." Proud of her brother,
anxious for his future, she strove to encourage and
stimulate him by praise — if need were, by gentle reproof,
and was always at his elbow to help. Her genuine
sisterly love was repaid by Rodin with a strong affection.
He felt her loss deeply, to the extent, indeed, of his mind
being almost unhinged. It was while in this condition
that he was induced to enter a religious institution, at the
head of which was a Father Aimard. This priest had
gathered round him a number of young men of artistic
talent, with the intention of training them for Orders and
getting them to use their gifts in the service of the
Church. There was much in the idea to tempt Rodin,
his natural religious bias, which he had inherited from his
mother, as also a touch of mysticism, combining with the
impulse of the moment caused by his sister's death.
For twelve months he remained with Father Aimard,
uniting secular and theological studies ; and in the
interval the poignancy of his grief abated. Sooner, per-
haps, than if he had not changed his course of living, he
recovered his equanimity, and with it the consciousness
that he had no vocation for the ecclesiastical estate. Con-
sequently, when the good Father, at the year's end, invited
him to pronounce the definite vows, he refused, withdrew
from the institution, and returned to his former trade.
The only tangible souvenir of this episode is a bust which
Rodin modelled of the Pere Aimard, and which is to-day

The Life of Rodin

in the possession of a cousin of his, Monsieur Henri
Coltat

Back in the world once more, he was soon reabsorbed
in his old pursuits. He was still bent on becoming a
sculptor. As the School of Fine Arts had denied him its
patronage, he would ask for the suffrages of the Salon.
Legros had had a picture of his accepted when he was
only twenty. Rodin would appeal to the Committee of
the Salon, which, he believed, would be broader-minded
in its decisions. The one thing essential was to obtain a
fit subject and to render it in a manner that should be
approved by his own judgment, itself at present more
exacting. Many pieces were executed and destroyed
without being exhibited beyond the walls of the small
room in the Rue de la Reine Blanche, close to the Avenue
des Gobelins, where he had established his studio. He had
more than his share of waiting and disappointment. One
of his worst blows was the accidental destruction of a
woman's bust that he had spent nearly two years in
modelling and improving. The head and face of the
original were beautiful ; and he had lavished his labour,
fondly counting on reproducing their charms. There
were, however, brighter spots among the shadows. His
marriage was its happiest event. At twenty-three he
took a wife1 from out the circle of his Paris acquaintance,
a wife who has since shared all the vicissitudes of his
career and remains to share in his triumph. A household
was an increased responsibility at a moment when his
means could ill support any ; but, in the subsequent profit
and loss account, the marriage figured as a gain. With a
devoted companion to whom he could confide his hopes,
the daily burden was more lightly borne, the persistent
effort was more auspiciously made. Before twelve months
of matrimony were over, he had produced his first master-

1 Madame Rodin is not a native of Paris. She was born at Langres in
the Haute-Marne department. Her maiden name was Rose Beure.

Childhood and Youth

piece, known in the list of his works under the title,
" L'homme au nez casseV' l

It was the bust of a man with ravaged features, forehead
full of wrinkles, bristly beard, and a nose that was twisted
and flattened ; and yet the face was stamped with a noble-
ness of expression that looked so much the more striking
for its contrast with the ruin to which it was attached.
The circumstances that led to the making of it are worth
being told. One day, a man belonging to the humblest
class of society came to the workshop of the master-
ornamentist to deliver a box. He had seen better days,
but had sunk to the position he then occupied through
misfortune and drink. " Did you remark what a fine
head that fellow had ? " exclaimed the employer, when the
man had gone. Rodin, being busy at his modelling, had
not raised his eyes. The question set him thinking. He
made inquiries about the owner of the head, whom he
ultimately induced to pose. The subject was to his mind.
Probably of Italian origin, the man's face resembled types
common in ancient Greece and Rome. What the young
sculptor sought to do was to reproduce its essential
lineaments, without accentuation or deformation, and
true to life. The bust was finished in the spring of
1864, and sent in to the Salon with hopes based on his
settled opinion that it was worthy of the Committee's
approval. The estimate was under rather than over the
mark. In seven years, his talent had developed pro-
digiously, and, in this attempt, had accomplished some-
thing greater than he was fully aware of. The work
submitted was a revival of the best Greek realism with
the addition of a complexer and intenser ideality, using
the word to indicate the sum-total of thought and feeling
evoked by the sight of the piece of sculpture, and trans-
ferred by the mind to the sculpture itself. " L'homme au
nez cass£" was rejected. That which the judges could
1 "The Man with the Broken Nose."

The Life of Rodin

not and would not approve was the liberty of treatment,
the realism that dared to be guided by nature and cared
little for abstract rules. Rodin quietly took his bust back,
his conviction of its value being in no wise shaken.
Henceforth, it was a treasure, serving him as a standard
of comparison, and helping him also to have faith in the
future. When, at last, he found himself famous, one of
his first cares was to have it cast in bronze, in which
setting it crossed the Channel, and was shown at the
Grosvenor Gallery in 1881. At present, several copies
exist in various hands. One was bought by Sir Frederick
Leighton. In the Meudon Museum, there is still a plaster
model of the " Man with the Broken Nose." The original
has disappeared in the continued process of reproduction ;
but it has been replaced by an exact facsimile, which is
preserved as a precious souvenir among the Museum's
thousand and one sculptural records.

THE " HOMME AU NEZ CASSE," OR MAN WITH THE BROKEN NOSE

To /ace page 26

CHAPTER III

THE ASSISTANT — AT HOME AND ABROAD

TOWARDS the end of his twenty-fourth year, Rodin made
a change in his occupation. He gave up working for
ornamentists, and became a sculptor's assistant. His new
employer was Carrier-Belleuse, who, born in 1820, was
then in the heyday of his fame. A pupil of David
d'Angers, he affected a statuary of the light and graceful
kind in which the eighteenth century had excelled, and
which Clodion, who died in 1814, had carried to its per-
fection. He is now best remembered by his marble " Hebe
Asleep," which is in the Luxembourg Museum ; but he pro-
duced a great many other statues that had great vogue
during his life, and many busts, those of Renan, Theophile
Gautier, Delacroix, and Gustave Dord being among the
number. The judgment passed upon him by his illustrious
employee is that he was a man of talent, but one who had
not at bottom the stuff that constitutes the real sculptor.
He was not capable of furnishing the slow, patient, con-
tinuous toil necessary for the attainment of the best results.
He made delightful sketches; his ideas were full of novelty,
even of originality ; but, as soon as he attempted to
execute them, his lack of study and preparation always
acted as a drawback, and the perfection of the work was
marred. Nature had imparted to him rich gifts; his
mistake was in using them without thorough cultivation.

Technically speaking, Rodin became now a " figurist."
His employment consisted in developing the sketches
given to him, and in fashioning, for the most part, the
small decorative figures, that is to say, the clay models of

The Life of Rodin

them, which largely made up his employer's sculptural
production. In one sense he was a copyist, since the
initiative was not his own, and the style of Carrier-Belleuse
had to be imitated, in order for the work to be marked
with that sculptor's name. Still, the employer left his
assistant to introduce anything that the latter chose,
provided it did not contradict his own manner. Such
work was not the goal he aimed at, but it might lead to
it. Through his connection with a sculptor so popular,
Rodin trusted to be able, after a while, to make good his
own claims. So he welcomed the introduction to the
great man, obtained through the photographer who sold
pictures of the Carrier-Belleuse favourite pieces.

It is curious that, although occupied for many years in
the studios or for the studios of sculptors as an assistant,
he was never, as has been erroneously stated, a praticien,
i.e. a rough or a fine hewer of stone or marble. Indeed,
this is the one branch of the statuary art which he has
never practically learnt. For the benefit of those less
familiar with the subject, a short explanation may be
offered here. In one important respect, the sculptor's
practice of his art differs from the painter's. While both
artists generally execute one or several preliminary
sketches, of which the finished work is, in the main, a
reproduction, the sculptor is obliged, if his statue is to be
in stone or marble, to spend some time in rough-hewing
and shaping it before he can proceed to the detailed
carving, whereas the painter can stretch his canvas on the
frame in a few minutes. This hewing and shaping require
no special ability, and can be very well performed by a
person of little or no skill. To-day, however, the dele-
gated work is usually carried much further. The clay
model is fashioned by the sculptor himself with the same
perfection that the stone or marble is destined to receive,
and then almost the entire reproduction is carried out by
subordinates. Ordinary masons are entrusted with the

The Assistant

rough-hewing; and the fine-hewing and shaping — together,
if need be, with the enlarging or reducing — in French
called the mise au point, which bring the rough-hewn
block into the likeness of the model, are performed by
specialists, known as praticiens ;l finally, the master-
sculptor touches up as he pleases. When the assistant
gets his rough-hewn block he mentally divides the figure
into several large sections, and fixes on the various pro-
jections, corresponding to the axis of the subject and
forming the summit of each of the sections, an indication
called a guide-point. These points once established over
the whole superficies, he measures the distance between
them with a three-legged compass and marks it on the
block. If the model is to be reduced or enlarged, he
registers the measurements on a graduated rule and cal-
culates the scale accordingly. The proportional indica-
tions are then fixed on the block, and points noted
everywhere ; afterwards a flexible rule is applied to the
block, and an accurate knowledge is obtained of the
principal line within which the contour lies. Now the
assistant is able to begin fine-hewing his block into the
elementary form of his subject. As he goes on, he verifies
with the compass continually, making sure that the guide-
points still correspond, and that the relief is the same or
is in the same proportion as the model. These points are
respected until the last, and, in shaping, a small projecting
cone is left, which supports them. In order for the fine-
hewing to be carried out in detail, new measurements have
to be taken repeatedly and fresh guide-points inserted in
all directions, so that ultimately there is hardly a square
inch without one. The assistant's task, apart from his
manual dexterity, consists in formulating and resolving in

1 A rather different account is given by some sculptors. If one is to judge
by their language, the rough-hewer is the metteur au point, the fine-hewer
or shaper is the praticien. The touching up with the chisel, of course,
Rodin always reserves for himself in its ultimate and finest execution.

The Life of Rodin

practice a number of geometrical problems. The diffi-
culty is that the contours to be determined are not, as
in geometry, regular figures, but modellings made up of a
series of curves, the precise abstract expression of which
is almost impossible to be found. It is the increasingly
minute division of surfaces that enables the assistant to
deal with each problem definitively by the sole exercise
of eye and hand ; when he at length delivers the statue
to the sculptor, the latter has only to add here and there
a few slight modifications suggested by his own critical
judgment. Oftentimes, those who are responsible for the
fine-hewing, and who execute the most delicate parts of
it, are men of a talent, equal, and perhaps superior, to that
of their employer. Sculpture is an unremunerative pro-
fession, except for a few celebrities, and not for all of
them. Barye was dreadfully poor all his life, and Rodin
has never been rich. Not a few sculptors are compelled
to be assistants as long as they live, with now and again
an opportunity to sell something of their own.1

However, to return from this digression, it was not as a
praticien, but as a modeller that Rodin began his new
duties in the year 1864, duties which, with one or two
short intermissions, he continued to perform until the
year 1870. He had to do with an important share of all
that issued from his employer's studio within that period.
Notably, some of the decorative relief in the long room of
the Louvre by the side of the Seine, which was formerly
called the "Salle de Rubens," was executed by him. It
may be seen towards the farther end of the room in two
round mouldings of the ceiling. In the Church of St
Vincent de Paul, there is also a little from his hand. Of
the " Hebe " in the Luxembourg, parts of the arms and feet
were his modelling ; but the bulk of his work was done

1 One of Rodin's praticiens, Louis Mathet, is an example. His
" Oread," which was at the Salon in 1903, was sent to the St Louis
Exhibition in the United States in 1904.

3°

The Assistant

for private commissions, and the pieces are scattered far
and wide. What would be interesting, if possible, would
be to see some of the sketches given him by Carrier-
Belleuse, and to compare them with the finished produc-
tion, in order to find out how far his own individuality
was maintained or altered. It may be presumed that the
incessant carrying out of designs not his own affected his
style, at least for a time. For such a deviation to become
permanent, his character would have had to be of more
commonplace type, largely yielding to circumstance.
Ultimately, he came to see the defects of what he copied
— even those that were most hid — and, by his natural
reaction against circumstance, the liability to be influenced
by them ceased. As an offset to any temporary dis-
advantage he suffered, may be counted the deftness, carried
to an extraordinary degree, which he acquired in the use
of his tools. The smoothness and fineness that Carrier-
Belleuse put into his statuary were favourable to the culti-
vation of this dexterity, which yet was partly an inherited
gift. Besides, Rodin had ample occasion for studying
effects in grouping. Before adopting his definitive method,
so entirely original and different, he had proved to the
point of absolute certitude that the maximum of effect is
secured not only by giving to each figure the position
assigned to it by its real action — that is, by obeying the
energetic, not the merely ornamental motive — but also by
enclosing the whole group in a geometric solid, triangle,
square, oblong, parallelogram, etc., according to Nature's
teaching.

In the early days of his connection with Carrier-
Belleuse, and before he had completely reconciled himself
to the idea of a long stay with one employer, he left Paris
twice to undertake work in distant towns. The first
engagement took him to Strasburg. At the Drawing
School of the Rue de 1'Ecole de Mddecine, he had known
a young Alsatian, a poor youth who had laboured in his

The Life of Rodin

native place as a stone-mason, and who, feeling a call to
higher things, had saved money and come to Paris to
study. Returning once more to Strasburg, he showed
great skill in sculpture of the Gothic style, and obtained
many commissions in church building and restoring. It
was to help him in this task that he requested Rodin to
join him, and the latter, who had already produced his
" Man with the Broken Nose," went and began modelling
for his Alsatian friend. He did his best, which, however,
was not quite like what his companion could do. In
both the Roman and the Gothic, the former stone-mason
astonished Rodin by his effects. He would take one of
the figures Rodin had fashioned, add a touch here, another
there with his chisel ; and it assumed the exact likeness of
the old carving of the Middle Ages which the Parisian
sculptor loved and admired without as yet possessing its
equivalent perfection. After a brief spell in such occupa-
tion, Rodin grew homesick and preferred to come back
to Paris. His second absence was due to an offer made
him by Fourquet, a sculptor who was working for the
Marseilles architect Cavalier on the Palace of Fine Arts
in that city. Rodin went down, visiting on his way
Lyons, Vienne, Aix, Nimes, observing curiously the
ancient architecture which he came across in plenty, and
wondering at the Grecian types of women. With
Fourquet he remained for two or three months ; but their
notions of sculpture did not agree, and the Marseilles
sculptor was less disposed than Carrier-Belleuse to trust
to the initiative of his assistant. Rodin, therefore,
abandoned the post and again retraced his steps to the
capital.

The Franco- German war, which made such havoc in
the ranks of young artists, luckily did him no more
physical hurt than forcing him to endure the siege of
Paris. While it lasted, he served as a National Guard.
When it was over, the necessity of seeking for means of

THE "AGE D'AIRAIN," OR PRIMEVAL MAN
(seepage tf)

To face page 32

The Assistant

subsistence decided him to quit Paris temporarily. His
employer, Carrier-Belleuse, had gone away from the
French capital on the breaking out of hostilities, and
proceeded to Brussels, in answer to an invitation from
the Belgian architect Suys to undertake the ornamental
carving of the frieze along the two lateral fagades of the
Exchange. Leaving his wife behind, to join him when
he should have made another home, Rodin started as
soon as the gates were open, and before the commence-
ment of the Commune. His first idea was to go to
London ; but, taking Brussels on his way, he called on
Carrier-Belleuse and was induced to resume his place in
his old employer's studio. Here he met with a young
man of twenty, Julien Dillens, the future sculptor of the
" Silence of the Tomb," whose talent, at that age remark-
able, had attracted the attention of the French master
and procured him a very considerable share of work on
the friezes. In spite of the difference in their ages, they
became intimate, the elder imparting to the younger the
benefit of his experience and finding in him a willing
disciple. Rodin was occupied by Carrier-Belleuse nearly
all the time that the latter remained in Brussels, modelling
quantities of little figures in that sculptor's style, which
were straightway signed by the employer with hardly any
modification and sold, undistinguishable from his own.
After the Commune had been repressed and Paris had
somewhat recovered its normal activity, Carrier-Belleuse
returned to France, although much of the decorative
carving at the Exchange was still unfinished. There
was no question of Rodin's accompanying him, since
they had just fallen out over some commissions which the
assistant had ventured to execute apart from his employer,
and they had in consequence separated.

It was an embarrassing moment for Rodin. One
trouble after another had been heaped upon him ; he had
lost his mother a short time before ; he was alone in a
c 33

The Life of Rodin

strange land ; and, as he sat pondering in his lodging of
the Rue-du Pont Neuf, bitter and almost despairing reflec-
tions assailed him. Happily, he had strength and patience
to wait ; and, within a brief period, matters took a turn
for the better. A Belgian, named Van Rasbourg, who
had been a fellow-assistant with him in Paris in the studio
of Carrier-Belleuse, had come back to his native country,
following his employer ; and, when the latter abandoned
his undertaking at the Exchange, he recommended Jean
Rousseau, the Director of Fine Arts, to pass it on to his
Belgian assistant. In reality, Van Rasbourg was not
fitted for the charge. He was a man of timid tempera-
ment, whose timidity extended to all he did. His aptitude
in sculpture was chiefly in the modelling of baby figures,
a talent inherent in Flemish art since the days of Francois
Duquesnoy. Needing a colleague who could supply his
deficiencies, Van Rasbourg applied to Rodin with an offer
of partnership that gave the greater artist full liberty of
action in his modelling but perforce denied him the right
to claim it as his. Rodin accepted, and the two set up a
studio in the Rue Sans-Souci at Ixelles, close to the town.
There they prepared all their figures, helped for a time by
Julien Dillens. It need hardly be said that the more im-
portant pieces of sculpture were due to Rodin. Inside
the Exchange, the four large caryatides and the children
on the tympan are his, and outside, the two groups
representing Asia and Africa on the upper extremities of
the monument. Another undertaking in common, almost
as considerable as that of the Exchange, was the embellish-
ment of the " Palace of the Academies," a former residence
of the Prince of Orange. It was a project which Rude had
been on the point of executing, and for which he had
modelled a quantity of designs. Here, two groups, the
one representing Cupid measuring the terrestrial globe,
the other, the torso of the Apollo Belvedere, together
with some other ornamentation, though signed by Van

The Assistant

Rasbourg, came almost entirely from Rodin's hand. In
the palace of the king, two bas-reliefs representing eight
of the nine Provinces, and, in the Conservatorium, two
caryatides with two children above them were furnished
by the two partners and largely by the anonymous one.
There were, besides, pieces of sculpture of less essentially
public character. M. Sander Pierron, a Belgian writer,
in his " Art Studies " mentions three figures out of four at
the angles of the monument raised in Antwerp to the
memory of the Burgomaster J. F. Loos, and a number of
caryatides in the Boulevard Anspach of Brussels. Six of
these, on two houses forming the corners of the Rue
Gretry with the Boulevard, he esteems to be the sculptor's
finest carving in Brussels. Rodin is not of the same
opinion. He considers his work in the Exchange and
the Palais des Academies to be his best.

The statuary which he modelled in the Belgian capital
added to his knowledge in more ways than one. It was,
of course, on a large scale, and this in itself was a new
experience. And then most of it was for setting up out
of doors. Now, in every country, the atmosphere reacts
most appreciably upon the stone and marble carving
exposed to its ambience. The reaction varies according
to the dryness or dampness of the air, and affects not
only the substance of the sculpture, but the play of light
and shadow upon its surfaces. The sculptor who shapes
figures or ornaments for erection in the open air must be
able to calculate what will happen to them under the
atmosphere's caress, and so fashion his block that the
illusion of life he creates shall endure. In Brussels, the
air is saturated with humidity, even in the dry season.
Its action upon his groups Rodin was able to study day
by day, as the workmen wrought his designing into the
stone ; he saw how each figure looked under the grey of
dawn, under the midday clearness, and under the dusk of
evening, beneath the glare and blaze of the sun, or the

The Life of Rodin

duller tints of cloud and rain ; and he came to better
understand how to establish his planes and contours so
that they should ward off attack and allow the figures to
retain their beauty.

In harmonic contrast to these absorbing labours was
the background of his home life. Content to mingle
then, as now, with the humble, he took pleasure in the
conversation of his landlord, who was a gardener.
Perhaps the good man had rather a hazy idea of his
tenant's artistic superiority ; what was more manifest was
his great respect for his tenant's French wine, some of
which not infrequently found its way on to his table.
The sculptor's home was no longer the little lodging of
the Rue du Pont Neuf. When his circumstances im-
proved, he went to reside at the extremity of Ixelles, in
the Rue du Bourgmestre, number 15. Here he lived
modestly, partly from choice, partly from necessity.
While earning a fair amount of money, he was forced to
pay out goodly sums of it in order to pursue his art. His
wife, at any rate, never complained. What she received
she made suffice for the needs of the household ; and, in
glancing backwards from the present, finds that the days
passed in the Belgian cottage were among the happiest
she has known. His Sundays in winter Rodin mostly
spent either at the Palace of the Academies, where the
Museum of Sculpture was at that time situated, or in the
Museums of Painting, scrutinising and sketching much as
he had been accustomed to do in Paris, only with a more
cultivated and a keener sense of the beautiful. The
summer Sunday afternoons he frequently employed in
making himself acquainted with the environs of the town,
with its well-wooded retreats, where he often paused to
draw or paint, often also to do no more than enjoy the
reveries that stole over his senses. Now and again in the
week-day evenings, he would wander out alone into the
suburbs, sit down at a wayside inn door, or in its summer-

The Assistant

arbour, and drink a glass of beer while listening to some
rustic band or other, or watching the twilight creep over
the landscape.

This plain manner of living made people fancy him to
be poorer than he was. On one occasion he was obliged
to summon a Doctor Thiriar to attend him, and found,
when the bill came in, that the Doctor had charged him
only a very small fee. It was a kindly act, and all the
more praiseworthy as Monsieur Thiriar had not then
acquired the eminence in his profession he has since
attained. But Rodin, not wishing to pay less than he
could afford, insisted on modelling a bust of his physician
and making him a present of it. The bust was sub-
sequently exhibited at the Brussels Salon, together with
another of Jules Petit, a celebrated singer of that time
and an old fellow-pupil of the sculptor's at the School of
Drawing. In 1875, he sent two busts to the Paris Salon,
one in terra-cotta, bearing the name of Monsieur Gamier,
the other in marble, with an initial M. B.1; they were
accepted ; but to-day the sculptor has nothing to say in
their favour ; he prefers his connection with the Salon of
his own country to date from his second masterpiece.
Although not really famous in Belgium until its ex-
hibition, his reputation grew steadily throughout his six
years' residence in Brussels. Discerning amateurs gave
him occasional orders or procured him some. The merit
of these smaller objets d'art, executed while larger and
more important works were claiming his time and
attention, was necessarily unequal ; but none of them
lacked delicacy and grace. Monsieur Sander Pierron
gives as an example two miniature busts of women,
Suzon and Dosia, made for the "Compagnie des
Bronzes." Cast in three sizes, the largest of which did

1 This latter was in reality a reproduction of the " Man with the Broken
Nose," executed by another person and sent in under the sculptor's name.
B. stands for Bibi, a nickname of the man who posed as a model.

The Life of Rodin

not exceed forty centimetres, including pedestal, they
were sold by thousands in Belgium.

The middle part of Rodin's sojourn abroad was, finan-
cially speaking, the most prosperous. What he then
gained enabled him to put money by, and to gratify his
desire to travel for the purpose of making acquaintance
with the works of art that lay scattered in distant cities.
Antwerp, Bruges, and Ghent were comparatively easy of
access, and were visited more than once. Their cathe-
drals were the foremost objects of his eager attention ;
and the education of his taste in Gothic architecture, for
which Notre Dame de Paris had done so much, was
resumed and perfected. The perfection was the more
rapidly reached, since he had gone through practically
the same apprenticeship as the carvers of old — had, like
them, made long and patient efforts which were now
beginning to yield results. He saw how they had
combined with their religious faith all the bubbling,
native emotion and imagination which no creed could
altogether restrain. He felt himself akin to these men
of the forests — he was himself a man of the North —
whose tamed faculties had not lost touch with race
instincts. A superficial observer may pass by ancient
churches and perceive nothing, except perhaps in the
gargoyles, of the racy, secular element lurking in the
sculpture that adorns niche and portico, or in the orna-
mental designs that enlace pillar and frontal. Rodin
beheld it, and it set his nerves a-dance. He thoroughly
understood those artists who had thus affirmed their
love of outer form while contributing to perpetuate the
worship of its inner meaning. What they translated
into stone was the entire life of their epoch, with the
mark of the soil and the region upon their carving. The
art pilgrimages begun in Belgium were continued in
France, as opportunity offered. It is impossible to date
them all, made, as they were, at irregular intervals and

PUVIS DE CHAVANNES
(.see page 91)

To face page 39

The Assistant

in different ways, one being a short holiday excursion,
another a few hours' halt when passing through the place,
a third the combination of business and pleasure. In
this manner, most of the cathedral cities were visited —
Chartres, Rheims, Rouen, Dijon, Amiens, etc., some
of them much later than others, but yet all linked
by their influence to this period, when he first fully
learned to love them. Referring in one of his con-
versations to the impression produced upon him by the
cathedral of Chartres, he says l : "It appeared to me
like an integral portion of the world whose function was
to be always beautiful. Its two towers, the one carved
and the other built only of ragstone, plain and bare —
how well the architects understood what must be sacrificed
to effect, and what discipline over themselves they must
have exercised to build enormous walls like those of a
citadel, and to leave the grace and ornament for one
single tower ! Though I have thought about their art
all my life, I do not yet understand it. I cannot sum-
marise it. I feel it, and feel it profoundly, but cannot
express it ; the general structure of it escapes me ; and
though I have made many observations, I shall probably
never be able to draw from them a useful conclusion."

In the year 1875, he made a few weeks' excursion into
Italy, wishing to study there the chief specimens of
Renascence art, and more especially the sculpture of
Michael Angelo. While modelling in Brussels one of his
own pieces, the figure of a sailor, he had been suddenly
struck with its resemblance to the Italian master's
carving, some of which he was already familiar with.
He endeavoured to explain the phenomenon, but without
success. Hitherto, his efforts had tended to a greater
perfection in the fluidity of his lines, and he had not
consciously sought to imitate any one's style. He now
made a number of sketches to see if he could intention-

1 Quoted by Mdlle. Cladel in her book, " Rodin pris sur la vie."
39

The Life of Rodin

ally reproduce such characteristics of Michael Angelo's
statuary as he could call to mind ; the attempt failed.
Urged by the conviction that there was a something
essential to the mastery of his art which he as yet did
not possess, and still dreaming of future pre-eminence, he
started for Michael Angelo's country, travelled as far
as Naples toward the south, as far as Venice to the
west, but spent much of his time in Florence and Rome.
What affected him most were the tombs of the Medici,
and in them the modelling less than the expression.
He failed to discover the principles that he believed to
underlie their composition ; but, comparing Michael
Angelo with Donatellorhe came to the conclusion that
the latter was the more original artist of the two, and
that the former had probably borrowed whole bodies, or
at any rate parts, from his predecessor, without himself
understanding the cause of their perfection, yet giving to
them greater decorative value.

It was only after his return to Brussels and a further
patient observation of the movements of his living models,
when they came to pose, that light broke in upon his
mind. It was an independent rediscovery that he made
of a few simple laws ^applicable to sculpture and yet of
vast significance and utility, if applied rightly and by
the trained artist. The first was that the spontaneous
attitudes of the living model were the only ones that
should be represented in statuary, and that any attempt
to dictate gesture or posture must inevitably destroy the
harmonious relation existing between the various parts
of the body. In the observance of this law primarily
resided the superiority of antique over modern sculpture.
The second was that, as under the suggestion of suc-
cessive impulses the outlines of the body are continually
changing, muscles swelling or relaxing, with a sort of
rhythmic flow and ripple round them, the sculptor had
large liberty allowed him to choose in his modelling the

The Assistant

reliefs and curves that most faithfully and most effectively
interpret the pose they accompany. It was deformation
he would practise, but deformation with a view to in-
creasing expression, and maintained within the limits of
the natural ; the combination of accentuated parts would
be arbitrary, since his will and judgment alone decided,
and yet necessary, since the object aimed at was the
most vivid impression of reality. Too often it is for-
gotten that the sculptor, like the painter, works in
symbols. The dashes of colour laid on the canvas are
not the trees or houses or water they represent, but the
painter of genius makes us fancy them so. Similarly,
the marble shaped like a man cannot by the mere solidity
of its form give the illusion of flesh. The modelling
alone can force the symbol to take on the appearance
of life, and it must be a modelling that uses light with
its scale of shades instead of colours, and the deformation
of surfaces instead of perspective. The third law was
a deduction from the action of gravity in the equilibrium
of the body. Every one acts on the practical knowledge
acquired when the child learns to walk, that whatever
movement half the body makes in any direction, the
corresponding half makes another which counter-balances
it. If one shoulder goes up, the other comes down ; if
one hip projects, the other recedes ; if the spine and head
lean forward, the thighs and legs lean back. There is an
invisible centre of gravity round which the surfaces of the
body are grouped, and the planes that enclose them
must be observed by the sculptor if his statue is to
possess the equipoise of forces exhibited by the living
model.

In the Greek laws of sculpture, this variability of equili-
brium was reduced to a rhythm of four lines, four volumes,
and four surfaces. Thus, for example, when a man rests
on his right leg, he is bound to produce these four sur-
faces, volumes, and lines, starting from the shoulders in

The Life of Rodin

one direction through the pectoral slopes, returning
through the hips, making a third slant through the knees,
opposed to the second, and a fourth slant opposed to the
first. In Michael Angelo's sculpture the figure is generally
so balanced that the two intermediates disappear, and
instead there are two chief surfaces, volumes and lines,
one somewhere in front, and another which sweeps down
the block towards the side or back.1 He was not the
first to practise this simplification. It is occasionally
found in Greek statuary also. His originality would
seem to lie more in his conception of the human body
as a piece of architecture, and in executing his works on
the principle that a- statue, in order to have natural
harmony, ought to be contained, as has been said above,
in a simple mathematical figure — a cube or even a pyra-
mid. With such a conception, extravagance of design
is certainly avoided.

Having by his patient investigation and reflection
found out the methods of the Italian master, Rodin
was able to utilise and even to improve on them. In
some respects, he was farther advanced when he went
to Italy than ever had been the man whom he wished
to study. Michael Angelo limited himself in his living
models to the human figure ; landscape he neglected
entirely, so that he could not paint a tree or a plant
of any kind. In designing architectural ornament,
therefore, he was shut out from the originality he aimed
at. Later on in life, he ceased drawing from nature at
all; a change for the worse consequently took place in
his painting, as may be seen when the Doomsday
frescoes in the Sixtine Chapel are compared with the
figures of the vault executed in his best style. On the
contrary, Rodin's adherence to nature, begun in his
ornamentist apprentice days, grew more fervent, more

1 This rather technical subject will be referred to and further explained in
the chapter devoted to Rodin's conversations.

The Assistant

intelligent, more constant with every year that passed.
His stay in Brussels co-operated to make this adherence
a habit ; and now that he had mastered the secret of
antique and Renascence sculpture, the strengthening and
purifying of his artistic personality could not fail to
follow. The comparison often made between him and
Michael Angelo is sustainable only as regards their
common power of evoking intense and vivid expression.
The relationship ceases as soon as the narrower range
of forms produced by the one shows side by side with
the boundless exuberance of the other.

Of other old masters whose excellence he strove, while
in Belgium, more thoroughly to analyse, were Rubens
and Rembrandt. Having abandoned their art for sculp-
ture, he returned to it as a means of improving his own.
His reproductions of Rubens' famous pictures from
memory were a prelude to his later performances with
brush, graving-tool, and pencil which will be noticed in
a separate chapter. What he examined and admired
in Rembrandt was the creation of form by light alone.
Henceforward, the Dutch painter was a sort of " Demon,"
in the Sophoclean sense, obsessing him and urging to
a further research of chiaroscuro in each of his pieces of
statuary.

Among those that surrounded him at this time, he
probably gave more than he received in influence. His
age, his abilities, his manner, with its tranquil deliberate-
ness verging on the gently supercilious, carried weight
and conferred authority. For the younger workers in
Van Rasbourg's studio he was a counsellor that was
listened to and obeyed. If they ventured to advise in
turn, it was to beg him to issue from his retirement and
show his genius to the world ; to which he replied that
there was no hurry. " When one was sure of doing some-
thing, a little waiting made no matter; a single statue could
establish a reputation." These words were a prophecy.

CHAPTER IV

THE MASTER

THE year 1877 saw the end of Rodin's voluntary exile.
It was less long by half than that of Rude, but Rude was
younger when he went away, and fortune was kinder to
him among strangers. The work which had been Rodin's
main occupation was terminated. That which he could
procure on his own account was not continuous. The
intervals would have been agreeable enough, since he was
always studying and modelling with a view to the future,
if only his commissions had been better paid ; but the
prices received were little in proportion to the time and
endeavour bestowed. So far, his profession had been
almost as financially unprofitable as the labour of
Sisyphus had been vain.

During the last eighteen months of his stay in the
Belgian capital, his thoughts had a good deal dwelt on
the chances he might have, if he returned to Paris, of
realising his long-deferred hopes. The best way of
becoming more widely known, as it seemed, was to
present himself again at the Salon with a piece of
statuary that should on this occasion force the approval
of the critics. The question of a subject had to be
settled first, and a number of experiments were made,
only to be abandoned one after the other. None of
them corresponded quite to his state of mind and the
trend of his reflections. Greater leisure had given him
more opportunity for indulging in country walks.
Accompanied by his wife, he rambled off, whenever
possible, through field and forest ; and found compensa-

THE "AGE D'AIKAIN," OR PRIMEVAL MAX

(see f>a°e 47)

To face page 45

The Master

tion for his material disappointments in communion
with nature, of the kind practised and described by
Wordsworth. Such communion was also a stimulus to
his imagination. A poet in the old and true sense of
the word, he saw into the hidden Paradise of earth ; and
the vision haunted him when he came to handle his
clay and caused him to identify his human forms with
those of tree and flower. It may be guessed that these
habitual excursions would predispose him to choose a
subject in harmony with the state of mind they induced.
The preference was further determined by his favourite
author, Jean-Jacques Rousseau, whose Man of the Woods
grew more real to him as he withdrew himself more from
society. Rousseau he had learnt to appreciate, especially
in certain moods. Unable to confess his feelings, and
suffering from the constraint of silence, his spirit, over-
burdened now and again, was relieved and refreshed by
the lyric outpourings of a mind as much in touch with
nature as his own. This explains why, in speaking of
his woodland wanderings, the name of Rousseau is almost
sure to be associated. Other authors compelled him to
action. With Jean-Jacques he could rest and be at
home.

So it happened that his idea was to represent one of
the first inhabitants of our world, physically perfect, but
in the infancy of comprehension, and beginning to awake
to the world's meaning. To carry it out, he secured as
a model a Belgian soldier named Auguste Neyts, whose
trade, apart from his military service, was carpentering ;
a plain simple fellow, but of a certain native refine-
ment ; well-featured, and with just sufficient instruction
to respect things beyond his understanding — in fine, the
very man required. The statue, when completed, was a
full-sized nude figure in plaster, very evidently a type of
some primitive age, but the precise symbolism of which
was just undefined enough to allow of more than one

The Life of Rodin

reading. Prior to its departure for Paris, it was exhibited
at the "Cercle Artistique" in Brussels, and there were
plentiful conjectures as to its significance. Some sup-
posed it was a vanquished warrior expressing by his
attitude the profound discouragement of defeat. The
sculptor's intention, however, supplies the best interpreta-
tion : the man of the First Ages, strongly built and
muscled, an emblem of creation, one of the stones which
Deucalion cast behind him, and which rose painfully
into human form. The figure stands with his right arm
aloft and stretched back over his head as if to force
the brain beneath to quicken, and the heavy eyelids to
open. His left arm, raised so that the hand is higher
than the shoulder, grasped — when the statue was first
modelled — the top of a staff almost as tall as himself,
and seemed to press it downwards, so as to aid him in
escaping from the soil out of which he had sprung. The
staff was removed subsequently, as somewhat interfering
with the play of the light on that side ; but, for the
position of the arm to be rightly apprehended, the staff
should be mentally restored to its place. The body is
magnificently wrought, exact in its construction of bone
and sinew, and curve of flesh. Rodin's present judgment
of this, his second masterpiece, is that it is rather cold,
implying, no doubt, that it contains less of the intense
passion, latent or active, which characterises his maturer
sculpture. However this may be, the figure produces in
the beholder something of the same emotion presumably
aroused in those far-away men of the Bronze Age by the
perception of the world's mysterious phenomena. The
coldness, therefore, can only be relative.

Rodin came back to Paris in the spring of 1877,
bringing with him his statue, which was duly presented
at the Salon and admitted for exhibition. Once there,
it was impossible that its claims should be overlooked.
The Salon Committee were not habituated to have such

The Master

realism submitted to their inspection. They examined
it with curiosity ; its proportions and details were wonder-
fully true to life, so true, indeed, that some of the more
sceptical asserted the figure must have been moulded
from the living model, a method not unknown in the
statuary art. The same accusation had been made, but
with less emphasis, on the occasion of the figure's
exhibition at the Brussels " Cercle Artistique," and
publicity had been given to it by the Etoile Beige
in its issue of the 2gth of January. The sculptor
immediately wrote an indignant letter of protest to the
Editor, in which he said : " If any connoisseur will do
me the pleasure of investigating, I will put him in
presence of my model, and he will be able to ascertain
for himself how far an artistic interpretation is from a
servile copy." Whether the Salon Committee were
cognisant of what had been said in Brussels does not
appear. In any case, they might have manifested a
little more acumen.

Referring to the charge they brought, L£on Maillard,
in his study on Rodin, says : " None of those who gravely
asserted that the 'Age of Bronze'1 had been moulded
from the living body could be ignorant that, if this thing
had been done, the effect would have been completely
different. Instead of the noble figure of superior pro-
portion and palpitating modelling, there would have been
something pitiable and lamentable ; the art of the sculptor
would not have sufficed to restore harmony to parts in
which no unity was left. They could not be ignorant that
the most clever moulding never amplifies the form but
enlarges it only, and that the outlines as well as the
modelling lose the infinite perspective of which they are
composed. Consequently, even if a body could be moulded
in its entirety, the moulding would only approximately
reproduce the body of which it was the impress. The

1 This statue is commonly known under the title of the " Age d'Airain."

The Life of Rodin

proportion would have changed, and the apparent breadth
would have been developed to the detriment of the height.
This is the reason why mouldings can never endure
examination except in fragments ; in the fragment, the
unity is completed by the thought, and the anomaly
perceived in the whole figure does not show."

Although, therefore, the accusation was improbable on
the face of it, an inquiry was ordered by the Under-
secretary for State, Monsieur Edmond Turquet, after
Rodin had lodged with him a formal petition. The
inquiry was entrusted to some Inspectors of the Fine
Arts, among them being Paul de Saint Victor, the well-
known writer of that time, and Charles Yriarte, an equally
celebrated art critic and dilettante. In spite of the
individual loyalty of the Committee of Investigation,
they seem to have been biassed by the authority of the
accusers. Unable to find any proofs of the charge, their
report was drawn up in such a way as not to declare
themselves convinced of its falseness. Again the sculptor
petitioned the Minister in a letter, a copy of which has
been preserved. With a Spartan briefness adding to the
pathos, he asked for speedy justice to be done, drew
attention to the precariousness of his situation, and the
undeserved odium inflicted on him. Besides, in order to
neglect nothing that might throw light on the matter, he
acted on the suggestion of the sculptor Guillaume, had
mouldings taken from various limbs of a living body and
photographs of the same, in order that they might be
compared with the modelling of his figure. Even this
did not produce the desired effect ; he was poor and
without influence ; against him were men whose opinion
carried weight ; and he might have remained under sus-
picion indefinitely, had not events themselves combined
to justify him. First, there was Auguste Neyts, his
model, who offered to come to Paris to give evidence in
his favour, just when the Director of the Fine Arts

The Master

Department had bethought himself of sending to Belgium
to look for him. Certain of the most prejudiced held that
this was useless, so the journey was not made. Some-
thing else, however, was destined to confound the accusers ;
for it so befell that the sculptor Boucher, then a pupil
of Paul Dubois, discovered Rodin one day in the work-
shop of an ornamentist, engaged in fashioning, without
any model, some little children holding a cartouche. He
remarked the extraordinary skill and life-likeness of the
modeller's work, and related to his master what he had
seen. In turn, Paul Dubois went to the sculptor's studio,
accompanied by Chapuis, another sculptor; and, after a
prolonged and careful scrutiny of original productions l
he found there, convinced himself that the hand which
had shaped these children needed no artificial aids to have
produced the " Age d'Airain." He at once communicated
his conviction to his colleagues, with the result that a
letter was despatched to the Fine Arts Department,
signed by Carrier- Belleuse, Laplanche, Thomas, Fal-
guiere, Chaplin, Chapuis, and himself, which was not only
an entire refutation of the charge trumped up against
Rodin, but a high eulogium of his talent. Three years
after its first exhibition, the " Man of the First Ages " was
cast in bronze, and in this form returned to the Salon,
where it was awarded a third-class medal. A fuller recog-
nition of its merits was its purchase by the State. For
a while, it stood in a shady walk of the Luxembourg
Gardens, its tints growing mellower under the breath of
the atmosphere. More recently, it has been removed to
the interior of the Museum, where it now stands almost
opposite to another of the eight pieces of Rodin's
sculpture which are there.

These protracted negotiations and inquiries had

1 There were three especially, one, the "Creation of Man," a second, a
torso of " Ugolino," and the third, a Joshua with lifted hands commanding
the sun to stand still.

D 49

The Life of Rodin

lengthened out months into years. Ultimate satis-
faction was given to the sculptor only in February 1880.
Meantime,he had had to live; and,failing orders forstatuary,
which were hardly to be expected until his name should
be cleared, he, for a third portion of his career, began to
hire out his handicraft as a figurist whenever he could.
For skilled workmen exercising this profession there was
always a fair demand ; and in the domain of industrial art
he had acquired a certain reputation during his connection
with Carrier-Belleuse, much of whose sculpture had been
executed for industrial and manufacturing enterprises.
One of his commissions in the twelve months following
his return was for the forthcoming Universal Exhibition
of 1878. The Trocadero Palace had just been constructed,
and some of the outside ornamentation had been entrusted
to a Monsieur Legrain, who delegated a part to Rodin.
He modelled a number of grotesque heads on the side
facing the Champ de Mars, some on the projecting arch
at the inmost part of the semicircle, others on the water-
spouts that were placed on the fountains. These latter
were removed subsequently, and are at present in the
possession of the authorities administering the Museum
of Decorative Arts provisorily situated at the Louvre.

That Rodin was fully occupied at this moment may be
gathered from an extant letter from Legrain, pressing
him to get on with the work, and wondering why he had
not heard from him. Whatever the occupations were,
they did not hinder him from sending in a bronze bust of
a lady to the 1878 Salon, and setting about another
statue intended for the 1879 Salon. It was splendid
tenacity and courage to go on in circumstances of so
little promise. He had a small studio, a mere shed,
some twelve feet square, in the Rue des Fourneaux,
to-day Rue Falguiere, number 36, where he devoted every
spare hour in the evening, as well as in the day, to his
new artistic venture. Here was made the St John

5°

ST JOHN

To face page 51

The Master

preaching in the desert. However, he was only able to
finish the head in bronzed plaster, which, together with a
terra-cotta bust of Madame A. C, was accepted by the
Salon committee. The entire statue in plaster was
exhibited in the following year.

The modern St John, in other words the model, was an
Italian fresh from the mountains of his native country.
He had never posed, and was quite unacquainted with
the various noble gestures imposed by academic stylists.
His relations with Rodin laid the foundations of his
fortunes as a model, and he subsequently had ample
occasion to become familiar with the tricks of the trade.
The sculptor tells how, when the man first came to pose,
he merely ordered him to raise his arm and commence to
walk. The model did so. " There, now, stop, and keep
that attitude." The simplicity of the procedure comes out
strikingly in the statue. So spontaneous is the gesture,
and so accurately has the posture of the body between
two seconds of movement been marked and caught, that
it creates an illusion of motion. On approaching the
figure, one gets an equally strong impression of living
mobility in the somewhat gaunt framework, with its play
of muscle and articulation. A closer examination shows
the skin tightly drawn over the protuberances, whether of
bone or tendon, and soft where there is no strain. In
the gait there is a ponderousness that accords with the
notion of the preacher weighted with his mission.

But this physical perfection attained by the modelling,
though wonderful, is not that which most properly entitles
the St John to rank higher than the " Homme au Nez
casse " and the " Age d'Airain." What the sculptor did
in his third masterpiece was to make the physical serve
uniquely to suggest the spiritual. The preacher is so
entirely unconscious of his corporality that the spectator
transcends it too, and sees at last only a plastic rendering
of the Voice crying in the Wilderness.

The Life of Rodin

On the whole, the statue was favourably noticed at the
Salon. Such unfriendly criticism as was offered either
referred to the impropriety of presenting a preacher
without clothes — the real St John had at least a sack-
cloth about his loins, Rodin had given his only a fig-
leaf — or asserted that the pose was awkward, the legs too
wide apart. As a matter of fact, detractors were at a
loss for arguments. They could do no more than delay
the day of compensation. More fortunate than the " Age
d'Airain," the "St John " waited one year only before it
reappeared in bronze at the 1881 Salon; and, like the
" Age d'Airain," it was also bought by the State for the
Luxembourg in 1884, a second triumph for the sculptor.

Before the close of 1879, Rodin had the pleasure of
welcoming back to Paris his friend Dalou, who had a
good deal to tell him about London and about Legros,
whom he had left there. In the same year, business
brought him into relations with Bracquemond, well known
in England by his etchings of Meissonnier's and Gustave
Moreau's pictures, and some of his own original paintings
and engravings. At this date, Monsieur Bracquemond
was at the head of the art department of an American
porcelain establishment belonging to Messrs Haviland.
His duties requiring him to secure sculptural designers
for the articles produced and sold by his firm, he was led
to make Rodin's acquaintance in consequence of what
he had heard of the " Age d'Airain " and seen of the " St
John." A visit to the studio of the Rue des Fourneaux
resulted in some commissions being given, which for one
reason or another were never executed. Doubtless, the
sculptor's hands were full. One of his customers at
this time was a Monsieur Fanieres, whose speciality was
the manufacture of small pieces of jewellery, brooches, etc.,
and who came to him for the plaster designs. This, how-
ever, did not prevent the acquaintance with Bracquemond
from ripening into warmer intercourse. Through the

The Master

latter Rodin was introduced to the Goncourts ; and
through them he got to know Alphonse Daudet and
most of the literary celebrities that frequented the house
of the authors of " Rene Mauperin " and " Germinie
Lacerteux." It is curious to note that the Goncourts
used to boast of having brought three things into
fashion by their writings : naturalism, the eighteenth
century, and Japanese art. In the first two of these
Rodin had long been an adept ; the Goncourts had
nothing to teach him. On the other hand, they may
have helped him to gain a deeper insight into the third,
which his conversations show that he admires. "The
Japanese," he says, "study nature and understand her
marvellously well." Rodin's intimacy with Bracquemond
was rendered easier when he went out to live in the
country, not far from Sevres, where the engraver has had
his home and studio for many years. The distance was
not too great for an evening's walk and a chat, or a
Sunday afternoon's visit after the week's labours. In the
beginning of the acquaintance, however, he was in a
small apartment in the Rue St Jacques, near where he
had lived as a boy, and not very far from his studio. A
year or two later he removed to the Rue du Faubourg St
Jacques, also in the same quarter.

Very soon after his settling again in Paris, he con-
tracted a third engagement with Carrier-Belleuse of the
kind, now, he had had with Van Rasbourg. Carrier-
Belleuse was more than ever occupied with the production
of bas-relief sculpture for ornamentation ; and Rodin,
who knew his style and could imitate it to perfection,
was a colleague he was only too pleased to secure. The
agreement they made did not prevent Rodin from going
on with private work intended for competitions or exhi-
bitions, nor did it take from him the right to work for
others ; but, with these other tasks, it left him little
leisure, and there were moments when he could hardly

The Life of Rodin

suffice to the day's task ; it was his wife then who
aided him in certain subsidiary details which might be
delegated, as requiring no special knowledge of sculpture,
but only the intelligent carrying out of a few simple
directions.1 Not unfrequently, when visitors came to the
studio and saw one of these knick-knacks that he had
made for his employer, and fashioned with the other's
grace and smoothness, they preferred it to something
that was really his own and was stamped with his genius.
And of his own he had always enough to show. Fol-
lowing on the " St John," he commenced a couple of statues
suggested by almost the same order of ideas.2 As these
took him some time to finish, they will be noticed in
subsequent chapters. While still waiting for his good
name to be cleared, a project of the Government was
made public for putting a monument commemorative of
the Defence of Paris at the Rond Point of Courbevoie,
where some of the bloodiest struggles between besiegers
and besieged had taken place in the war of '70. The
work being thrown open to competition, he resolved to
try, though with no great expectation of succeeding
among the large number of favoured candidates. His
proposal, an allegorical rendering of the Vanquished
Mother-Country — better known to-day as the " Genius of
War " — was not even classed. The sculptor finally selected
was Barrias, who more recently executed the monument of
Victor Hugo standing on the square that bears the same
name. Rodin's group was considered to be too violent of
conception. For a statue intended to survive the passions
connected with the events it celebrated, perhaps ! And

1 One thing which she was accustomed to do was the swathing of the clay
models in moist wrappings, and maintaining the different degrees of damp
necessary to the various parts, a most important accessory when the
modelling is under execution for any length of time, since only by a most
delicate judgment and the most constant care can the best results be
obtained.

2 The " Adam " and "Eve."

THE GENIUS OF WAR

To face page 55

The Master

yet there was nothing in it that should offend. A winged
female figure, naked to the waist, hovers above and close
to a rugged pillar, against which reclines the body of a
slain warrior. Her arms are extended, her fists clenched ;
one of her spread wings is bent and broken, but still beats
the air, and her face beneath the helmet, covering her head,
is distorted by the cry of anguish that issues from her
open mouth. The upward bearing of each limb and the
movement of the woman, contrasting with the limp,
shrunken corpse of the soldier, whose broken sword tells
its own tale, makes the allegory easy to read, with its call
to the future through the horror of the present. Rodin
was so interested in the central figure of his composition
that, when the competition was over, he recopied it several
times, introducing slight modifications. One of these
copies, with the figure of the warrior taken away, from a
desire to simplify the rest, is in the Pontremoli collection.
About 1879, Carrier-Belleuse was appointed Director of
the Decorative Department in the National Manufactory
of Porcelain at Sevres. A wish to do a good turn to a
man he respected and liked, and a legitimate ambition to
bring a little more originality into the establishment and
co change its routine, made him offer Rodin a position on
the staff of artists employed by the Administration. This
was in February 1880. As there was an opportunity of
experimenting in a branch of his art which he had not
hitherto essayed, and as the duties of the post were not
absorbing, his attendance at the manufactory not being
at fixed hours, but when he liked to go, and payment
being according to the hours given, Rodin consented, and
with his usual ardour set to learn all that Sevres could
teach him, or at any rate all that he had time to learn.
Into the handling of the pastes he was initiated by one of
the staff, Monsieur Taxile Doat, who tells of often lunch-
ing with the sculptor during this instruction time. They
went to a restaurant at St Cloud, and usually, after eating,

The Life of Rodin

Rodin would pull out a couple of books from his pocket —
Pascal, La Bruyere, or a translation of Dante — and, hand-
ing his companion one, would begin poring over the
other. The modelling part was child's play to him after
his long practice as a figurist ; the only differences were
the material in which he modelled, the increased fineness
of design and relief, and the tools. Of course, there were
technical processes which lay quite outside his province,
such, for instance, as the baking of the vases, and, in
general, the action of the fire on the colour and lustre of
the pieces. These, as he owns, he made no attempt to
master, contenting himself with his own art.

The afternoons at Sevres — for it was mostly in the
afternoon that he went — pleased him the more, as they
afforded him the excuse for a long walk in the evening
along the high, wooded country rising from the river or
along the river banks themselves. It came to be a habit
for his wife to take the boat as far as Sevres and meet
him, and then for both to saunter back to Paris, reposing
by the way under trees, or, in the summer, at an inn
where they would sometimes dine before getting home.
It was during these rambles that many of the remarkable
pen-and-ink sketches of subjects from Dante were made,
about which more will be said hereafter. The distance
from the manufactory to their home in the Rue St Jacques
was a good five miles, but they were each robust, and
hardly understood what it was to feel tired.

For the rest, willingly seconding the efforts made by
Carrier-Belleuse to improve the quality of the Sevres
ornamental work, he substituted, as far as he dared, a
fresher treatment of the subjects chosen, together with
his own style of modelling. One specimen of the vases
so decorated is at present in Rodin's house at Meudon,
where the privileged visitor may examine it. Its fellow
is in the Sevres Museum. It is in hard porcelain, the
ground colour being buff. The design is made up of

The Master

figures in low relief, couples embracing, women and
children, most perfectly and exquisitely formed in spite
of their small proportions; they are placed on a land-
scape background with trees and water in it, and the
suavity both of drawing and tint is charming. Some
other smaller vases are also on view in the Sevres Museum,
among them an allegory of winter. Monsieur Roger
Marx has perhaps the most representative pieces of this
sort of decorative work of the sculptor, and has made a
special study of it.

Rodin's connection with Sevres lasted for about three
years. It somewhat overlaps the next period of his life ;
but to deal with the end of it here is more convenient
and logical, since he never hired out his services again.
The reforms that he would fain have helped to initiate, he
found, were opposed by the old and regular members of
the staff. The conservatism common to all ancient
institutions would very well explain this opposition ; but
against Sevres a more special accusation is made by some
men who, like Rodin, have had to do with it in a
professional way. They affirm that the establishment is
too much of a retreat for broken-down unsuccessful pupils
of the Beaux Arts, who jealously keep things in statu quo,
and resent any proposal to change the time-honoured
traditions of the manufactory as an attack on their
prerogative and privilege. What is certain is that Rodin
had a good deal to surfer from petty annoyances inflicted
on him by his colleagues during their association, if not
openly, yet with equal efficacy and persistence. These
he bore with phlegmatic equanimity as long as he
thought there was a chance of seeing them cease ; but,
recognising at last his hope was vain, he resigned his
post, and determined thenceforth to be his own master.

The moment was propitious. After twenty-five years
of incessant, arduous labour, the profit of which had
mostly been for other purses, the credit of it for other

The Life of Rodin

names, some measure of acknowledgment had been
accorded him ; and his title to rank among sculptors of
merit was no longer disputed. Looking back on all he
had gone through, there was the immense advantage of
his having, so to speak, learned his art several times over,
and each time penetrated into it from a different side.
This was worth the obscurity and subordination he had
paid for it. In commencing, therefore, a fresh stage of
his career, he possessed an equipment probably more
adequate than that of any contemporary sculptor, through
the education of the eye no less than of the hand. In
fact, it is his seer's vision which primarily constitutes
Rodin's power. " I do not create," says the " master,"
" I see, and it is because I see that I am able to make."
Assiduously cultivated during all the 'prentice years, this
acuity of vision became a dominant factor in the statuary
dating from the " Age d'Airain " ; even now, in the autumn
of the artist's days, it grows.

Rodin is no exception to the rule that absence of mind
in the ordinary relations of life accompanies the develop-
ment of a peculiar faculty of artistic perception. Friends
who knew him at the age of forty have more than one
story illustrative of his frequent fits of abstraction. Aube",
whose statue of Gambetta adorns the courtyard of the
Louvre, relates that Rodin was one day waiting for his
lunch in the " Comptoir de Cristal," an eating-house
patronised by several sculptors who had studios in the
quarter of the Boulevard de Vaugirard. Absorbed in his
reflections, he forgot what he had ordered ; and, when an
omelet was brought for a neighbour, he promptly seized
it and had half devoured it before discovering his
mistake. On another occasion, while engaged in an
animated discussion, he allowed his long beard to
descend into his coffee, and stirred it round with his
spoon, quite unconscious of the unusual mixture. A
third example may be cited which goes back to the

To face page 59

BUST OF MADAME RODIN
(seepage^}

The Master

time when he was in Brussels. He had gone out with
Madame Rodin to Waterloo to spend the day, and,
towards lunch hour, had sent her on to order the meal
at a restaurant, where it was arranged she should wait
for him while he went to visit a few things in the neigh-
bourhood that he wished to examine. Madame Rodin
accordingly betook herself to the spot, had a table
spread for the two of them, and sat down to wait. One
o'clock passed, but no husband arrived ; two o'clock, and
still he did not come. Tired of waiting, Madame Rodin
took her repast alone, and then, after vainly expecting
him during the bigger part of the afternoon, started off to
see what had become of the wanderer. She selected the
road by which it was most likely he would reach the
restaurant ; but, as ill-luck would have it, they missed
each other. While she was gone, Rodin turned up, after
rambling for a long time in utter oblivion of the flight of
the hours. Unconscious of being extraordinarily late, he
sat down at a table where he saw a lady already seated.
Being still somewhat abstracted, and his shortsightedness
helping the mistake, he began : " Well, Rose, and what
have you got for lunch?" Before explanations were
finished, Madame Rodin came on the scene and was not
a little taken aback to find her husband sitting with a
strange lady. To her very natural question as to where
he had been, he replied quite seriously : " My dear, I was
waiting for you ! "

CHAPTER V

THE DECADE OF THE 'EIGHTIES

THE decade that takes in from 1881 to 1890 brought to
Rodin more than the right to be his own master ; it
carried his reputation with great rapidity beyond the
boundaries of France and made it continental. England,
America, and the various foreign countries of Europe in
turn learned to look upon him as one of the most original
sculptors France had produced. Among his own country-
men, he had, as was only to be expected, to put up with
attacks which are always made when a fresh rival presents
himself and challenges comparison with men and per-
formances hitherto deemed superior ; and, as his statuary
had an excellence that differed in kind as well as in
degree from that which people had grown accustomed to,
he was compelled besides to run the gauntlet as an
innovator. The weapons at first employed were those of
sarcasm and ridicule. When the " Creation of Man "
was exhibited at the 1881 Salon, the advocates of smooth
and serene sculpture were amazed and shocked to find
that the artist had represented an Adam stretching him-
self painfully in his endeavour to rise from the clay of the
soil out of which he had been fashioned. The comic
papers immediately saw their opportunity, and one of
them printed a caricature of the statue, with our first
parent as a hunchback, and a rhyme underneath asserting —

" Than Adam there writhing, sure, nothing's more funny,
So just go and see — it is quite worth your money.
The monster's not human ; 'Gad, judgM by the plan,
He must be a corkscrew aping a man."
60

THE CREATION OF MAN, OR ADAM

To face page 61

The Decade of the 'Eighties

To raillery of this sort succeeded criticism of a more
serious and some of a more virulent sort ; but neither the
one nor the other was able to prevent a current of public
opinion from declaring itself in Rodin's favour.

The incident of the " Age d'Airain," with its satisfactory
conclusion, had rallied to his side a few staunch defenders
among writers on art, who did him then, and have since
done him yeoman service. And Monsieur Edmond
Turquet, after espousing the sculptor's cause, was not the
man to draw back. Long after the necessity for his
intervention had ceased, and indeed during all the time
he was Under-Secretary of State at the Fine Arts Depart-
ment, he continued his active support. It was owing to
him that, in the year 1882, Rodin had a studio placed at
his disposal, free of any rent or charge, in the Repository
of the State Marble, situated in the Rue de 1'Universite,
No. 182. The spot is fairly central, being a few yards
distant from the Champ de Mars, and, what was more
essential, quiet. In the part of the street skirting the
premises there is little traffic; and the visitor might
imagine himself in a provincial town, the impression
being increased when he enters the long spacious yard,
with its plots of garden, its tall curtain of trees, and its
range of one-storied buildings running right and left.
Blocks of stone, large and small, and plaster-covered
frames that have served their purpose and been cast
aside, are scattered about ; on some, time and weather
have begun to deposit a black dust turning to green moss,
others still keep the white colour that tells of their recent
connection with quarry or studio. For more than twenty
years now, the Rue de 1'Universite has been Rodin's pro-
fessional address ; but it has not prevented him from
having places to work in besides. His private studio in
the Rue des Fourneaux he continued to rent for a year
or two after receiving Monsieur Turquet's gift, and then
quitted it for another larger one in the Boulevard de

The Life of Rodin

Vaugirard,1 No. 117. A greater proof of the Minister's
regard was the commission for an important piece of
sculpture to be bought by the State, the "Porte de
1'Enfer " (Hell Gate), which will be spoken of again. The
way in which the commission was given proved that the
Under-Secretary of State was desirous of making the
sculptor public reparation for the stigma that had been
cast upon him. It was fortunate for Rodin that the Fine
Arts Department was then under the control of a man
who, during the seven or eight years he was in office,
carried out many reforms, and consistently strove to render
Government patronage more efficacious in reaching the
most deserving artists.2. After his retirement, Rodin, in
token of gratitude, made a bronze lion and gave it to him.
Another name which must be specially mentioned here
is that of Roger Marx, who, quite a young man in the
early 'eighties, but exceptionally talented and versed in
matters of art, took up the cudgels on the sculptor's
behalf, foreseeing his coming greatness, and foretelling it
amid the derision of the older school of critics. The
acumen and sureness of judgment of which Roger Marx
was the possessor soon brought him into close relations
with the Fine Arts Department, which afforded him
occasions of aiding Rodin even more effectually than by
his pen. The share he had in three of the latter's monu-
ments will be related in the proper place. His brilliant
articles, as each masterpiece was produced, can only be
alluded to here. All of them are full of instruction, going
to the root of the subject and having a style in which the
matter is always equal to the form. When, in 1887, he
became secretary to Monsieur Castagnary, the Director
of the Fine Arts Department, he helped Rodin to obtain

1 The building has been recently pulled down, and the part of the Boulevard
in which it stood is now called the Boulevard Pasteur.

2 Rodin also speaks of the Minister's secretary, Georges Hecq, now dead,
who was useful to him at this time.

The Decade of the 'Eighties

the commission for the large group of the " Baiser " (the
Kiss), at present in the Luxembourg. Though, no doubt,
the Legion of Honour decoration conferred on the sculptor
in 1888 was a voluntary recognition of his merits by the
Government, it is pleasant to note that the award coin-
cided with Monsieur Marx's secretaryship. In addition to
numerous newspaper contributions, the eminent critic has
published a remarkable study on the master's dry-point
engravings ; and, after an exhaustive examination of the
ceramic sculpture executed for the Sevres Manufactory
of State Porcelain, many specimens of which are in his
possession, still more recently a monograph on the subject
which will amply repay perusal.

Rodin's first relations with England date back to the
beginning of the 'eighties. During his visit to Legros
in 1 88 1, he was introduced to a few well-known
Englishmen, with two of whom, Henley and Robert
Louis Stevenson, an after - correspondence was main-
tained. In the chapter treating of these relations at
greater length, letters from these two writers will be
given, as bearing on their opinion of the sculptor and his
work.

Most of his early band of friends in France were drawn
to him by the disputed " Age d'Airain," or the " St John."
This was so with the painters Besnard, Roll, and Eugene
Carriere, the last of whom told the author of this book how
he was led from step to step of admiration and respect, each
higher than the preceding. The same may be said of Jean
Baffier, best known in England as an ornamental sculptor,
but whose " Marat " and " Master Ironworker " prove no
mean skill in statuary. " Such a man," he said to himself,
after studying the " St John," " ought to belong to the
Salon Committee." So he voted for Rodin, who in that
year, 1883, had three votes.1 Those of Aube" and Captier
were the others. This circumstance led to his being

1 It was not till 1889 that Rodin was placed on the jury.
63

The Life of Rodin

introduced to the master, who later invited him to do the
fine hewing of one of the busts of Victor Hugo. " I did
not make a very good job of it," says Baffler ; " at that
time I was too little imbued with Rodin's ideas to be
capable of carrying them out well ; but he was indulgent,
as always, and accepted what I had done without
grumbling. He had all the more to alter." Another
man who, like Baffler, may in a manner be called a pupil
of Rodin, each of them being considerably his junior, is
Jules Desbois, also renowned for his ornamental sculpture,
some of which is in the Luxembourg, and for his statue,
"Death and the Wood-cutter." The acquaintance was
made in 1878, when the latter was also employed by
Legrain in the decoration of the Trocadero. Between
1880 and 1890 and even later, Desbois was glad to work
under the direction of the elder artist, finding in so doing
his "way of Damascus" to wit, the system of modelling
all the surfaces of a statue simultaneously by continually
walking round it. A glance at any of his productions,
posterior to this collaboration, will suffice to prove that he
is distinctly Rodinian — the bust of Rodin, for instance,
which he executed in 1904 and sent to the Dussel-
dorf Exhibition. His name recalls those of two other
disciples, Camille Lefevre and Fagel. All three worked
together at their sculpture in earlier years ; and all
three, after going to school again under Rodin, stood out
as his champions whenever there was a lance to be broken.
Just before leaving Brussels, the sculptor came into con-
tact with Constantin Meunier.1 A close intimacy was
subsequently formed between the two men ; nor is it
impossible that the Belgian master's change from paint-
ing to the statuary art was influenced in some degree by
their intercourse.

It was only to be expected that in this first efflorescence

1 Died in 1905. Several of his pieces of sculpture are now in the
Luxembourg.

PORTRAIT OF RODIN

By Sargent

To face page 65

The Decade of the 'Eighties

of fame, such of Rodin's admirers as had the skill should
wish to paint his portrait. In England, John Sargent and
Legros, and in France, Jean Paul Laurens and Carriere
produced likenesses, within short intervals of each other,
which it is instructive to compare. All four are most
various in style, and curiously different in expression.
That by Legros is in profile, and shows only the head,
energetically poised, full of serious purpose, melancholy
even, lacking the serenity which the sculptor's face has
taken on in maturer age. The hair hangs almost un-
kempt over the forehead ; the heavy moustache hides the
determined mouth, as the short bushy beard hides the
square chin, which are prominent in the portrait of his
early youth by Barnouvin. This Barnouvin was a fellow-
student of the sculptor's, " and in things of art possessed
great poetic insight," says the master, " but without the
power to become an original painter. He made copies of
great pictures which were almost if not quite equal to the
pictures themselves. I lost sight of him for a long time,
then met him somewhat down at the heels, gave him a
lift up, and again heard no more of him for years, myself
preoccupied by the hard exigencies of life. More recently
I came across him once more ; he was worn out, a wreck,
all marks of his former self lost. I did what I could, but
from what I found out subsequently, I fear the aid was
useless. He had sunk too low."

Sargent's portrait is a full-face half-figure. The
melancholy persists in it, with a far-away gaze in the
wide-opened eyes that accords with the relaxed muscles
of the body and slight side-sink of the head. The beard
is longer, the look older. That by Laurens gives the
head and shoulders. The two eyes are seen, but the
pose is only half-front, and profile from the nose down-
wards. A great deal of light is concentrated on the
upper part of the face, and the expression is nearer to
the Rodin of to-day, but still grave. The body is bent a
E 65

The Life of Rodin

trifle forward and the attitude is that of quiet contempla-
tion. Carriere treats his subject in his own peculiar way.
The features are bathed in a misty atmosphere, and
contour and relief are indicated entirely by values of
chiaroscuro. And yet there is a massive solidity about the
face, and an approximation to the modern appearance of
the sculptor greater than in the delineation by Laurens.
The latter, indeed, has produced a second and rather more
recent likeness of Rodin in one of the frescoes of the
Pantheon, which is very characteristic of the sculptor.
The angle is about the same as in the earlier portrait, but
the head is raised and leans a little to one side and is
covered with a cap. The bold curve of the nose is finely
limned and the intentness of the eye well expressed.

As a sort of comment on these portraits may be quoted
here the description given by Mademoiselle Cladel in her
book of the impression made by Rodin when visiting her
father's house. " I often used to see him," she says, " at
our home in the country. On the Sunday he would
arrive, with that shy, almost awkward air which concealed
his worth. He sat in the garden, with his head bent as
if the better to drink in the conversation and the good air.
To the others he listened quietly, manifesting a rather
old-fashioned respect for talent, whosesoever it might
be. He replied by a few words or a keen yet mild look,
and left without joining in the conversation, but having
paid attention to everything, and judged everything in
silence. My father was of an ardent, expansive nature,
abandoning himself in an exciting discussion, and quite
different from Rodin, whom he called the illustrious
ingtnu. As for those who met him there, they did not
understand him ; his splendid animality puzzled them.
Among these men of somewhat artificial stamp, he
seemed like a big dog, or rather forest quadruped, for
ever on the alert, sensitive, quivering ; and they
irreverently called him ' Gaffer Rodin,' a ' curious old

The Decade of the 'Eighties

fellow.' To tell the truth, I thought him so too ; although
I had remarked the life that shone in his eyes and his sly,
observing glance."

In October 1883, Monsieur Rodin, the sculptor's father,
died. Since his son's return to Paris, he had lived with
him in the apartment of the Rue St Jacques, No. 268.
Pensioned off just before 1870, there seemed to be every
probability of his enjoying a ripe old age ; but the war
came, his wife died, his son was obliged to seek his living
in a strange land ; and all these things saddened the end
of his life. For some years prior to his death, he did
not quit his room. It was Madame Rodin, his daughter-
in-law, who nursed him with all a daughter's tenderness,
replacing as far as possible the Clotilde of bygone days.
A fact interesting to remark is that he was not much in
favour of his son's becoming a sculptor. Although re-
cognising, as was said in the first chapter, that his boy
was not suited for business, he would have preferred him
to enter some Administration, as he himself had done.
Happily, he was spared long enough to see the beginning
of the sculptor's success.

Rodin's fame, however, which grew and spread through-
out this decade, was far from bringing him fortune,
especially in the earlier years. His professional ex-
penses augmented in proportion to the greater efforts
made. Like the business man or the agriculturist, he
had constantly to lay out sums of money, an adequate
return for which was often wanting. The story goes
that once happening to come into possession of a full-
length male statue representing a political personage of
mature years, he reflected on the use to which he might
turn it, and necessity being the mother of invention, he
calculated the thing out mathematically, and changed
the old gentleman into a Bacchante. What is certain
is that he continued his modest style of living, occupying
an apartment of a few hundred francs' rent, lunching

The Life of Rodin

when he could not come back home to eat, at a cheap
eating-house, and practising the old proverb : " Take
care of the pence," in all that went beyond the essentials
of existence. Looking back now, he smiles as he recalls
the astonishment of an ex-State Minister of Belgium,
who, happening to be in Paris in 1 88 1, brought with him
a gold medal which had been awarded the sculptor at
the Ghent Exhibition, and which he did himself the
pleasure of presenting in person. He found his way to
268 Rue St Jacques, climbed up to the little flat,
rang the bell, and, in the absence of the master of the
house, was received by Madame Rodin in her ordinary
domestic attire. Although evidently having expected
something else, he was none the less benevolent and
kind, and, as he was old enough to be paternal, begged
Madame Rodin l to give the medal to her husband, who,
he felt sure, would be delighted to receive it.

After the death of his father, the sculptor removed to
No. 39 Rue du Faubourg St Jacques, close to the
Cochin Hospital. From here, a year or two subse-
quently, he went to No. 71 Rue de Bourgogne,2 the
street which runs up from the Seine, behind the Chamber
of Deputies. Once again, he removed in the closing
year of the decade, going to No. 23 Rue des Grands
Augustins, this last being a narrow street lying between
the Quay of the same name and the Rue Saint Andre
des Arts. Each of these flats consisted of three or four
rooms only, contrasting strangely with the magnificent
residences occupied by so many Parisian celebrities in
the world of art and literature. What made domestic
economy, however, not only supportable but even agree-

1 In this one particular the sculptor's memory is at fault. After the visit
was paid, the Minister, who did not leave the medal, wrote a letter, asking
the recipient to call for it at an address in Paris. The letter is signed
" Robin."

2 The number is now changed.

The Decade of the 'Eighties

able to the sculptor, was that he was an example of that
philosophy of enjoyment which to-day he has the right
to preach. By dint of seeking the beautiful in places
where it may be found by everyone, he was never
without lasting pleasures that cost him nothing. Like
Chaucer, under the open sky, he could exclaim : —

" Herkneth the blisful briddes how they singe,
And see the freshe floures how they springe ;
Ful is myn hert of revel and solks."

In the year 1886, Rodin received commissions for two
monumental statues to be erected in Chile, in honour of
two men who had died just before, within two or three
months of each other, and who had been famous in their
country's history. It was then that he was negotiating
for the execution of the Claude Lorrain, the Bastien
Lepage, and the Bourgeois de Calais monuments, the
second of which will be noticed in this chapter, and the
two others later on ; and, no doubt, the stir made by these
three events had their echo in the far-away country on
the other side of the Andes. One of the dead Chilian
heroes was a statesman, Benjamin Vicuna Mackenna,
who, after sharing in the revolt of 1851, which caused
him to be condemned to death, returned from exile
and became a member of the Legislature in 1865.
Especially renowned as a writer on Chilian history,
he was entrusted with public functions ; went as a special
envoy to Peru, and was elected a senator. Last of all,
he stood as a liberal candidate for the Presidency in
1875. The other was Patricio Lynch, whose father was
an Irish merchant, and who himself had served in the
British Navy. He distinguished himself in the 1867
war with Spain and the 1880 war with Peru, deposing
the Calderon Government there in 1881. Obtaining the
rank of Admiral, he was appointed Chilian Minister to
Spain in 1884. These were the men and the deeds that

The Life of Rodin

Rodin was invited to commemorate. He executed re-
duced models of the statues, sent them out to Chile
through a Sefior Morla Vicufta, and there the matter
rested. In a subsequent claim addressed to the proper
authorities in Chile, he related how he had been induced
to commence the Vicuna rough model, owing to Sefior
Morla Vicufia's offer and the statement that subscriptions
to the amount of 80,000 to 100,000 francs had already
been raised. " The model having been begun," continued
the sculptor, " he asked me for a second monument which
was to be erected in memory of Admiral Lynch. For
this there was as yet no subscription. I made the two
small-size models somewhat under his direction, and it
was Sefior Morla who forwarded them to Chile. At that
time, to help me in the casting expenses, he gave me a
thousand francs. I desire, therefore, to have either my
models returned, or an indemnity, supposing that my
models have not been copied or executed. If they have,
the indemnity should be more considerable."

Several letters of Sefior Morla Vicuna bear out the
foregoing account of the matter. In one may be read :
" I propose to call on you to-morrow or the day after
to-morrow. . . . The group of Admiral Lynch is very
successful, and I am proud and pleased to be the sole
possessor of it. [Probably this was a small copy which
he was to keep for himself] ... I will send you a
packer for the Vicuna Mackenna monument, which it
is high time should be despatched."

From a photograph that remains of the first monument
and a small bronze copy of the second, both preserved
at Meudon, it is seen that each was appropriate to the
men and the respective roles they played. Admiral
Lynch, as having also possessed General's rank and
functions, is represented on horseback, reining in his
charger with the left hand, and pointing forward with
his right that grasps a short staff. The bearing is one

PORTRAIT OF RODIN
By J, P. Laurens (see page 66)

To face page 7 1

The Decade of the 'Eighties

of calm, easy confidence, and both horse and rider are
full of moving energy. The other, the statesman, stands
as he may have stood before the Chambers that listened
to his words. At the bottom of the monument are bas-
reliefs illustrative of the Parliament's sittings ; and on
the socle is the figure of a woman — an allegory of the
mother-country — reaching up with a gesture of gratitude
towards the principal personage. Although not so
thoroughly Rodinian as the later statues of the monu-
mental order, both of the preceding are fine and his-
torically noteworthy. One or two recent communications
would seem to indicate that the mystery surrounding their
non-execution under the master's direction may still be
cleared up, and that satisfaction may ultimately be given.
To all the statuary having an interest more especially
biographical, or belonging more especially to one category,
in other words, to the great monuments and the busts,
separate notices will have to be accorded, which will
account for omissions here. The busts furnished most
of what was shown of the sculptor's work at the Salon1
between 1883 and 1890. The labour required could
more easily be compressed into a few months. Upon
the statues, the toil and study bestowed often kept
them in hand for years, so that they were begun,
progressed, were put aside, were taken up again
alternately, hidden from the common gaze and
shown only to those who were intimate acquaintances.
Then, all at once, in the year 1889, not at the annual
Salon, but at the Georges Petit Gallery, there was an
exhibition which Rodin organised in company with his
friend the painter, Claude Monet. No less than thirty-
six pieces of sculpture were put on view, among them
a " Bellona " in marble, a head of St John Baptist,

1 For some years there was also an International Salon, which opened first
in 1881, but which never flourished greatly. Rodin sent specimens of his
work to one or two of these.

The Life of Rodin

"Galathea," "Walkyrie," "The Fall of a Soul into
Hades," "The Idyll," a number of female satyrs, of
sirens, of nymphs, " Perseus," " St George," " The Billow,"
"Temptation," "The Poet," " Ugolino," "The Danaid,"
"The Thinker," "Bastien Lepage," the "Bourgeois de
Calais." Most of them were in plaster; some were,
so to speak, first editions, destined to receive further
treatment, and to become individually famous. This
exhibition produced a profound sensation ; and, when
the quantity, the quality, and the shortness of time are
considered, the production will appear phenomenal.

Though by temperament not a society man, Rodin saw
more society during this decade than either before or
since. It was the springtime of his celebrity, and every-
body wished to entertain him. To those who were
merely curious it was easy to say no ; but to many
animated by sincere regard he gave both time and
company. One of the houses at which he was a
frequent visitor had as its hostess the present Madame
Waldeck Rousseau, at that time wife of Dr Henry
Liouville, a well-known member of the French Chamber
of Deputies. Madame Liouville's Saturday dinners
brought together quite a galaxy of notabilities ; it was
through them, though not at them, that Rodin met and
knew Gambetta. The hostess was possessed of con-
siderable talent in painting, and, as artists were constantly
her guests, a sort of habit was acquired of making
drawings on the reverse side of the dinner plates, which
were afterwards sent to be burnt in, and were guarded as
souvenirs. This habit, of course, necessitated a continual
renewing of the dinner service.

More than one club was able to boast of the sculptor's
being on its list of members. He calls to mind especially
le bon Cosaque, which most likely derived its name from
the fact that Gogol, one of the founders, had written a
novel in which Cossacks were largely concerned. Guy de

The Decade of the 'Eighties

Maupassant, Bourget, Mallarme, Becque, Richepin were
among the literary men that frequented it ; Roll, like
himself, represented the artists. Of Mallarme' the
master speaks with peculiar tenderness, regretting his
too early death — with equal tenderness, too, of his
incomprehensible poetry, which Mallarme would read to
him, and try to get him to appreciate, and which did
contain gems ^that shone brighter under the light of their
author's delightful personality.

It has been said in a previous chapter that Rodin knew
the Goncourts. Traces of this acquaintance are found
in Edmond de Gon court's Diary, that have a certain
biographical interest. In 1886, De Goncourt relates that
he went with Bracquemond to visit the sculptor's studio.
Apparently they had not met before, as he gives a
description of the master, and finds that he resembles
St Matthew, or some other disciple of the Founder of
Christianity. It was an October day, and he was struck
by the damp atmosphere of the room, and its odd appear-
ance with all the clay and other models — not to forget
two fantastic-looking, dried-up cats. Rodin was model-
ling one of the " Citizens,"1 and the visitor notes the fine
holes in the flesh, like those that Barye put in his
animals. Up was shown, also, a sketch of a nude woman,
which the sculptor called the Panther, and regretted
not being able to finish, as the living model, an Italian,
had married a Russian who had fallen in love with her.

A later entry, on December 29th, 1887, mentions a
dinner at Daudet's house. Here, the sculptor talked with
him of getting up at seven o'clock, going to work at
eight, remaining all day in his studio, except just a brief
interval for lunch, and added that with so much standing
on a ladder to work at his large-size pieces he was worn
out in the evening. He mentioned, too, his struggle with
the Hugo family about the poet's bust, the family wishing

1 Bourgeois de Calais. See Chapter X.
73

The Life of Rodin

the three-story forehead of literature, and he wishing —
the truth.

On the 26th of February 1888, he writes anent the
" Baiser " : " Rodin confesses to me that for the things he
executes to satisfy him completely when they are finished,
he needs them to be executed at first in their definitive
size, since the details he puts in after take from the
movement ; and it is only by considering these sketches
in their natural size and during long months that
he realises the movement they have lost, movement
which he restores by taking off the arms, etc., and putting
them on again only when he has got back the dynamic
energy and the lightsomeness of his figure."

In the last entry of the decade alluding to the sculptor,
made in the following year, he says : — " Mirbeau has
much frequented Rodin. He has him at his house for
a fortnight or a month. He tells me that this silent
man becomes, in the presence of nature, a talker,1 a talker
full of interest, a connoisseur of a heap of things which
he has learnt by himself, and which range from theogonies
to the processes of all the arts."

From the quarter where the sculptor lived it was not a
long distance to get out on to the south side of the suburbs
of Paris, and make an excursion to the plateau of
Chatillon heights, beyond Vanves, in the direction of
Fontenay-aux-Roses. Here he was fond of going, on
Sunday in the fine weather, accompanied by Madame
Rodin, and often by his cousin, Monsieur Thurat,2 whose
wife made a fourth. At some convenient restaurant
lunch was taken, a favourite menu being soup followed
with boiled meat and cabbage. Then came the stroll out
on to the hills, and a siesta on the grass, when Rodin
would lie back with his hands under his head and dis-

1 See Chapter XI. for illustrations of Rodin's conversational style.

2 Author of a Life of Gambetta and numerous articles of criticism, who
died recently.

The Decade of the 'Eighties

course in monologue, if dialogue failed, of anything that
passed through his mind, and much of Nature's unper-
ceived or neglected delights. One effect of his recum-
bent position was to lend to the perspective a somewhat
fantastic appearance, oriental he used to style it. As
thrift and hard work gradually brought him in the where-
withal to indulge his taste for wider wanderings, he was
able at length to rent a house for several summers in
succession at Azay-le-Rideau, in the Department of the
Indre-et-Loire ; thither he transported some of his
materials, and carried on his modelling in surroundings
that renewed his health and refreshed his ideas.

While living in the apartment of the Rue de Burgogne,
Madame Rodin had a serious illness, which for a time
rendered her recovery doubtful. It was a great trouble
to her husband, whose helpmeet, in the truest sense of
the word, she had been throughout his struggles. He
called in a Dr Huchard, and subsequently a Dr Vivier,
thanks to whose skill the patient was restored
to health. Rodin's gratitude not being able to ex-
press itself in money, since both medical attendants
refused fees, the former was induced to accept a repro-
duction of the "Man with the Broken Nose," and the
latter, who could claim most of the credit for the cure,
with copies of two of his greater works, the " Baiser "
and the "Eve." For Dr Vivier he has thenceforward
retained the sincerest regard, giving him a warm welcome
whenever chance brings him over from Fontainebleau to
Paris or Meudon.

A dip into the sculptor's preserved correspondence
reveals many things which he is too modest to mention
or even remember. Thus, for instance, in this period,
when his own position was far from being really brilliant,
he did his best to obtain Government commissions for
brother artists, whose letters of thanks bear witness to
the efforts made. Or again, as an epistle of acknow-

The Life of Rodin

ledgment shows, he sent one of his pieces of sculpture
to aid the funds of an orphanage. Some of the longer
communications are quaint effusions from people he had
known in his humbler days, replies to what he himself
had written, and proving that fame had not puffed him up.

Not long after Madame Rodin's illness, there was a
second visit to Italy paid in a way rather different from
the first. " I am rather tired and want a little change
and rest," he said one day to his wife. " I shall go away
for a few days." Asked where he thought of staying —
" Oh, I am not sure," he answered, " but probably near
Paris." A week passed and no news came. Madame
Rodin began to get anxious, in spite of her familiarity
with her husband's habits, and, in fact, the more as she
knew to what his absent-mindedness exposed him. At
last, a letter arrived from Italy. He had changed his
mind ; and, after starting from home, had taken it into
his head to go and renew the memories of a dozen years
before. There were still things he wished to understand
better in the old masters.

The only monumental statue begun and finished and
inaugurated in the 'eighties was that of Bastien Lepage ;
and, as it was the " In Memoriam " of a dead friend, it
may be dwelt upon in this chapter. Bastien Lepage was
one of the band of artists who became intimate with the
sculptor of the " Age d'Airain " in the beginning of the
decade ; the acquaintance ripened while he painted his
portrait. How close the friendship grew to be between
the two men appears from a letter to Rodin addressed
by the brother of the painter when the latter was ill.
The invalid had gone to Algeria to see if its milder
climate would do him any good. " He wants you to
write," said the brother ; " you know how he loves you."
Much in the characters explained this friendship. As
artists they were both guided by the same absolute
sincerity in their interpretation of nature ; both were

BASTIEN LEPAGE

To face page 77

The Decade of the 'Eighties

sprung from parents of modest position, and had had
the perseverance needful to make their own name in
the world ; both owed everything to their native talent
and to their enormous industry. The chief difference
between them was the precocity of the painter, who, born
in 1848, attained renown almost before manhood. How-
ever, among painters such precocity is more common.
Rosa Bonheur produced her " Labourage Nivernais "
when she was only twenty-three. It was his portrait
of his grandfather which made Bastien Lepage really
known, although an earlier picture, "The song of
Spring," was remarked and bought by the State. Like
others of Rodin's friends, he was appreciated in England,
which he visited. While there, he painted the Prince of
Wales's portrait ; and, on returning to Paris, he brought
with him studies for his " Flower Girl " and " Handy
Man." His pictures of country scenes are remarkable
for the fidelity of their design and colour, and possess
the same ideality observable in Rodin's sculpture. After
his death, his most celebrated landscape, " The Hay,"
was purchased also by the State for the Luxembourg
Gallery.

The Committee which was formed in 1885, within a
year of the death, for the erection of the painter's
statue at Damvilliers, his birthplace, contained four
members who were fervent admirers of Rodin, viz. :
Antonin Proust, the chairman ; Roger Marx ; the
novelist, Andre* Theuriet ; and a journalist, Monsieur
Bazire. But there were other members who were less
favourably disposed to him ; and, when the rough model
was submitted for the Committee's inspection, a sharp
discussion arose on the question as to whether the sculptor
had not produced too naturalistic a figure. The details
of the dress were criticised by the one side and defended
by the other. Monsieur Marx, who went to the meeting
with an anxious mind, had at last the satisfaction to see

The Life of Rodin

his views carry the day, and Rodin was authorised to
proceed with the work. This was in June 1886. Three
years later, in September 1889, the monument was un-
veiled. It will be seen further on that the execution
was more rapid in this than in most of the monu-
mental statues, partly because there was less labour,
but partly also because of all the circumstances being
more propitious, and of the sculptor's previous personal
knowledge of the man. What he set himself to do was
to fix the souvenir of an artist whose canvases are all
faithful evocations of rustic scenes and whose art devoted
itself to showing the poetic side of life in the open air.
As he himself said during the execution : " I have repre-
sented Bastien Lepage starting in the morning through
the dewy grass in search of landscapes. With his trained
eye he espies around him the effects of light or the
groups of peasants." Rodin's " Bastien Lepage " stands
bareheaded, with legs wide apart, and in the act of
stepping backwards as if to gauge the effect he has
just produced in the picture on which he is engaged.
He wears an overcoat and cape (the cape was an eye-
sore to some of the Committee), is gaitered and roughly
shod, which indicates, as also the inequality of the
ground, that he is at work out of doors. The left hand
with the palette is close to the body, the right hand is
extended in a simple, instinctive movement, and the
naive pose proclaims that the artist is thrilled by the
redolent atmosphere of the fields. The face is most
puissantly modelled, the small yet eloquent features
being lighted up by keen, restless, but kind eyes that
sparkle with animation. All the illusion of life that
statuary can yield is in this figure.

The site was chosen for the monument just outside
the gates of the Commune, and almost in the meadows.
Only the statue was supplied by Rodin. The pedestal
and its decoration came from other hands. The in-

The Decade of the 'Eighties

auguration ceremony took place on the last day of the
month. Roger Marx accompanied the master, who was
rather nervous on this occasion — the first on which a
piece of his sculpture was set up in public outside a
museum. They occupied a room together in Dam-
villiers. There were other triumphs they were yet to
share. Before the end of this year, Rodin reached the
grand criterion of human existence, the seventh seven,
the age of forty-nine.

The "Danaid," in marble, which visitors to the
Luxembourg will remark as one of the suavest female
forms which the sculptor has begotten, was finished also
towards the end of the 'eighties. It is the nude figure
of a young and beautiful woman lying sideways on some
rocky ground, and in a paroxysm of woe. It is the classic
myth which is embodied, and humanly. The face is
half-buried ; the dishevelled hair trails round it and over
the broken water-jar; the fair limbs are weary of their
eternal toil in Hades. There is exquisite research of
rhythm in the contours of this masterpiece. Its subdued
pathos softly touches more than one chord of the
heart.

The close of the decade was marked by an event that
agitated the artistic world and that turned to the
advantage of the sculptor, as procuring him greater and
better facilities for showing his sculpture to his own
countrymen. This event was the secession of a number
of prominent artists — both painters and sculptors — from
the official " Society of French Artists," and the formation
of a rival Salon under the control of a new Society calling
itself the " National Society of Fine Arts." Rodin was
one of the seceders. The split happened in this way. A
special International Committee of Fine Arts had been
formed for the year 1889, with a view to awarding
medals and certificates to artists whose productions were
approved at the Great Universal Exhibition. Owing to

The Life of Rodin

its special — and international — composition, the Com-
mittee made its awards on lines somewhat different from
those usually followed by the Society of French Artists,
not only as regarded foreign exhibitors, but French ones
as well ; consequently, some of the old favourites found
themselves out in the cold, while men whose claims to
recognition had been hitherto passed over, were given
second and first-class medals. Rodin was on the Inter-
national Committee ; so was Meissonnier, and Dalou,
and Carolus Duran ; and they made good use of their
opportunities. But when the ordinary Salon Committee
met and was asked to confirm the awards of the Inter-
national one, the official favourites and their supporters
answered that the French Society of Artists was not
bound by the decisions come to by anybody outside of
its pale, and they secured a majority for a declassification
of the Exhibition awards, as far as they applied to French
artists. Meissonnier and his friends strongly opposed
the voting of this scheme, asserting that the decisions of
an International Committee were ipso facto of greater
authority, and that it would be an insult to change them.
When the Independent section saw they were in a
minority, they quitted the meeting forthwith, betook
themselves to the Ledoyen Restaurant in the Champs
Elyse"es, not far from the old Palais de PIndustrie where
they had been sitting, and there they discussed plans for
founding a freer association than the one they had turned
their backs upon. The result was that, in 1890, a second
Salon opened its doors in the Galerie des Beaux Arts
(a building remaining from the Exhibition), which was
situated in the Champ de Mars. The new Society was
composed of Fellows and Associates, each Associate
having the right to send in one picture without sub-
mitting it to the Committee of Inspection. Fellows were
empowered to send in six works of art of any kind,
without their passing inspection. On the other hand,

To face page 8o>

The Decade of the 'Eighties

medals and awards of all kinds were suppressed.
Meissonnier was the first President of the Society, and
the Vice-Presidents were the Presidents of the various
Sections. Rodin succeeded Dalou in 1893 as President
of the Section of Sculpture, so that he has since been
de officio Vice-President of the Society.

CHAPTER VI

THE BUSTS

RODIN'S series of busts extends almost without a break
throughout his career. In this branch of his art he
reached greatness from the very first with his " Man with
the Broken Nose " (" Homme au Nez cass6 "), and the
greatness has been, on the whole, uniformly maintained.
If the busts executed in the period between his return to
Paris and the year 1 890 seem to rank higher than others
of a later date, the prominence is caused by their number
and the celebrity of some of the men portrayed, not by
an inequality of workmanship. In all there is a realisation
of individuality carried to the utmost, and, in all, the
sculptor succeeds in exhibiting the degree and kind of
soul that animates the features. What evidently con-
tributes to make his " counterfeit presentment " so life-like
is the absence of flattery. Everything that exists in the
face of flesh is found again in the marble or bronze, not
only copied but interpreted, and the sculptural effect
exactly replies to the personal one. There is, of course,
the artist's secret, which no analysis can altogether
explain ; the sources of a man's power are not clearly
understood by himself, much less by his fellows. Why
Rodin should put into a portrait such fulness of soul, and
certain of his brother sculptors such dearth, depends upon
something besides a trick of the fingers or even his
observation; but, failing further penetration, it is the
latter we must be content to remark.

In one example, at least, that of Victor Hugo, a record
has been preserved by third persons of the infinite pains

The Busts

taken by the sculptor to fill himself with his subject. It
was in 1883, and Victor Hugo, old and verging on the
grave, cared little to be a study for painter or sculptor.
Introduced to him by a mutual friend, a journalist,
Monsieur Bazire, a correspondence preceded the famous
interviews. One of the letters written by Rodin was the
following : —

" DEAR AND ILLUSTRIOUS MASTER, — " I apologise for
my insisting, but the ambition to be the one who shall have
made the Victor Hugo bust of my generation is so natural
that you will not reproach me. Moreover, my desire, as I
have already told you, is to be ready for Mademoiselle
Jeanne's birthday. By beginning now, I shall manage it.
Allow me, therefore, to count on a moment you will grant
me from time to time. I shall not abuse your kindness or
cause you any fatigue, and the bust will get finished
without your perceiving it I remain, dear and illustrious
master, respectfully yours."

There was a good deal of vacillation on the old poet
and novelist's side, and a good deal of manoeuvring on the
side of the sculptor's friends in and out of the family,
before the definite consent was given. At last, the matter
was arranged. Rodin's cousin, Monsieur Thurat, told the
author that he was present at the meeting when Victor Hugo
announced the fact. The sculptor and he were received
in the library of the house close to the present Place
Victor Hugo. The host stood by his bookcase and for
some time said nothing, being lost in some inner dream.
When he spoke, it was to propose that Rodin should come
and lunch every day if he wished, and make what sketches
he needed during the meal. As practically open table
was kept, a guest or two more might sit down without
being especially noticed. So this was the course adopted.

The Life of Rodin

No regular sittings were granted to the sculptor ; but he
came and lunched for two or three months, not every day,
but sometimes several days running, and obtained a series
of sketches showing a large diversity in the pose and
expression. An inconvenience was that Rodin could
spare very little attention for the meal, being absorbed
with his pencil and paper, and hurrying home as soon as
he could escape to transfer his drawing to the block.
The account given by the sculptor of the introduction and
its consequences differs some little from that of his cousin,
whom he does not remember to have accompanied him.
The unwillingness of Victor Hugo to pose was partly due
to his having already given about thirty sittings to a
sculptor who had produced no good result, so that the old
man was tired of the operation. The studies made by
Rodin — it is the master who himself adds this infor-
mation— were carried on not only at table, but at other
visits, until at length an intimation was given that they
had lasted long enough. The bust which was the prin-
cipal outcome of the foregoing experiments did not
satisfy the aged poet — or his household. It was not con-
sidered flattering enough. This is not an uncommon
charge made against the master, as he confesses, and that
is perhaps why more than one of his fair sitters has given
him to understand in advance that she would like to look
as advantageous as possible. " I will make you look as
you are," answered the sculptor kindly, and no doubt with
the same benevolent smile that accompanies the story,
which he tells against himself. The net results of these
sittings were several busts of large and small size. One
of the finest of them in marble was acquired by the town
of Paris and placed in the Galliera Museum. More
recently it has been removed to the " Petit Palais " in the
Champs Elysees. The drawings which had served for
their execution, after being scattered here and there, were
collected again by Monsieur Georges Hugo. It was from

BUST OF MADAME MORLA VICUNA

To face page 85

The Busts

them that the dry-point engravings of the poet's head
were made, one of which is noticed elsewhere.

In the Luxembourg, there are four specimens of bust
portraiture by Rodin, two being those of women. The
latter may be fairly considered types of distinct treat-
ment. One of them is realistic, the original being a
Madame Vicuna ; the other, idealistic, and represents a
former pupil of the sculptor, Mademoiselle Camille
Claudel, a woman of great talent. Than the first it would
be impossible to imagine anything nearer to the living
charm of feminine beauty. There is warmth as well
as life, and an atmosphere of enchantment round it,
as though the atoms of the marble had grown by self-
readjustment into the grace of throbbing flesh. And yet
nothing is exaggerated, nothing is abnormal. The per-
fection consists in a number of details, any one of which
alone might pass with but slight remark. The head is a
trifle raised, thrown back, and inclined towards the left,
expectant, and inviting caress. In accordance with the
tender musing of the eyes, somewhat veiled, are the half
smile of the full lips and the open nostrils. An evening
dress allows the neck to be seen down to the bosom,
where the rough block cuts off the chiselled form with a
bunch of flowers clinging to the lower edges. The un-
dulations of throat and breast are lissome, and the lines
made by the shoulders, with the head and chin — lines
embellished by the fringing dress — are such as it seems
to be the sculptor's privilege to perceive and put into his
statuary.

How many similar reproductions of women, each with
peculiar psychic qualities looking through the eyes and
revealed all over the physiognomy, can hardly be ascer-
tained. Most women that he has thus transferred to
marble or bronze prefer to keep their treasure apart
from the common gaze. If the whole number could be
assembled and compared, the workmanship of each might

The Life of Rodin

help to explain the others. Monsieur Le'on Maillard
mentions a small woman's bust that used to be in the
studio of the Rue de 1'Universite ; it was not concealed,
but neither was it too much in evidence. Everybody
that visited the studio paused to examine it, as if they
had been drawn to it by a sort of magnetism. In addition
to its having merits common to the master's other busts,
there was a pose of the head bearing not on the shoulder,
but outside of its support and beyond the body ; this
movement is frequent in women, but no sculptor before
seemed to have noticed its claim to sculptural representa-
tion. Rodin was quick to see the seductiveness of this
attitude, in which the familiar and unfamiliar were both
present. The harmoniousness of the effect interested and
pleased the spectator at once. It had not been obtained
without effort. Those who were curious enough to ask
questions learned that six or seven models had been
made, every one with a different inflexion of the head.
They were able even to see the preceding configurations,
each distinct and charming, but not so perfect as the
last.

The bust of Mdlle. Claudel is well named " La Pensee." l
There is a deliberate suppression of the sensuous element,
even to the hair. The face appears between the mob cap
that hides the ears with its crimped curve, and the block
of marble that rises to the nape of the neck and the chin,
and has some fashion of resemblance to a body rough-
hewn. The beauty of the features is less physical. The
cheeks are thinner, the nose more masculine, the brow
and chin squarer, the mouth firmer, though still delicately
shaped. There is another attraction, however, the
spirituality spread over the countenance and shining in
the eyes — those unmistakably feminine. It is a spiritu-
ality of reflection and self-communion that has burned
and refined the material into something more purely

1 Thought.

BUST OF MDLLE. CLAUDEL — "LA FKNSEE," OR THOUGHT

To face page S&

The Busts

lovely. In these two busts of the Luxembourg, therefore,
Rodin has exhibited the outward and the inward aspects
of woman's influence over man ; he has done it potently,
with equivalents that bring out the mysterious as well as
the known side of them.

It is fitting to mention here the portraits he has
sculptured of his wife. A first one dates back to about
1874. Again, in 1879, she figured in a bust of Bellona
wearing a helmet, which her husband submitted, among
other candidates, for the selection of a head representing
the French Republic. He was not successful in the
competition. His Bellona was not an exact portrait, but
the resemblance to the original was quite recognisable.
Later, Madame Rodin sat once more for her likeness,
and a wonderful likeness it was. More than twenty years
have passed since it was modelled ; but it continues to be
a faithful presentment. Visitors to the Museum at
Meudon who know the sculptor's wife marvel that into
the clay was put not only what the subject was but what
the subject would be. " A little thin, this one cheek,"
says Rodin, forgetting that age, in well-preserved people,
will often round the profile of a cheek ; and this is about
the only difference between the bust of the 'eighties and
the original of to-day.

Among the feminine portraits, in plaster or marble,
that are always to be found in one or another of the
master's studios, not a few are those of American women.
Rodin manages to catch their national no less than their
individual characteristic traits. In our sisters from over
the water he has found out the minute yet essential
differences that distinguish them from those of the Euro-
pean continent, and has marked them with delight. The
bust of Mrs Simpson, which was exhibited at the Salon of
1904, is a fine illustration of this rendering.

Unique among the feminine portraits is the bust of a
woman with a hand raised in front of the face and half

The Life of Rodin

hiding it " I noticed this," the sculptor explains, " in a
lady who turned her head aside on hearing a remark, and
put up her hand to conceal a smile." The position of the
hand and its shape (for Rodin makes hands quite as
perfectly and characteristically as any other part of the
body), combine with the bent poise of the head to produce
a grace all the more striking as it is felt to be transient
and of the moment.

The earlier men's busts comprised those of Jean-Paul
Laurens, Carrier-Belleuse, Legros, Dalou, Henley, Henri
Becque, and Antonin Proust. One thing in common they
have, the interpretation of their inner construction by the
artist's penetrative power ; there is no caricature ; instead,
we have a representative expression secured by a sym-
pathetic reading of the face ; and in it there is an exact
indication of the intellectual and moral qualities. If in
the modern Rodinian plastic matter one tries to discover
points of contact with older statuary, it is Donatello's or
Verrochio's effigies that occur to the mind. There is a
similar solid building up, a like research of significant
detail, and the same spiritual intensity.

In the bust of Dalou, it is the combative energy of the
man that is prominent, coming out in the nervous carriage
of the head, in the stern mouth, the dilated nostrils, the
tension of the muscles. At this period, Rodin and Dalou
were still friends. It was an incident connected with
Victor Hugo's death, which first caused a coolness in their
relations. The sculptor says nothing of it himself, but
it is related by third persons that Paul Meurice had sent
for him to take a cast of the dead poet's face. Rodin
went, but met on the threshold Dalou, who had preceded
him in the work. The definite rupture belongs to a
later date and was partly due to Dalou's displacing a
bust of Rodin, by Mdlle. Claudel, at the Exhibition to
which it was sent. Of this latter circumstance, also, the
sculptor relates nothing. It is others who speak for

BUST OF DAI.OU

To face page

The Busts

him, and attribute to Dalou the responsibility for the
quarrel.

There is less emanative force in the head of Legros
and more of the reflective ponderation of the thinker,
with much of the seriousness. Apparently, Rodin
has chosen the cast of features most usual in repose.
Still, there is a glitter in the eyes, bespeaking large
latent energy.

The bust of Henley was to have been accompanied by
that of Stevenson, as appears from part of a letter Henley
wrote on the 2Oth of February 1884. " I hope to see you
this next May," he said, " as we agreed, for you to do my
bust. When I left you in Paris, I had an idea ; it was to
get you to do the bust of my friend Louis Stevenson. I
proposed it to his father and he was delighted ; so I
arranged that Stevenson should be in Paris with me and
that you should model the two portraits at the same time.
Unluckily, Stevenson has been dangerously ill, and I fear
we must put off doing his till another moment." As a
matter of fact, Stevenson never sat to Rodin, although he
kept up relations with him until his own departure for
the islands where he died. Henley's portrait was duly
finished in bronze and sent off to his home at Shepherd's
Bush. By allusions, playful or serious, in his after letters,
Henley bore witness to the never-failing delight he re-
ceived from the contemplation of it. " Since you made
me live in bronze," was his manner of speaking ; and all
lovers of Stevenson must regret that no opportunity was
found of doing him a similar service.

In 1885, came the head of Antonin Proust, Minister for
Fine Arts ; it was also in bronze, and was the sculptor's
only contribution to the Salon of that year. To some
extent, the original was aggrandised and ennobled, but
within the limits of the natural. The piercing, hawk-like
glance, the forehead and cheeks ploughed with the furrows
of painful thought, the thin, worn mask of flesh, serving

The Life of Rodin

hardly for the purpose of the indomitable will — this latter
demonstrated in its full power — all these are equally and
separately visible and evident ; but the impressions unite
without jar, so that it is the face as a whole which retains
the attention.

Two men, Franck, the great musician, and Castagnary,
the former Director of Fine Arts previously mentioned,
have their effigies by Rodin above their tombs. Both
busts were carved for exposal to the light and open air.
From the face of Ce"sar Franck, in the Montparnasse
Cemetery, radiates what might be called an ecstasy of
meditative melancholy, like that described by Milton in
his " II Penseroso." Such, in brief, was the man's life,
fertile in musical harmonies, produced without ostenta-
tion. The head of Castagnary required a more com-
plex rendering. There was the writer on art, the
journalist, the politician to be done justice to. These
contrasts are brought out with boldness, clearly mani-
fested in the facial lines, and composing a many-sided
personality.

From correspondence still extant, it appears that the
proposal for Rochefort's bust was made well within the
middle of the eighty to ninety decade, through the agency
of the same Monsieur Bazire who had been the inter-
mediary between Rodin and Victor Hugo. Monsieur
Bazire at the time was connected with the Intransigeant,
Rochefort's paper. A plaster model was exhibited at one
of the small galleries in 1886, but the marble was not
finished till 1892. For once, perhaps, Rodin read a soul
too well, and put into a physiognomy more than its owner
cared to have revealed. In one sense, the portrait is
flattering, seeing that it neglects none of the potentialities
of the original, but the bad are shown no less than the
good. In the vastly developed forehead and brows, in
the fierce but shifty eyes, in the hard, cruel mouth, in the
curious poise of the head leaning over at the apex and

9°

BUST OF ROCHEFORT

To face page 91

The Busts

drawn in at the chin, can be guessed the enormous but
destructive intellectual activity, noisy and unprofitable,
which has filled the career of this revolutionary pam-
phleteer and journalist who has always been " agin the
government," whatever it may have been. In the expres-
sion, too, there are traces of the souring of the springs of
feeling, which has come from so persistent and systematic
a disparagement of persons and things. Above all, the
enigma of the man's nature is there. During his life,
Rochefort has puzzled his friends as much as his enemies.
The note of interrogation is not the least merit in Rodin's
portrait of him. When the Belgian sculptor Vincotte
saw the plaster model of Rochefort's bust, he expressed
his astonishment that nowhere was it possible to detect
the finger-marks of the modeller. Some one explained to
him that it was because Rodin washed his clay : " He
must be extraordinarily sure of his work to dare to do
that," was the comment.

In the same year of 1892, the marble bust of Puvis
de Chavannes was exhibited at the Salon of the Champ
de Mars ; the plaster bust had appeared already in the
previous year. A bronze reproduction was bought by
the State two or three years later and placed in the
Luxembourg Museum. The original marble is now in
the Town Museum of Amiens. Among so many
portraits that are excellent, it is almost invidious to
select one and give it the palm ; but if it were necessary
to choose, that of the great painter of the childhood and
life of St Genevieve would be the one. What is re-
splendent in the face is the indefatigable struggle of the
worker, and the enjoyment of the mind's victory over
matter. There is great insistence on the details of facial
conformation. Each wrinkle, line, and depression are
rendered with all their meaning ; but across the whole
is shed an irradiation of moral strength and serenity that
transfigures it. To model such a head must have been

The Life of Rodin

an unalloyed pleasure. It is evident that the subject
fired the sculptor.

The other man's-bust at the Luxembourg, that of Jean-
Paul Laurens, also in bronze, was a tribute to friendship
quite as much as to the painter of such pictures as the
" Deliverance of the Besieged in Carcassone," at the
Luxembourg, and the " Death of St Genevieve," at the
Pantheon. Although in different camps, for Laurens
belongs to the Academy which has outlawed Rodin, the
two artists have always been on the best of terms, under-
standing each other's character, and each respecting what
the other has done. Writing in 1900 to Arsene Alex-
andre, the art critic, Laurens said : " You know my
admiration for the great sculptor. He is of the race of
those who walk alone, of those who are unceasingly
attacked, but whom nothing can hurt. His procession
of marble and bronze creations will always suffice to
defend him. He may rely on them." Laurens' head
was exhibited at the 1882 Salon, together with the terra-
cotta bust of Carrier-Belleuse. The portrait is singularly
Greek. Without a name, it might be taken for one of
the ancient sages, whose lineaments, marked with lofty
speculation and the seer's insight into phenomena, express
detachment from the world's vanities but sympathy with
the world's pain. Beneath the moustache and beard, and
in spite of their concealment, there is a line of mouth
that bespeaks gentle tolerance of human weakness and
folly. The English papers spoke in very high terms of
this performance. One critic wrote : " His bronze
portrait of the veteran painter is a masterpiece of art,
combining the most unflinching truth with an envelope
of style that gives it Homeric dignity." The praise has
all the flavour of modern eulogiums. The head of
Falguiere, who was Rodin's competitor on more than
one occasion, notably in the Balzac affair, is a much
later contribution to this category, being exhibited only

BUST OK J. P. I.AURENS

Tojace page 93

The Busts

at the 1899 Salon. Equal to its predecessors in the
faithful portrayal of individual idiosyncracy, there is less
revelation in it of spiritual activity, perhaps because of
the disease which, when the bust was being made, had
already begun to undermine Falguiere's health, and
which killed him not long after. Especially noticeable
in this portrait is the realism of each detail, that of the
nose being wonderfully elaborated.

With the bust of Octave Mirbeau, the sculptor
attempted something unusual in this kind. After
modelling it full face as a study, he ultimately placed
it side face, with very high relief, in a block of marble
curving round in front of the features, so that the eyes
look at what appears to be either a newspaper or a piece
of drapery. The effect is to soften the hardness of the
profile, which was what was probably aimed at. The
finished head did not go to the Salon until 1895, but
the first model was made six years earlier.

In speaking of the earlier busts, that of Henri Becque,
the dramatist, was mentioned. It was evidently one of
those that pleased Rodin most, since he made a l dry-point
engraving of the same subject. A small reproduction, a
few inches high, exists in the museum at Meudon. This
miniature, if a hackneyed expression may be used with its
full meaning, is a perfect gem. Not even the engraving
can convey the vivid animation of the physiognomy.

And the series continues. To-day Rodin is compelled
to execute busts whether he will or no ; and, as long as
the cunning right hand can hold and knead the clay,
people of public and private rank and of various lands
will continue to seek from him what immortality a bust
can confer. Formerly, he was glad to sell a copy of the
" Man with the Broken Nose " for two or three hundred
francs. To-day, those who come to him are glad to pay
many thousands.

1 See next chapter.
93

CHAPTER VII

THE DRAWINGS AND DRY-POINT ENGRAVINGS

RODIN'S drawings are an integral part of his sculpture,
and throw a side light on the stages of its evolution. The
handling of the clay, the transformations it undergoes
before assuming a sculptural form, all this is illustrated
by the drawings, which, however, have nothing of the
photograph about them ; they show what the sculptor
is going to do rather than what he has done.

In his busy existence, they have filled up intervals
which other men would devote to personal amusement.
To him they have doubtless been a recreation ; but,
whereas ordinary amusement is distinct and separate
from the labour it is designed to relieve, this recreation
is in constant and intimate relation with the labour of the
artist. Its intentional subordination to the main purpose
of life is demonstrated by the fact that Rodin, with gifts
that would have allowed him to attain eminence as a
painter or an engraver, has rarely made incursions into
these domains of art for their own sakes. While other
artists have sought to emulate Michael Angelo and
Leonardo da Vinci in their double talent, he has con-
sistently restricted himself to striving for supremacy in
the one.

There are many sculptors who do not draw, or who, at
any rate, know little enough about it to justify the disdain
that some painters profess for the performance of those
that do. Such sculptors cannot be thoroughly acquainted
with their own art. If they are not capable of shaping
curves in one plane, they will be unable to shape them in

Drawings and Engravings

two or more. All great sculptors have been skilful with
their pencil, and most of their drawings possess dis-
tinguishing merits apart from the utilitarian purpose they
serve. Here, too, therefore, Rodin is in agreement with
sound tradition. Carpeaux and Barye, his immediate
predecessors, with their sketches evoke a similar admira-
tion and wonder.

As the drawings of painter and sculptor are under-
taken with distinct aims, so the method and manner of
each will be different. What chiefly interests the latter
is the enveloping line, the general silhouette of a body in
the atmosphere. He has to draw as though moving
round what he is delineating; and his drawing should
bear turning on its own axis — should be, indeed, a
delineation of this revolving movement. All Rodin's
designs that are intended to help him in fashioning
the undulations of his modelling, have this fluidity
to-day, and have it in perfection. Looked at in their
latest phase, these simple pencilled outlines cannot be
well understood, unless the spectator has some know-
ledge of what has gone before. It is important biographi-
cally as well as critically to notice the manner of the
student and to trace its successive developments.

Nearly all the early specimens of Rodin's drawing have
perished. There is, however, one extant which carried off
a first prize at the drawing school, and bears an inscription
mentioning that it was done whilst the pupil was in the class
of Lecoq de Boisbaudran. It represents the back view of
a man, and, while indicating firmness and correctness of
execution, reveals no qualities that could be called extra-
ordinary. During twenty years, the only changes that
occurred in the productions of pencil or brush were those
naturally caused by the sculptor's training, for instance, a
steady tendency to accentuate surfaces. With but few
exceptions, the charcoal crayon was used for sketching,
no doubt because it permitted greater rapidity.

The Life of Rodin

The second manner was something totally different from
the first. In it, all semblance of painting or drawing as
practised by experts has vanished. The amateur who comes
across examples of it, having had no previous acquaintance
with anything of the kind, feels a bewilderment compar-
able to that aroused by the perusal of certain of Blake's
poems. Only after gazing at them from various points of
view, almost as one would walk round a statue, is the
object of the designer made clear, and, at the same time,
the intrinsic merit of the design. Fortunately for the
appreciation of this part of Rodin's work, a valuable
album containing one hundred and twenty-nine plates,
with an aggregate of one hundred and forty-two draw-
ings reproduced from the originals by helio-engraving,
was published in 1897 by Messrs Goupil, on the initiative
of a Parisian art amateur, Monsieur Fenaille, who con-
ceived the happy idea of doing for these studies of Rodin
what Messrs de Chennevieres and De Goncourt had done
for the cahiers 1 of Watteau.

Summarily described, the drawings of the second
manner are instantaneous visions of the model, which
the artist almost as instantaneously fixes on the paper,
without losing sight of what he is copying. His aim is to
obtain a true image of a movement in its continuous
aspects, and to note the image by a contour of the body
set down with a circling flash of the crayon. Next, he
gives the plastic conformation by a series of rapid daubs
with the brush in divers shades. Both design and colour
are peculiarly those of the sculptor, the distribution of
light and shadow locating surfaces that correspond in the
statue. In many drawings the illumination is quite weird,
and the colours are chosen in accordance with the subject.
As the majority were studies for the " Porte de 1'Enfer,"
they mostly express sentiments of the tragic sort. " Ugo-
lino," the devourer of his children, " Mahomet " with hang-

1 Copy-books or note-books.
96

DRY-POINT ENGRAVING — SPRING
(see page 99)

To face page 97

Drawings and Engravings

ing entrails, and others are represented in violent contrasts
of sombre red and purple almost black that render the
vision with lurid intensity.

Examined in detail, these drawings testify to the
minute and painful researches the sculptor must have
imposed on himself. One realises that, in the course of
his modelling, he made a number of graphic representa-
tions of his subject with the materials chance placed at
his disposal — ink, pencil, a hastily mixed colour, crushed
whiting, black that he had ground with his thumb — the
whole operation being dashed off in a moment, on the
first piece of paper to hand, and that it was thus he
checked and verified his plastic results. Among the
hundreds of fly-leaves so utilised there were picked out
afterwards those that pleased him most ; and, in his
leisure, he embellished them more carefully.

One which has become famous on account of its lumi-
nous vibration is known under the name of the " Homme
au Taureau." l A cursory glance gives only the impres-
sion of a giant form, half man, half monster, extended
across a black firmament in the upper portion of which
glimmers faintly a thin crescent moon. The huge body,
whose head and trunk are almost buried in the environing
darkness, receives from the moon a beam that irradiates
its right side, the brilliancy being greatest on the shoulder
where the rays first impinge, and growing gradually less
down the thigh and leg. One's eye is so fascinated by
this phenomenal figure, which reclines between the horns
of another crescent intersecting the entire oval of the
picture, that it takes some time to perceive the bull to
which the horns belong. Bathing in an obscurity slightly
less than the background, the creature's head and neck,
which are all that come into focus, yet glint with a
thousand vague reflections from the right horn and from
the illuminated portion of its rider. One eye, which

1 " Man with the Bull."
c 97

The Life of Rodin

manifestly has no lustre of its own, is touched by the
borrowed light ; the other seems a black ball on the grey
of the socket. Fantastic as the subject is in the highest
degree, there is not a single mark of the pencil or a touch
of the brush that does not show the artist's exact observa-
tion of the effects of light and shadow. The symbolism
might have been different, but the illustration would have
been the same. The " Homme au Taureau " is an object-
lesson, teaching that the sculptor should select for his
statuary those surfaces and curves which, under the action
of light, yield the clearest outlines. Further examples
hardly less striking and instructive may be picked out
almost at random. To select two only, "The Two
Centaurs " and " Prometheus with the Oceanides," each
illustrate the same science of the line, the same mas-
tery of it, in representing muscular solidity and flexi-
bility.

The sudden appearance of this style of drawing and
design is largely to be accounted for by the dry-point
engraving which Rodin first attempted while staying with
his friend Legros, in London, in 1881. The latter, being
part of the day absent from home and obliged to attend
to his classes, advised his guest to occupy the time, which
hung the more heavily on the latter's hands as he did not
speak English, with something that would be fresh to him.
Dry-point engraving differs from etching by being done
with the graving tool on the surface of the copper and
not on wax laid over the copper. The artist, consequently,
uses no acid to eat out the exposed parts as in etching,
and has not to trouble himself about the length of time
which the etcher allows the acid to stay on one or another
portion of the plate in order to produce the diverse tone-
values. Still, in addition to his talent as a draughtsman,
he needs precision, delicacy, and boldness — boldness, so
as to furrow the metal with a sure and well-directed hand ;
delicacy, so that the curves may be ploughed out neither

Drawings and Engravings

too deep nor too shallow ; precision, so that the whole
may be clear as well as flexible. It is only with such
requisites that intense and luminous proofs are obtained
when the ink is applied. The process seems so simple
that one might imagine it to be within the reach of any
artist ; in reality, to succeed, there must be an equal
training and co-operation of several artistic faculties
rarely met with in one person.

Rodin quickly became proficient. Instead of a proper
graving tool, he used an ordinary darning-needle fixed
into a handle, finding that with it he could secure a
lighter and more effective stroke. On his return to Paris,
he continued to practise what he had learnt, both for the
pleasure of the thing and for the aid it afforded him. If
a subject was more than usually attractive, the engraving,
like the drawing, received a more detailed treatment.
The subject of his first experiment was a number of
Cupids spinning on its axis the terrestrial globe, which
was girt with a bandrol bearing the signs of the Zodiac.
No hesitation is visible in the incisions, everything is
clear and firm. A second plate contained scattered
silhouettes of nude figures, men, women, and children.
A third was a most delicately executed copy of his
Bellona bust, already more independent of Legros' style
and teaching. The next, " Le Printemps," l is quite free
from extraneous influence, and, together with its revela-
tion of sensibility and tenderness in the artist, shows his
progress towards effects of colour and light. The
progress is further accentuated in the " Ronde," where
a landscape is the frame of a dance performed by half-
a-dozen nude figures, surrounded by spectators sitting
or standing. Here the engraving begins to indicate an
application to the sculptor's needs. Until 1901, these
five plates were unknown to the public. It was owing
to the entreaties of a friend, Monsieur Waltner, that

1 Spring.
99

The Life of Rodin

Rodin was persuaded to exhibit them at the Salon of
the " Societ6 Nationale des Beaux Arts."

Great as is the interest and merit of these early dry-
point engravings, they are necessarily thrown into the
background by the portraits done between 1884 and
1886, and exhibited at the minor Salons of the " Peintres-
graveurs " in 1889 and 1891. The importance of the
latter in the sum total of Rodin's work can hardly be
over-estimated. Some of the more highly finished plates
are quite equal to etchings ; for example, those of " Victor
Hugo," " Henry Becque," and " Antonin Proust." The
"Victor Hugo" is the best one to study if one wishes to
realise what the juxtaposition of line upon line can do with
no more resources than variation in the curve and pressure.
A wonderful old man's head stands out on the back-
ground with ruffled hair and high, polished forehead,
barred with two or three wrinkles in the lower part.
Heavy brows contract over eyes that look out with
a gaze of power and pensive melancholy. There is a
slight flabbiness of cheeks, the sign of age, which the
white beard and moustache confirm. The mouth, how-
ever, has lost none of the firmness of manhood in its
prime. There are nearly a dozen gradations of thickness
in the lines of the nose, some to bring out the relief,
others to indicate its tendency to the aquiline, and there
are nearly a dozen more to express the deep orbits and
the eye-balls that gleam within them. To say the aspect
is sculptural is an extra praise, since there is a life-
likeness produced by modelling in two-dimensioned space
instead of three. A similar sculptural effect exists in the
" Antonin Proust," which is a profile. When printed in
warm sepia, it looks like a bronze medallion. The " Henry
Becque " is less finished in detail, but is especially inter-
esting as exhibiting in the same engraving the front and
two side views of the face. Each view naturally offers
a variation of appearance caused by the different angle

100

RAPID DRAWING FROM LIFE

To face page 101

Drawings and Engravings

of vision ; yet the identity of feature is exactly preserved.
The three touch, and it is as if the spectator were walking
round the head, observing the changes. Referring to the
preceding examples of Rodin's dry-point engraving, Roger
Marx says : " They are unprecedented and unrivalled as
regards living accent and their astonishing truth of
relief; they are portraits in which the stroke seems to
search out the chisellings of a bust and to play in glitter-
ing reflections over the smooth surface of the marble."

In the third and latest manner of Rodin, the subordi-
nation of the drawing to the sculptor's art is unreserved
and complete. The outline has become everything. He
pursues the perpetual change of curve, and endeavours to
seize it as it arises under the afflux of blood and muscular
activity. The innumerable minute modifications in the
contour of the body, incessant and always new, he has
registered, if not all — a life-time would not suffice for this
— yet more than any previous sculptor. It is a work that
he returns to periodically, as the desire and need make
themselves felt ; and then portfolios are rapidly filled with
these sketches taken from the living model studied as an
outline. Occasionally, while his eye has been fixed on the
object and his hand has been gliding over the paper,
unwatched and, for the purpose aimed at, wanting no
surveillance, so skilled is it in its obedience, the edge
of the paper is reached and part of a limb is cut off.
Deformations of certain parts must happen to some
extent, but the essentials are invariably obtained. When
more than the enveloping line is attempted, there are
often what might be called whipped strokes that
indicate a surface. Their production is practically
instantaneous, and one of the strokes, sometimes two
or three, will be seen to be superfluous ; still, the proper
ones which accompany these are never injured or lost ;
both for position and clearness they are just where
and what they should be. The outline sketches are

101

The Life of Rodin

generally coloured with a uniform wash of burnt sienna
— more rarely another tint, yellow or blue, is employed
— which gives unity to the contours, and renders the
intention of each drawing more visible. It would be
impossible to describe in detail the poses and attitudes,
lasting only a few seconds, that these figures represent
— equipoises of the body standing or lying, prone or
prostrate, stooping or bending back. As the models
are mostly women, much of this would be obscene, if
the idea were obscene. On the contrary, the abstract
design is so evident that no mistake can be made. Mr
Arthur Symons, in the Fortnightly Review of June 1902,
gives one of the best impressions that can be conveyed
of Rodin's work in this kind. He says : " Not even the
Japanese have simplified drawing to this illuminating
scrawl of four lines, enclosing the whole mystery of the
flesh. Each drawing indicates, as if in the rough block
of stone, a single violent movement. Here a woman
faces you, her legs thrown above her head ; here she
faces you with her legs thrust out before her, the soles
of the feet seen close and gigantic. She squats like a
toad, she stretches herself like a cat, she stands rigid,
she lies abandoned. Every movement of her body is
seen at an expressive moment. She turns upon herself
in a hundred attitudes, turning always upon the central
pivot of the sex, which emphasises itself with a fantastic
and frightful monotony. The face is but just indicated,
a face of wood, like a savage idol ; and the body has
rarely any of that elegance, seductiveness, and shivering
delicacy of life which we find in the marble. It is a machine
in movement, a monstrous, devastating machine, working
mechanically, and possessed by the one rage of the
animal. It is hideous, overpowering, and it has the
beauty of all supreme energy."

In the last three sentences, perhaps, there is too strong
an intrusion of the critic's personal taste; but he is quite

102

Drawings and Engravings

exact as to the character of the drawings. What the
sculptor looks at in the feminine nude that he deals with
is not its erotic side ; he seeks a fresh movement, which
he may add to the infinite beauty of form. Art indis-
putably gains much by the delineation of so many natural
postures which no one has hitherto dared, or been able to
record with the same fidelity and yet the same absence
of sensual suggestion. Had the artist imposed on his
living models a reserve contrary to his habit or practised
eliminations that certain tastes might prefer, the gain
would, in all probability, have been less. It is by
remarking every location of the body in space, and by
disdaining none, that he has known how to be constantly
original. On account of their reduction to the line, and
of their celerity of execution, the drawings of the third
manner have been compared to the shorthand notes of
a writer. The comparison is not a very exact one, since,
besides being symbols, they have their own aesthetic
qualities. It would be more correct to call t^em sculp-
tural analyses made by a man profoundly versed in the
harmonic structure of the body, which he resolves into
its elements, so as the better to recognise the value of
each of them in a composition, and give it its due place
and significance. In such delineations as the sculptor
has gone over again more carefully, in order to bring out
the minute sinuosities of the curves, he seems to have
drawn by the aid of an eye of multiplied facets, perceiving
even the finest of them, which under a usual focus are
hidden and lost. The grace of these is that of the fairest
flower.

The few experiments with his pencil made by Rodin in
recent years, apart from his statuary, have been concessions
to friendship. He has illustrated the " Enguerrande," a
poem of Emile Bergerat ; supplied a prelude to the
" Jardin des Supplices " x of Octave Mirbeau ; and orna-

1 " Garden of Torture."
103

The Life of Rodin

mented a copy of the " Fleurs du Mai " l of Baudelaire,
which last is in the possession of Monsieur Paul Gallimard,
and may be considered as a thing unique in its kind. In
the designs, the whole gamut of tones is touched, from
the vaguest image to the sharpest and most intense
limning ; and, in the subjects, the emotion is just as
varied, the main theme being that of love and death, with
their drawn-out agony of desires, sighs, sobs, and spasms.
Baudelaire is an author that Rodin has much read ; and,
in spite of his robust temperament and artistic optimism,
he has always been attracted by the poet's melancholy.
His own painful experience may be partly responsible for
it ; but the penumbral presence of a similar melancholy in
his own work from the very beginning shows that there is
some affinity of nature between the two men.

In fine, whether the contributions to friendship are
regarded, or the more technical pictorial designs, they
both afford glimpses into the artist's tastes, sentiments,
and character. His passionate admiration of feminine
loveliness, his abiding consciousness of life's mystery, his
tenacity of purpose, are there for every one to see. There
is much besides, which becomes manifest when one is
familiar with his thought. The thought is a catalogue
with comment of the pictures, and they in return make
the thought more luminous and comprehensible. It is
thus especially that they have an assigned place in the
biography.

1 "Flowers of Evil."

104

RAPID DRAWING FROM LIFE

To face page 104.

CHAPTER VIII

THE MAGNUM OPUS

" I HOPE that the large Door about which we talked for a
moment is getting on all right and as you wish," Henley
said in a letter dated the 23rd of November 1881. The
door referred to was the immense " Porte de PEnfer " (Hell
Gate), with its two leaves, which Rodin was commissioned
in 1880 to execute in bronze. When Monsieur Turquet
gave the order, he told the sculptor that he wished to have
an ornamental door for the proposed " Palace of Decora-
tive Arts," and he asked him his opinion as to the kind of
ornamentation to be employed. " Could you make me a
suggestion?" said the Minister. "Well," replied Rodin
with a sly smile and a touch of irony, " I can tell you that
I will cover the door with a lot of little figures, and then
no one will be able to accuse me of moulding from the
living body."

The idea of fashioning his Door to represent the Gate
of Hell was largely due to his visit to Italy in 1875. The
fifteenth-century Papacy of Leo X., the struggles of
Ghibelline and Guelf, the history of the Medici family,
and much more of the turbulent Italian life in the
thirteenth and fourteenth centuries, had deeply impressed
his mind while he was on the spots where the events had
occurred ; and, when he came after to read Dante, there
arose within him the desire to select from the scenes
called up by the genius of the Florentine poet some
group or groups for plastic treatment. Monsieur Turquet's
proposal was a godsend. It enabled him at once to fix his
choice, so that under these auspices the work was begun.

The Life of Rodin

To-day, although twenty-six years have elapsed, the
" Porte de PEnfer " is still undelivered, and remains in the
studio of the Rue de 1'Universite — parts also in the
museum at Meudon — in a materially unfinished state.
A good deal has been said and written as to the causes
of this long delay. One explanation is that the " Palace
of Decorative Arts," for which it is intended, is not yet
built, the objects to fill the Palace meanwhile finding a
temporary home at the Louvre. As far as it goes, this
explanation is correct. No doubt, if the structure had
been completed, Rodin would have been obliged to
furnish his Door; especially as in 1886 Monsieur Turquet
paid him 35,000 francs1 towards the expenses of its
production. This sum, of course, represents only a small
part of the outlay made by the sculptor — both of time
and cash — upon this great work, but the acceptance of
earnest-money nevertheless bound him. As, however, the
Government has never pressed him, he has kept by him
his " Magnum Opus," indulging for once to his heart's
content the artist's natural disinclination to part with the
creature of his hands.

Another reason, abundantly exemplified in his other
masterpieces, is that while working swiftly he elaborates
slowly, because he is never entirely satisfied with what he
has done, and is incessantly tempted to modify it. This
is a conception of art common to Rodin and not a few of
the old painters, who used to put on their canvases
pingebat, the imperfect, "was painting," not pinxit, the
past definite, "painted," when recording that a certain
picture had been produced by them in such a year. They
could not allow that the true artist should ever think of
anything as finished beyond the possibility of improve-
ment. The "Porte de 1'Enfer" is an illustration of the
tendency carried to its extreme limit. In literature there

1 It appears from more exact information that only 25,000 have been, up
to the present, handed over to the sculptor.

106

The Magnum Opus

are analogous cases — for instance, Wordsworth with his
" Prelude to the Excursion," and Goethe with his " Faust."
" I wish Rodin would give us his ' Porte de 1'Enfer/ " says
Roger Marx. " It is a matter of great regret to me that
he does not. My opinion is that he has worked at it too
much, has put too much in it, has overloaded it, in fact,
with figures, and, if I may venture to say so, has here
gone beyond his architectural construction. The Door
has been virtually finished for some time. It is a pity he
does not acknowledge it." If this accusation were very
seriously meant, it would be a grave one, coming from a
critic of such competence ; but it is not, it is a little
friendly reproach, voicing rather what it fears others may
say than the fixed and fundamental opinion of Monsieur
Marx, whose eulogiums of the " Bourgeois de Calais " and
the " Claude Lorrain " testify to Rodin's constructive
power. It is true that a great deal has been put into the
Door, but a great deal has also been taken out. During
the whole of the period between 1880 and the present, the
sculptor has been making experiments of composition on
it. Probably, not once only but several times, the results
obtained might have justified another artist in saying that
further improvement there could not be, but with Rodin
perfectibility goes into the infinite.

This prolonged inceptive state of the Door and the
alternative addition and withdrawal of figures has, now
and again, suggested an independent treatment of some
subordinate part, which, after existing only in relation to
the mass, has been reproduced in modified form for its
own sake. Thus, for example, in 1904, at the Salon,
there was a gigantic bronze statue of a nude man sitting
bowed with his right arm resting on his left knee, the
hand supporting the chin, and his left arm hanging list-
lessly over the same knee. It was called the " Thinker." A
better name would have been the " Contemplator." In the
" Hell Gate," this figure appears in smaller and appropriate

107

The Life of Rodin

size on the upper cross-beam, looking down on the scenes
of human passion and woe extended below him. Of no
particular epoch or race, he typifies the endurance of man
in suffering throughout the ages, and gazes with bitter
reflection on the problem of life unsolved and seemingly
unsolvable. If, in the enlarged and isolated figure, the
idea loses some of its particular reference, it gains in
grandeur. On account of the vast proportions, the
muscularity of the man is intruded on the notice, causing
the profane to scoff and to query why a thinker needs
such brawn. " A fine brute ! " pronounce some of that
ilk, " but no thinker." From a juster point of view, the
splendid build of the body and its muscular strength are in-
tentionally contrasted with the mental passivity and gloom,
and yield a more striking " vanity of vanities, all is vanity,"
than could be obtained by any exhibition of decrepitude.1

The Door itself is six metres high, and consists of a
projecting framework surmounted by a pediment. The
two leaves, which stand back from the frame and within
it, as the canvas in a picture, are freely adorned with
compositions joined one to the other by an infernal
atmosphere of bubbling vapours. On the summit of the
pediment are three stalwart male figures clasping each
other in attitudes of mutual support, and of endeavour to
avoid the destiny which is dragging them to their doom
in spite of their straining co-operation. They give
significance and intensity to what is beneath, but the
synthesis is supplied by the "Thinker." He it is that
unites and dominates the scenes of melancholy and de-
spair shown on the uprights and the panels they enclose.

At one time the sculptor proposed to place an " Adam "
and " Eve " on either side of the Door and in front, and
the intention has never been altogether abandoned ; but
certain technical difficulties connected with the execution

1 This statue has been purchased by public subscription and presented to
the city of Paris. It now stands on the " Place du Pantheon."

108

To face page 109

The Magnum Opus

of the steps leading to the Door in the studio, on account
of its insufficient height of ceiling, have kept this project
in the background. The " Adam " is better known under its
other title of "The Creation of Man," and has already
been mentioned. The " Eve " was first exhibited at the
'1882 Salon, where it was not much remarked. Sub-
sequently, its admirable qualities were done justice to,
alike in the original bronze and in a marble reproduction,
the latter at present belonging to a Parisian amateur,
Monsieur Henri Vever. The sculptor has represented
the traditional first woman standing with the weight of
her body supported on the right leg, while the left foot,
resting on a stone, raises the left leg slightly in a pose
of shamefastness that accords with the stoop of the
shoulders, the bent-down head, and the arms crossed over
the palpitating bosom. All the figure is seen to be
stirred and thrilled with the presentiment of coming
motherhood. This was the first full-length and full-size
female statue that Rodin had put on public exhibition.
Many others were to follow, yet without depriving it of
its right to rank among the best. There was the same
mastery of feminine physiology as he had shown of the
masculine, the virile being transformed into soft melting
grace.

The two stories in Dante which seem to have retained
the firmest hold on his fancy are those of Paolo and
Francesca, and of Ugolino. The pathos of the first has
often inspired artists. Ingres in 1819, and Ary Scheffer
in 1839, painted pictures inspired by the unhappy
daughter of Guido da Polenta, who loved her handsome
brother-in-law rather than her ill-favoured husband,
Lanciotto da Rimini, and who perished by the latter's
hand, together with her lover. In his fifth canto of the
" Inferno," Dante relates how he met the guilty pair
wandering in hell, and, struck by their appearance,
questioned them. It was Francesca who replied, and,

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The Life of Rodin

after making known their names and misfortune, said :
" We were one day for pastime reading about Lancelot
and how love seized upon him ; we were alone and
without suspicion. Several times the reading made us
raise our eyes, and blanched our cheeks; but there was
one passage that was our ruin. When we read Jaow this
tender lover kissed a smile on the adored mouth, he who
shall never leave me tremblingly kissed me on the mouth.
The book and he who wrote it were responsible. That
day we read no more." Paolo and Francesca soon took
their place among the types of tormented humanity on
the " Hell Gate." Not content with one representation of
them, the sculptor fashioned the group again and again,
which led him to detach the subject and reconstitute it
apart. As early as 1886, it existed under its present title
in a small size. The larger reproduction which, as
previously said, was bought by the State, did not appear
at the Salon until 1898. Freed from its Dantesque
origin and surroundings, the group lost its halo of guilt,
and became simply two lovers embracing in the first
transport of reciprocated affection. Both figures are
nude, which gave the sculptor full scope for bringing into
play all the resources of his art. And for once it
happened that adversaries as well as friends had nothing
but praise. Indeed, it would be difficult to imagine
anything of suaver charm — the man seated in his calm
strength, with the woman in her voluptuous but chaste
abandon by his side. Clingingly she hangs to him, her
arms round his neck, while he timidly lays one hand
upon her thigh to draw her nearer. Leon Maillard
remarks that this hand quivers and throbs at the touch of
the living body, while the other hand that holds the
rocky seat is stiff and unresponsive. This, which would
be unnoticed by the crowd, is one of the subtler,
penetrative details of Rodin's workmanship which proves
his close observation of nature and life.

THE "PRINTEMPS," OR SPRING
(in the possession of H err von Lucius)

To face f>age 1 1 1

The Magnum Opus

A variant on the same theme was the group completed
in the same period and known as the " Eternel Printemps,"
sometimes also called " Cupid and Psyche," though this
latter name is more generally applied to another piece of
statuary. Larger and smaller reproductions have since
been made, so that to-day there exist several marble
specimens in different hands. In this group, the abandon
of the woman, who is kneeling, is further accentuated.
The man is still seated on a rock, but is posed in another
way. The rock rises in the shape of a chair, which
supports his left arm extended, whilst on his right
reclines the body of his beloved. Her arms are raised to
draw his head down to hers, as in the " Baiser," and, as in
the "Baiser," a kiss is exchanged between them. The
harmony of lines is identical in the two compositions.
To assign a preference to either on any ground but one
of sentiment might embarrass the severest critic. With
more pertinency it may be said that in the "Eternel
Printemps " the front view is so arranged as to offer an
effect of bas-relief, yet an effect altogether Rodinesque,
with a chiaroscuro of exceptional intensity. Except in
the motive, therefore, we are back nearer to the " Hell
Gate," where the original Paolo throws himself with a cry
on to his Francesca, and the two tormented figures
appear on the left leaf, below the group of Ugolino.

Ugolino himself is not far from the bottom of the leaf.
He is represented crawling on all fours, in the last stage
of weakness, with his son clinging to him, and his grand-
children lying near. Such a conception differs from the
picture drawn by Dante in his third canto, where the
fallen tyrant of Pisa is seen gnawing the head of his
enemy and tormentor in life, Roger of Ubaldini, who
shut him up in the tower to die. It differs also from
a previous rough model of the subject by Rodin, which
shows the tyrant sitting with his son on his knees, and
a grandson standing beside him. This arrangement is

The Life of Rodin

more like that of the Ugolino group of Carpeaux, known
to all lovers of statuary that visit Paris. In fact, there
were several early attempts at a sculptural treatment of
the subject, one of which dates from the visit to Italy
in 1875. When Rodin returned to Paris in 1877, he
brought with him a small-size model of Ugolino, which
may be considered as the virtual commencement of the
"Porte de 1'Enfer." The group in its various develop-
ments and enlargements continues, even to-day, to attract
him. In heroic size, the horror of the drama comes out
more strongly ; the emaciated frames of the tyrant and
his family are modelled so as to present the ravages of
slow starvation. In the principal victim, the open mouth,
the hollow cheeks, the haggard looks, the kneeling
position create a resemblance to some brute animal ;
which explains, no doubt, why Rodin has had some
idea of again modifying his " Ugolino," and making him
into a Nebuchadnezzar dwelling during his madness in
the fields. These Dantesque subjects are only two or
three of those that have grown out of, or been suggested
by, the original theme. Some, besides, equally famous —
the " Danai'd " and the " Orpheus and Eurydice," for
instance, are drawn from its admixture with mytho-
logical inspiration. With the " Despair " and the " Lost
Women," Baudelaire has more to do than Dante.

The general aspect of the Door is, of course, one of
terror and desolation. In the themes, the whole gamut
of emotion and passion is expressed plastically. From
the bottom to the top of the Door, there is a sort of
chronological progression. Down at the base, there are
bands of centaurs and satyrs pursuing women under the
impulse of sexual passion. Here, naturally, there is a
corresponding accentuation of physical form. On the
sides of the Door, the figures are in lower relief and more
ethereal, but with a fine perfection of detail that recalls
the decoration of the Sevres vases. They supply an

112

To face page 113

The Magnum Opus

atmosphere to the central figures in which the plan is
elaborated by the sculptor, whose skill, in forcing matter
to a sculptural rhythm of movement, veritably triumphs
in this vast field. There is a range which goes from the
most violent contortions of the whole body to the scarcely
perceptible quivering of the facial muscles. And yet
there is no grotesque distortion of the human, no carica-
ture ; what is visible chiefly through the twisting and
twining of all these supple forms, is the mental agita-
tion. In his composition, Rodin has illustrated Milton's
definition : —

" The mind is its own place, and in itself
Can make a heaven of hell, a hell of heaven."

His hell is not that of Dante, albeit Dante's pathos and
more is found in it ; still less is it like that of any one
of the Tuscan painters whose pictures he had seen at
Pisa and Florence, or like Michael Angelo's " Last
Judgment " in the Sixtine Chapel at Rome. Such demons
as he has imagined are within, not without, the forms
that writhe under the influence of love and hate, un-
satisfied and unsatisfiable.

The truth is that he has been carried far beyond even
his own original conception. As he confesses, in all his
imaginative productions, there is a development that
results from the contact of his mind with its undertaking ;
and the end he only knows from a certain point whence
he can see the convergence of all that has gone before.
This point has, at length, been reached with the " Hell
Gate." To-day, he realises exactly what of the vast out-
pouring of idea and the equally vast birth of forms must
be retained and fixed as integral parts of the whole ; and,
when this whole is constituted, it will be possible better
to understand the history of its evolution. Dante being
the starting-point, it was natural the material arrange-
ment should be in accordance with the traditional
H 113

The Life of Rodin

" Inferno," quite as much pagan as Christian, so that
the various sections of the Door may be labelled. In
the uppermost panel forming a frieze, below the archi-
trave on which sits the " Thinker " or " Contemplator,"
the souls arrive in Charon's bark, and are judged by the
stern Rhadamanthus or his successor. The long narrow
panel of the jamb on the spectator's left hand, as he
faces the door, is supposed to be the limbo of those who
died without the Church's pale, men, women, and children,
" unhousel'd, disappointed, unanel'd." The corresponding
vertical panel on the right is the abode of those who
perished victims to love, through divers causes that
shut them out of Paradise ; there are babes here also.
On the two leaves, the sculptor's fancy refused to be
bound by the legend ; and, imagination mingling with
fancy, an exuberant invention of subject covered the
surface with materialised passions of every kind and
intensity. Not even the projecting frames with beading
and quirk could limit the production or position of these
uneasy shades ; they climbed over the edges, they clung
to the cornice ; any movement, any place, if only they
might escape from sinking lower into the abyss. The
varying relief of these figures adds to the intensity of
the effect. It allows the sculptor to show simultaneously
all the resources of which his art can dispose. Through-
out the gradations, as in the contrasts, there is a science
of composition which seems the more wonderful, the
longer one studies its evidences.

In his " Vie Artistique," Gustave Geffroy thus tersely
sums up the general aspect : " The giddy swirl and fall
into space, and the trailing on the ground, of an entire
and wretched humanity, yet bent on living and suffering,
bruised and wounded in its flesh, saddened in its soul,
proclaiming its pains, bitterly laughing in its tears, and
intoning its breathless anxieties, its sickly enjoyments,
its ecstasies of grief! Through a chaos of stones, on

114

The Magnum Opus

fiery backgrounds, bodies entwine, part, and rejoin ;
hands clutch as if to tear, mouths aspire as if to bite,
women flee with swollen breasts and impatient desire
or fall heart-broken, and bewailing the barren hope of
greater pleasure desired and unfound. Admirable panels !
In their frames will be for ever inscribed the carnal
miseries and silent sacrifices of the love-lorn, the eagerly
ambitious, the ideal-seekers, lamentable and cruel sym-
bols of physiological fatalities, and the vain wishes of the
mind."

The few groups or statues previously mentioned as
having been detached from the Door by no means
exhaust the list. Quite a number have sprung from
this origin. Their names, for example, " Despair," or
" Fugit Amor," l will generally suffice to indicate the
fact, or a glance at them, when that can be had. And
what a wealth of material for more ! Right up on the
cornice, just underneath the three that tremble on the
brink, there are some thirty heads, nothing but heads,
extending in a line, close together, with a facial vivacity
that is almost ghastly. Types of humanity, Jew and
Gentile, they bear, each of them, a mark of that in-
dividuality of soul that so strikes one, when looking
at a dense crowd of people from a short distance, with
all the bodies in contact and only the features emerging.
It is the portrait-gallery of his " Hell Gate," an attempt to
combine analysis with synthesis, and especially an intro-
duction to the drama beneath.

Seated before the massive structure that fills in nearly

the whole of one wall in the principal studio of the

Rue de 1'Universite, and allowing the gaze to wander

over the undulating surfaces that surge and seethe and

bubble and boil in places where emotion is at its fiercest,

or sink to wan, wailing monotonies of duller feeling, one

has a little of the awe experienced by the profane when

1 "Love flies."

The Life of Rodin

first confronted with the half-opened arcana of science.
Here it is the beauty of suffering, which one is disturbed
to find so great in its proper plastic expression. A
certain resentment even arises in the mind that the
sculptor should have given grandeur to what common
estimation regards with repugnance. But reflection
suggests another standpoint — apparently the sculptor's
— from which this rhythm of earth pain appears as a
harmony of the universe.

Mainly on such grounds, the " Monument to Labour "
may be called an epilogue to the Magnum Opus. As yet,
it exists only as a model a few feet high, and dates back
not more than five or six years. Erected in some
spacious square — the Champ de Mars, for instance —
where it might with advantage replace the Eiffel Tower,
an elevation of a hundred yards would be possible. To
execute it in a manner worthy of the sculptor and his
genius, a band of skilled coadjutors would be necessary,
not to speak of the material expenses in stone, marble,
and bronze, so that a very large sum of money would
have to be sunk in the undertaking. It is doubtful
whether Rodin will live to see this project realised, which
is, however, one of the most grandiose ever dreamed of by
a sculptor. If achieved, even in more modest propor-
tions, it would to some extent supersede the " Hell Gate,"
dealing, as it does, not only with the past history of
man's toil, but with his hopes for the future.

The tower consists of a central shaft round which
from base to summit is a winding staircase, and of an
outer case pierced with a similarly winding sweep of
arched unglazed windows succeeding to each other
constantly, with the space only of a pillar to separate
them. Thus the light is able to stream through on
every side. On the scroll of the inside shaft, as it
mounts, are represented in bas-relief the various stages
of man's progress and redemption through work. At

116

PARTS OK THE FRAMEWORK OF THE HELL GATE

To face page 1 1 7

The Magnum Opus

the entrance are two allegorical figures of Night and
Day, each with appropriate pose and gesture ; and, on
the top of the tower, where the shaft issues from the
dome in which the outer case terminates, are two pre-
siding genii. In the basement of the tower is a crypt, with
an entrance on the opposite side to that above, showing
the subterranean and subaqueous labours of the miner
and diver. From here, the ascent in the industrial order
is methodic : masons, carpenters, blacksmiths, joiners,
potters, etc., clad in costumes indicative of the occupa-
tion rather than of a particular epoch. Each higher
stage shows processes more and more freed from primi-
tive material bondage, and attaining their results more
and more through the activities of the mind. The idea,
as the sculptor says in the inscription, has been to repro-
duce the hive and to combine it with the spiral — a fit
emblem of man's evolution and growth. There are eight
rounds above the crypt ; and an outer circle of carving
that crowns the edifice, where the central column leaves
its sheath, makes a completing ninth. The two genii or
Blessings at the summit are winged, female forms that
poise lightly on a slender support in an attitude of
protecting love. They are the only part of the monu-
ment which has been executed in larger size and in
marble, and has appeared as a separate group.

Considering the two things together, the " Hell Gate "
and the "Tower of Labour," the query arises as to
whether it would not be congruous to put the former at
the entrance to the crypt of the tower, in case the latter is
erected. It is doubtful now that the door will be placed
where it was intended, and a destination of some kind
would be better than a museum. What could be more
fitting than to make it the lower extremity from which
the spiral of man's progress issues ? It would symbolise
the martyrdom of man, of which Winwood Reade once
gave so graphic a statement. It would add beauty and

117

The Life of Rodin

intenser meaning to the sculptural representation of man's
early strivings figured in the underground panels, and,
by being linked to the idea of redemption of which the
tower is the affirmation, it would establish coherence
between the varied phases of the sculptor's statuary. It
would also make the unity of its teaching more visible.
Although the statuary is the outcome of moods, and, as
such, shows diverse tendencies, there are none that contra-
dict Rodin's meliorism of mind. Like Tennyson's verse,
his carving sings : —

" O yet we trust that somehow good
Will be tbe final goal of ill,
To pangs" of nature, sins of will,
Defects of doubt, and taints of blood."

And these lines, or others like them, might replace the
" Lasciate ogni speranza " over the door, while round the
feet of the " Benedictions " might be written the burden
of the poet's hope that nothing shall be wanting " when
God hath made the pile complete."

118

THE TOWKR OK LABOUR

To face page 118

CHAPTER IX

1890-1900

THE DECADE OF THE 'NINETIES

IN the year 1890 Rodin abandoned Paris definitely as a
place of residence and went to live in the country — not far
away, however, it being necessary for him to come daily
into the city, and the facilities for rapid transit between it
and Paris being somewhat restricted. He chose Bellevue
near Sevres, which is close to the river, with a convenient
boat service that enabled him to get to the Rue de 1'Uni-
versite", walking only a very short distance at either end.
The house had been formerly occupied by the dramatic
writer Scribe. It was not the prettiest in the village,
nor yet one of the largest, though much more spacious
than the flats he had been inhabiting in town. Any one
caring to visit it will find it at No. 8 Chemin Scribe, the
latter a narrow, winding lane that commences near the
railway on the heights, and slopes down as it turns, until
the broad road is reached that runs parallel to the river.
The front of the building is almost opposite the landing-
stage of Bas-Meudon ; and the best view is obtained from
the upper river bank, where it is perceived to be a three-
storied structure, on rising ground, with yellowish-white
walls, and a number of green-shuttered windows, semi-
circular at the top. The position, the trees, the garden,
the fresh air, the proximity to woods and water, these
were the recommendation to its new occupant, who spent
the next four years of his life there, the attic floor and
the large bedroom beneath it being used as a studio for

119

The Life of Rodin

quiet work at home. No. 8 is really composed of two
dwellings distinct from each other, though in the same
property. The Villa Scribe was the smaller. The old
gardener of the larger dwelling, who acts as porter for the
two, relates that he used to help the sculptor to carry his
plaster figures up and down stairs, one being Balzac, not
the Balzac, but an earlier model, probably the one of
which a small reproduction may be seen in a case of the
Meudon Museum. He tells, too, of his tenant's fondness
for rambling off early in the morning before ordinary
folks were up, to fill his lungs with woodland air and his
vision with woodland sights. He tells again that Rodin
cared more for what was outside the garden than in it,
for wild nature rather than tamed, cultivated growths.
Those who were familiarly received in this first country
home remember how all over the upstairs rooms were
littered small models, detached pieces of sculpture, here an
antique head, there a fragment of Middle Ages architecture,
elsewhere a Greek urn. Even now, there is a tendency to
this overflow and intrusion of that which pleases, that
which is the master's delight, into places from where they
would be banished in an ordinary abode.

Almost simultaneously with his removal to this cottage,
Rodin quitted his studio in the Boulevard de Vaugirard
for another in the Boulevard d'ltalie, No. 68, near to the
southern fortifications of the city and the now covered-up
stream of the Bievre. The new premises were the ruins of
what must have been, a century and a half before, a
charming country chdteau of Greek style, standing in
its own grounds and composed of a main central struc-
ture porticoed in the lower story with two gabled wings.
The left wing has disappeared owing to the cutting of a
new street, and the remainder has become an old tumble-
down, outwardly disreputable-looking building, with gaps
and cracks in its boundary wall and palisades, and rank
grass growing over the uncared-for garden. It is the

120

" CELLE QUI FUT HEAUI.MIERE," OR THE AGED HELMET-MAKER'S WIFE

To face page 121

The Decade of the 'Nineties

invasion of the city life which has destroyed it ; recently,
the sculptor has been obliged to leave it to its fate, for
fear of having it come down over his head. When he
took it, however, both outside and inside still possessed
considerable attractiveness, the interior panelling and
rich decoration, though decayed, furnishing an ideal
setting for his statuary. " Clos Payen " was the name
of this retreat which the master used as a studio for ten
years. There ought to be some curious story to tell
about its past.

As forming a link between the two decades, may be
mentioned two productions, both figures of old women,
which were finished rather before 1 890, but were exhibited
then, and which are undoubtedly conceived in a maturer
manner, with rather less movement and rather more
sculptural expression. One of these statuettes is to-day
in the Luxembourg. A question naturally occurring to
the mind, as one gazes at it, is who could have been the
model for the " Vieille Heaulmiere," l or more properly
" Celle qui fut heaulmiere " ? The answer is : An old
Italian widow, very old, very poverty-stricken, and very
thin, who had come to Paris to seek for a son whom she
had not heard of for a long time. Reduced to straits, she
was told to knock at Rodin's door, probably directed by
some one of her fellow country people who had posed as
a model. Her tale was listened to, and it was proposed
she should sit. The sculptor had never had such a
human wreck before him. She consented, gained a little
sum of money, and contributed her share to the making
of another masterpiece. It is woeful, and it is grand and
awe-inspiring, this small bronze nude figure, exposing all
the ravages that age and privation can inflict upon the
fair outlines of the body. She sits with collapsed shoulders
and drooping head, her gaunt left arm grasping the edge

1 The subject of one of Frar^ois Villon's poems. Heaulmilre = helmet-
maker or helmet-bearer's wife.

121

The Life of Rodin

of the seat to keep herself steady, while, with spread-out
fingers, the right is held behind her back. The two legs
clinging together are drawn in against the seat, as if to aid
in maintaining the balance ; and, from head to foot, the
skin bags and wrinkles and hangs about the feeble shrunken
muscles, hardening and sharpening the curves that ought
to be soft and sweet In conversation with the present
writer, Roger Marx spoke of this statuette as being one
of those which most strikingly demonstrates Rodin's being
a continuer of French tradition. " Take a microscope," he
added, " and examine any portion of the figure, and then
compare the same with a portion of Pigalle's work, and
they will be found absolutely alike, not because Rodin
has imitated — he is too original for that — but because
their principles and methods are the same." The second
old woman is similar to the first, but she is lying on the
ground. Misery and want have had their will. The
worn-out body can do no more.

In his choice of the country as a permanent abode,
health reasons and the desire to be nearer woods and
nature were, as has been hinted, paramount with the
master. But there was a motive less avowed which also
threw its weight in the scale. In spite of himself, he had
too much yielded in the latter half of the preceding period
to the society invitations that assail celebrity ; and, as he
had worked hard at the same time, he had suffered a good
deal from the fatigue of this double existence. Having
no real taste for distractions of the sort, they had palled
upon him as soon as the novelty was over. By going to
live out of town, he was provided with a legitimate excuse
for remaining at his cwn hearth mostly in the evenings,
so that he could give himself more to friendship and less
to the world. And friendship he needed as much as ever,
perhaps more. The troubles he had gone through pro-
fessionally up to then were small in comparison with
those he bore the burden of, with scarcely any intermission,

The Decade of the 'Nineties

in the following ten years. In 1891 came a big dis-
appointment about his "Victor Hugo " ; l and he had hardly
recovered from it when, in 1892, there was the controversy
concerning his " Claude Lorrain,"2 which he felt keenly, not-
withstanding his quiet stoicism ; especially as it came at
a moment when he had both obstacles and fears lying
between him and the completion of his " Bourgeois de
Calais." 2 A year or so more and a " Balzac " 3 affair
happened, more disagreeable than the previous ones and
fated to continue simmering until 1898, when it boiled up
into a war of words that is hardly now allayed. Lastly,
came the Sarmiento dispute,4 which had not the same
publicity, since the monument was erected in a far-away
land, but which affected him all the same.

Luckily, he had not to bear the burden alone. In pro-
portion as it became heavier and there was a renewal of
attacks, his old supporters were reinforced by younger
men who brought the fire of their youth and the freshness
of their powers to his defence. Rodin may esteem himself
happy in having this faculty of attracting men, who, once
under the spell of his personality and imbued with the
spirit of his sculpture, have fought his battles with an
ardour and constancy almost unparalleled. Not to repeat
names already spoken of at some length, those of Octave
Mirbeau, Gustave Geffroy, and Camille Mauclair may
claim to have been in the front rank, the men themselves
to have been both henchmen and intimates of the sculptor
during these years of strife.5

Mirbeau's incisive style and satiric qualities, added to
his fine artistic discernment, made him a host alone.
Between his notice in the Revue Illustree of July 1889
and his "Ante Porcos " of the I5th of May 1898, in the
Journal, he intervened again and again with trenchant

1 See chapter xvii. 2 See chapter x. s See chapter xii. * See chapter xiv.
5 The art critic, Monsieur Roger Miles, has also a place among these mili-
tant enthusiasts.

123

wb U.

The Life of Rodin

articles that left permanent traces in public opinion. Like
Mirbeau, Geffroy was a disciple of the master while yet
young. Introduced to Rodin by their common friend
Bazire of the " Intransigeant," before he was quite thirty,
he brought forth the fruits of his fertile observation in
various editions of his " Vie Artistique," published between
1893 and 1900. Too hard a worker to frequent society
circles, he knows more of the quiet hours spent with one
or two kindred minds, when the sculptor's tongue, em-
barrassed amid the multitude, was untied and waxed
eloquent. Mauclair is a still younger contemporary, and
one of the more recent recruits. His criticism inclining
rather to analysis and detailed examination, seeking
causes for the effects, is of the newer school. It comple-
ments, in treating of Rodin's statuary, what Geffroy and
Mirbeau have to say, and illustrates a standpoint equally
interesting.

The Bellevue house was inhabited until 1894. It served
its object very well while the sculptor was settling down
to country habits ; but it was not in the best situation, and
it was only a rented property ; and as, notwithstanding
professional worries, his pecuniary position was improving,
he looked round for a house that he might make his own
in the neighbourhood. After some searching, he found
what he wanted on the Paris side of the Val-Fleury at
Meudon. It was nothing very grandiose, as will be seen
when the description is given;1 but it commanded a
magnificent landscape, it was roomy, and it could be
improved. The dream of a studio and other workshops
within his grounds could be realised, if not immediately,
in process of time, and other dreams, simple also, of
making his retreat worthy of being a sculptor's home. All
this has come about in the twelve years that have elapsed
since the original purchase, but little by little, and leaving
further ameliorations for future realising. Madame Rodin's

1 See chapter xviii.
124

To face page 125

The Decade of the 'Nineties

taste for housekeeping and her warm-hearted welcome of
her husband's friends, to which the sculptor is fond of
paying tribute, had henceforward fuller scope. The Paris
acquaintance soon learnt the way to where he had set up
his family gods. There were frequent gatherings at
dinner, or a guest kept to lunch ; and, if he entertained
less indiscriminately than celebrities often do, his table
" was the nearer being a feast of reason and a flow of soul. \
New faces were seen at Meudon as well as the old. Jean
Aicard,1 Pierre Mae'l,2 and Gustave Toudouze3 — the last
two recently dead — all three members of the " Societe des
Gens de Lettres " at the time of the " Balzac " affair, joined
the band of friends. Mae'l was, until his death, of the inner
circle whom the master sees most.

And then, established definitely in surroundings that
he returned to with an increasing feeling of their being
his preferred abode, he resumed his readings of a solid
kind — for a time interrupted — old French classics, trans-
lations of the Latin and Greek authors, which in turn
were his pillow-books, perused after going to bed, and
furnishing material for reflection on the morrow. Pleasant
interludes also to the usual occupations that filled his
hours and days were the short stays in country-houses
belonging to his friends, with Fritz Thaiilow in Bretagne,
with Octave Mirbeau at Poissy, with Fenaille in the old
castle of the Rodez family, not to mention others who
were proud to have him. And pleasant interludes, the
trips, more occasional these, that he was able to make,
now with Madame Rodin, now with one or two men com-
panions, in order to get a change of air. One most enjoy-
able excursion was with his wife in 1892 down to the south
of France, passing through Grenoble ; another, likewise
in the early 'nineties, with Gustave Geffroy and Carriere,
to Guernsey and Jersey, where he saw Victor Hugo's
house, and familiarised himself with the poet's rock of

1 Poet an<l dramatist. a Novelist. 3 Novelist.

1*5

The Life of Rodin

exile, which he wished to bring into his monument to the
author of the " Mis&ables," and the " Chatiments."
Madame Besnard tells of the sculptor's accompanying
her husband and herself in a carriage excursion to
Berck-on-Sea, and of his delight when coming across
some quaint piece of architecture or a bit of scenery with
colour and curve of uncommon harmony. This mode of
travelling is one that Rodin is peculiarly partial to. It
allows him to digest his impressions.

The fecundity of production that had distinguished the
previous decade, continued, not only unabated but aug-
mented, in this one that carried the master on to his
threescore years. The change in his style, or rather its
ultimate development, alluded to in speaking of the
" Heaulmiere," as in his recorded conversations, became
progressively accentuated. The monuments will be
recognised as its clearest manifestation ; but the slow
elaboration is perhaps best studied in the many pieces of
statuary executed for his pleasure and exhibited either at
the annual Salon, or subsequently in 1900, when he sub-
mitted his works as an aggregate to the judgment of his
contemporaries. In the first few collections of the New
Salon, it was his busts that chiefly represented him. That
of 1896 contained his "Illusion, daughter of Icarus." In
1897, a whole series appeared : the "Victor Hugo" group
in plaster for the Luxembourg Gardens, the " Dream of
Life," " Cupid and Psyche," a small group of the " Dream,"
the " Caryatide fallen underneath her Stone." Then came
the famous year of the " Balzac " and the large-sized
"Baiser"; and in 1899, a bronze, "Eve," another marble
group, and two busts, one being Falguiere's.

Of these, the " Illusion " and the " Caryatide " are
eminently Rodinian. Both are figures of the most
captivating sculptural loveliness, singing a dirge of
mortality. In the first, the master accomplished a feat
of extraordinary difficulty and boldness. He modelled

126

The Decade of the 'Nineties

his falling sprite at the moment when the tired pinions,
after vainly endeavouring to maintain their owner's flight,
were dragged down to earth, feebly beating the air. The
contact of cheek and body with the ground is soft and
gentle ; the fair outlines of the limbs are uncrushed and
uninjured ; because there is the still upward lift of the
quivering expanded wings, almost but not quite support-
ing the weight that hangs on them. Through this poetry
of form and the pathos of its sentiment comes the surge
of thought which never fails in Rodin's art. Evoked are
all the contrasts of fact and fancy, the long and lofty
soarings of hope, followed by the sudden lapse of the
slower exhaustion by which the mind sinks from bliss
to woe. The " Caryatide " is the counterpart of the
" Illusion." It is the plaint of experience, the effort of
labour strained to breaking-point, the patience of the
will, the soul " cabin'd, cribb'd, confined " by its material
envelope, and more — that one may read into the female
figure of resignation bearing on her shoulder the mass
of stone that tries her beyond what she can endure.
Her trembling knees are obliged to yield. She has
dropped to a sitting posture, striving meanwhile to keep
her load in its place. Such a conception of the Caryatide,
which was in general foreign to the serene and smiling
representation of the Greeks, had already entered into
modern art. Rodin, in continuing it, with his own
peculiar expressiveness, gave a further example of his
being in sympathy with the national tradition in its
characteristic traits, and, what was better, with the spirit
of the age in which he lives.

A pleasing picture of the busy hive where these master-
pieces were turned out, and at the time when they were
turned out, was drawn in an American paper from the
account of an eye-witness.1 " In one corner were half-a-
dozen Italian models, engaged to come round in case the

1 Philip Hale in the Boston Commonwealth .
127

The Life of Rodin

master should want them. In another part a couple of
street musicians, a man with a harp and a fiddler, were
playing airs of street songs, while across the studio sat
Rodin watching every movement. He wanted to do some
studies of musicians, and had these men play by the
hour until he should satisfy himself as to just what
pose, what subtle movement were those he would
choose. Finally, in still another part of the studio,
several students — rather say apprentices — were working
away for dear life. Some were pointing up a big group
of the master's ; one was working on a study of her own.
In the whole place was breathed the atmosphere of work
— work under the pleasantest surroundings, to the music
of harp and violin, but work all the same."

At the Munich Exhibition of 1893, a second-class
medal was awarded the master for a piece of his statuary
that he had allowed to be shown there. This was not
very encouraging, but he bore no grudge ; and when a
greater eagerness at length appeared in German art
circles to see what he was doing, he gratified it just as
if the honour had been all for himself. As in England,
so across the Rhine, his fame was spread by the efforts
of one or two lovers of his art. Herr Linde of Lubeck
began to buy his masterpieces, and Count Kessler to
write about them. Now both buyers and writers are
numerous.

Though less frequently seen in soire'es, there were times
when he put in an appearance for the sake of meeting
those it was almost impossible to see in his hours of
employment. De Goncourt he continued to visit, as is
proved by further entries in the Diary. One mention of
him, dated the 23rd of July 1891, says : "Walking before
dinner, Rodin spoke to me of his admiration for the
Javanese dancing-women, and of the sketches he has
made of them. He talked, also, of similar studies of a
Japanese village transplanted to London, in which were

128

THE CAKYATIDE

(sec page 127)

To face f>age 128

The Decade of the 'Nineties

seen Japanese women dancers. He finds our dances too
jerky, too much of a hop, while these dances are a
succession of movements engendering and producing a
serpent-like undulation."

' An entry, on the i6th of April 1893, throws light on
the early days of the " Balzac " : " Rodin complains of
being this year without any go, of feeling washed out, of
being under the influence of suppressed grippe. He has
worked all the same, but has executed only things with-
out importance." This physical weakness and prostration
were no doubt one cause of the delay in fulfilling his
contract.

u Very significant is a paragraph jotted down on the 2nd
of November 1894 : " Yesterday Frantz Jourdain, speaking
to me of his son, said to me that now in the studios
everything is changed in the pose of the model, that it
is no longer the balanced attitudes of Marius on the
ruins of Minturnae, but the tormented and twisted Michael
Angelo nude figures of Rodin."

The last entry in the Diary is dated June 27th, 1895.
Here De Goncourt remarks : " In the train, Rodin, whom
I found really changed and very melancholy on account
of his low state and the fatigue he felt from his work
at the moment, complained almost distressingly of the
vexations which in the painter's and sculptor's career are
inflicted on artists by art committees, which, instead of
helping them in their work, make them lose their time
in solicitations and runnings-about, time which he would
prefer to employ in engraving."

The testimony afforded by De Goncourt's Diary con-
firms what was stated above, viz., that the middle portion
of the 'nineties was a time of great difficulty and trial for
the master. In reality he was staking his reputation on
a work of art which he knew to be a bolder departure
from ordinary canons than he had hitherto ventured on.
He consequently risked wider condemnation. Among
i 129

The Life of Rodin

his artist friends not a few were against him, and some
told him so ; and, in spite of his own conviction, this
disapproval saddened him. Besides, as often happens
when outward troubles arise, he had concurrently a series
of worries of more personal and private order to contend
with. It may be only conjecture, but it would seem, on
examining the ceaseless production engaged in during
this period — the quantity of which may even have been
increased by his desire to lose himself in his work —
that the majority of the pieces of sculpture betray the
mood and feeling which prevailed during their execution,
or at the moment of their inception.

If he had been a reader of English newspapers, he
might have learned from an article published in a
September issue of the St James's Gazette in 1896, that
his troubles were only a passing cloud in his horoscope,
his head being of the lucky lunar type frequent among
artists and savants. " Messieurs Berthelot, Rodin, Jules
Lemaitre, Fransois Coppee, Edouard Detaille," affirmed
the writer of the article, " are all Lunarians. Rather
round-shaped heads, salient frontal bones, eyes and eye-
brows in close proximity, a calm and steady but vague
gaze, full but not tight-set lips, a well-rounded nose, and
a general air of sad kindness — these are the physiogno-
mistic traits of the lucky type." Lacking any special
information about his future, astrological or other, he
could only comfort himself, as men of his stamp do, by
shaking off his fits of depression as soon as possible, and
straining every nerve in each fresh effort.

During the latter part of the decade, requests began to
be more frequent for reproductions of the sculptor's
masterpieces at one and another of the foreign ex-
hibitions held in the various capitals or large cities. In
1897, five plaster statuettes went to the second Inter-
national Exhibition of Art at Venice ; and in the same
year a bronze bust of Dalou, together with a plaster cast

130

The Decade of the 'Nineties

of the " Inner Voice," were sent to Stockholm, to the
General Exhibition of Fine Arts and Industry, which was
open from the middle of May to September. There is a
story connected with the appearance of the master's
works at this latter place which has sufficient interest to
be related here. It may be premised that the invitation
to exhibit was given in person by Prince Eugene of
Sweden, who, in the spring of 1896, came to Rodin's
studio in company with the painter Fritz Thaulow. In
the following December, as President of the Fine Arts
Section, the Prince wrote renewing the invitation, adding :
"You know what importance I attach to your taking
part in the Exhibition." So the pieces were despatched
and duly put on view. They naturally excited much
notice ; there was a good deal of sharp fencing, even,
between critics, which later developed into a serious
quarrel. When the time for making purchases arrived,
the Secretary of the Fine Arts Section, Mr Ossbahr,
proposed that the bust of Dalou should be included. His
proposal was rejected. Thereupon the rival Museum of
Christiania intervened and bought it. At the close of the
Exhibition, Rodin wrote to say that he was willing to
hand over the " Inner Voice " as a present to the National
Museum, if the authorities would accept it. A month
after, Mr Ossbahr replied, thanking him in the Prince's
name for the offer, and begging him to accept from the
King the Commander's Cross of the Vasa Order. Un-
fortunately, he had a disagreeable piece of news to
communicate at the same time. The National Museum
Committee had refused his offer, only one member, the
Curator, Mr G. Momark being in favour of accepting it.
/ As soon as Prince Eugene heard of the decision, he wrote
( from Florence, where he was staying : " For the moment
] absent in Italy, I have just learnt that the Stockholm
( National Museum Committee has thought fit not to
\ accept the piece of sculpture you were so kind as to offer.

The Life of Rodin

... I need not tell you how astonished and especially
indignant I am at this lack of courtesy towards you
personally, and towards the artist so highly esteemed
throughout France and Europe. I should be still more
grieved if you were to draw the conclusion that it was
the expression of a general opinion, and that artistic
ideas were still so little developed in my country. I
think the matter may be taken in a comic light, and
that we may see in it only the narrow judgment of a
committee which has already distinguished itself by
similar refusals, and which, 'besides, is insufficiently ac-
quainted with your ar-t. Hoping this annoying incident
will not leave you with too unfavourable an impression of
your participation in our Exhibition, I remain, most \
sincerely yours, EUGENE." J

To counterbalance this piece of rudeness from the
Museum Committee, the sculptor received, in the same
month, a letter signed by fifteen artists of the country,
expressing their sorrow for the discourtesy and their
sincere appreciation of his talent The King put a fitting
end to the incident by asking that the " Inner Voice "
might be made over to him for his own private collection.

It would be biographically interesting to know in what
degree and in what countries other private collections
have acquired specimens of the master's statuary. Years
ago, the number was considerable, those of Messrs Peytel,
Kahn, Roux, Pontremoli, Blanc, and Fenaille being well
known in France, and that of Mr Yerkes in America.
Now, there are names besides in England and on the
Continent which, when the time comes for making up
the list, will figure among the important possessors of
masterpieces.

A page of Rodin's existence, as it was towards this
close of the century, has been written by Mdlle.
Judith Cladel in her book previously quoted. Confining
herself to the limits indicated by the title, "Rodin,

132

THE INNER VOICE

To face page \yt

The Decade of the 'Nineties

Sketched from the Life," she jotted down, for several
years, her own impressions and those of a companion,
together with characteristic fragments of conversation ;
then wrought them together into a compact whole with
taste and discretion. The chief place where the two
ladies studied their subject was in his studio, arriving
generally at the end of the afternoon, sometimes sur-
prising him before he had finished his work, while he was
still clad in his modelling smock ; and, by these many
glimpses of the man in his occupation, forming the
likeness to be preserved. Now and again, the sculptor
accorded them his leisure. One Sunday, he met them at
the Louvre, and talked to them of the antique that he
loves so intensely. Another day, in September, he went
out to their retreat at St Cloud, and accompanied them
in a memorable ramble through the Park, giving free rein
to his fancy stimulated by the historic associations of the
spot, as by its native beauty. Seen so, under various
aspects, in his genuine moods, and observed na'fvely with
the sole aim of obtaining a portrait as faithful as could
be, Rodin comes out in this book with a truth to himself
that a more ambitious writer might not have obtained.
The essential features are there, with a touch of Carriere's
atmosphere surrounding them, and none the less attrac-
tive for it.

Before Mademoiselle Cladel's sketch, a study of the
sculptor's complex mentality, interwoven with some very
eloquent, appreciative criticism of his statuary, and set in
the broad outlines of his life, was published by Leon
Maillard in 1898. It is the longest and, all in all, the
completest work yet written in French on Rodin. The
subject is dealt with too lyrically and the events too
disconnectedly for it to be considered as an adequate
biography. But, on the other hand, there is much
psychological penetration in it, and, above everything,
it is warm with the master's influence. That Rodin should

The Life of Rodin

have inspired the sincerely fervid chapters it contains is
one of the most considerable facts in his career.

While in Paris, towards the end of the decade, the
Prince of Annam paid a visit to the " Villa des Brillants "
at Meudon, and, after inspecting what was in the studios,
he asked if he could be presented to Madame Rodin.
It happened that the mistress of the house was engaged
in doing a little washing. In spite of domestic helps
there are many things involving manual labour she pre-
fers to undertake herself. From the place where she
was occupied, she had already perceived the Prince and
another foreigner go by the yard as they passed from the
drive ; but, having no expectation of being called, she
had continued her task. On receiving the message, she
came just as she was, contenting herself with an apology
for appearing in working attire. " Madame," replied the
Prince, with most gallant intent, "see this hand, it can
draw and paint and dig." Of the drawing, before leaving
the studio, the Prince gave a practical illustration, which
the master has kept. It was a rapidly executed sketch,
and, as he says, shows considerable talent.

Another presentation, but two or three years earlier
and with rather more warning, was that of the sculptor
to the Duke d'Aumale. The intermediary was Count
Robert de Montesquieu, whose good fortune it is to have
acquired, at the sale of the Goncourt collection, the first
proof of Rodin's group known under various names —
"The Minotaur," "The Nymph carried off by a Satyr,"
etc. De Goncourt attached great value to this piece of
statuary, in which the struggle of the woman with the
hairy monster is brought out with vivid realism. It was
on a Sunday that the Duke and the master met at
Chantilly in the former's residence ; and, although
possessing but little critical competence in matters of
art, the host showed by his welcome that he knew how
to honour a true artist.

134

The Decade of the 'Nineties

The year 1899 was one of feverish activity. In addition
to the monument for South America, which had to be
completed, there were numerous other pieces of work
carried through or finished, in view of an adventure which
the master was intending to enter upon during the forth-
coming World's Fair to be held in Paris. All this not-
withstanding, he contrived to prepare some copies of his
great statues, and despatch them to Amsterdam, where
they were shown at the " Arti et Amicitiae Club." Follow-
ing them to see that they had been properly placed, he
spent a few days in wandering about, accompanied most
of the time by Mdlle. Cladel, whose letters to him of
this date reveal that she had helped considerably towards
the success of the scheme. It was his first visit to
Amsterdam. Arriving in the midst of an August
sunset, he beheld the city's many gables tinged with
red and gold ; and, with his fondness for oriental com-
parisons, he likened the scene to a town of the Arabian
Nights. Better informed than his guide, one of the
things he immediately inquired after was Rembrandt's
house, which no one seemed to know about. They
found it, nevertheless, in the Joden-Breestraat. The
pictures came next, the "Night Round," the "Jewish
Betrothed," " Admiral Tromp's Wife "—the last he judged
fine but cold. All his enthusiasm broke out at the sight
of the " Syndics," the painting of Rembrandt's ripe age,
and which yet, perhaps, is one of the least appreciated
among the vulgar. After examining the rest of the
town, they went on to the Hague, where an artists'
dinner awaited them, and thence to Scheveningen,
accompanied by a few friends, among whom was the
graver and painter, Philippe Zilcken. Here another
dinner gathered together a circle of ten, all hanging on
the master's words as he talked still of Rembrandt, one
or two naively astonished to see that the great sculptor
had an appetite like other men.

The Life of Rodin

The trip was prolonged as far as Rotterdam and
Dordrecht. The cicerones in this latter stage were
two other ladies, one the secretary of the Kunstkring
Club of Rotterdam, Mdlle. Cladel meanwhile returning
to Amsterdam to wait for the chief excursionist. A
French newspaper subsequently published a translation
of the account given by Mdlle. Pauline Van Yssel-
stein of how they went from Rotterdam to Dordrecht
in a boat. "We were quietly sitting, while on the
bank the windmills slowly turned," she says. " ' Your
country,' exclaimed Rodin, harmonises with my spirit.
The environs of Paris are congruous and beautiful, but
they are too pretty, too suave for me. Here things are
more serious and profound. Now, I quite understand
how Rembrandt was able to do what he did, to feel as
he felt. How restful your river is ! I begin to under-
stand. There is beauty in slowness.' While wandering
through Dordrecht, amidst houses with old motley-
painted fronts, the recollections of the boat came back
to him. ' I felt while on it,' he said, ' a beneficent
calm I had not experienced for years.' Like all
strangers, he was delighted with Dordrecht and its
church surrounded by verdure. ' Ah ! those fine trees !'
he cried when we turned, and the church, with its rusty
colours, showed behind the green. For a long time he
studied the wonderful choir stalls. ' I understand,' he
said, going away. Dinner was served on the terrace of
the hotel opposite the broad river, where the white, grey,
and brown sails of the little boats were flitting about ;
while, on the horizon, the mills turned slowly and the sun
sank, gliding through the clouds, colouring the deep
waters, the sails, the verdure, the rows of houses, and
giving to everything the warm tints of an old picture.
' Since this morning,' said Rodin, ' I have not been out of
the sixteenth century. Nothing is changed here. It is
Cuyp, Van Goyen, Salomon, Ruysdael — everything just

136

The Decade of the 'Nineties

as then. How nice it is ! How happy one must be in
Holland ! ' Then he relapsed into silence, which he broke
with the joy of a person who sees something clearly
hitherto only dimly perceived, repeating : ' Decidedly,
slowness is beauty.'"

CHAPTER X

THE " CLAUDE LORRAIN " AND " BOURGEOIS DE CALAIS "

MONUMENTS

IN no branch of his art has Rodin had to encounter
greater opposition than in his monumental statuary,
perhaps for the reason that in monuments raised to
commemorate the dead, conventionalism is most rife.
Being common property, the majority of them are con-
ceived and executed to suit a commonplace taste, and
are either melodramatically unreal or, by an opposite
extreme, without life and insignificant. A composition
in which there is a true connection of the parts, not less
spiritual than material, and a synthesis which relates
the whole to the circumstances that have called it into
existence, is less readily appreciated, except when there
has been previous education. This is perhaps why so
few sculptors produce monuments worthy of immortality.
It is one of the highest testimonies that can be paid to
Rodin to say that he has turned resolutely from the
facile successes which were within his reach, had he
chosen to pander to the tastes of the multitude. It is
not that he disdains sincere homage ; praise given to pro-
ductions of his that he knows to be good pleases him ; but
he has never made such praise the criterium of his work.

Although, by the date of their inauguration and by the
maturer stages of their execution, the " Claude Lorrain "
and the " Bourgeois de Calais " must be regarded as
comparatively recent, their commencements go back to
the years 1883 and 1885 respectively. In 1883, a move-
ment, at the head of which was the landscape painter

138

To/ace />age 139

CLAUDE LORRA1N

"Lorrain," etc., Monuments

Francais, was set on foot for the erection of a statue to
the memory of Claude Gel6e, or, as he is more usually
called, Claude Lorrain, one of the most celebrated of
French painters, and also one of the most interesting
figures in the history of art. Born of poor parents in
1600, he left, while quite a boy, his native place,
Chamagne, on the banks of the Moselle, to go and help
his brother, who was an engraver at Friburg. From
there an uncle took him, at twelve years of age, to Rome,
where, with the exception of two years spent at Nancy,
between 1625 and 1627, he lived till his death in 1682.
In his pictures there is one dominating charm, the sun
and its light. Throughout his life, it seemed to be the
sole study of the painter to interpret every possible effect
of the sun's rays on land or sea. Even in paintings which
are not in his best manner, the atmosphere redeems the
rest. Claude Lorrain's fame quickly spread far and wide.
The King of Spain ordered pictures from him, four of
which still exist in Madrid. One of his designs, a scene
from the " JEneid," found its way to England, where it
adorns a royal chamber ; and a sketch-book of his, in
which he set down his projects for pictures in order to
prevent unauthorised use being made of the finished
canvases, now belongs to the Duke of Devonshire. Quite
a number of his paintings are in the Louvre, the
" Harbour at Sunrise," the " Harbour at Sunset," the
" Village Festival," the " Campo Vaccino at Rome " being
in his best style.

The committee formed for the collection of the neces-
sary funds had its headquarters at Nancy, the capital
of Lorraine, Claude GeleVs native province ; this was
appropriate, since the statue was to be erected at Nancy.
A sub-committee was appointed to sit in Paris, and to
this body was confided the task of selecting a sculptor.
A restricted competition was opened, and twelve sculptors
sent in rough models, Rodin being one of the twelve. His

The Life of Rodin

was the one chosen. The minutes of the meeting at which
the matter was decided contain the following 1 : " The
sub-committee for the Claude Lorrain monument assem-
bled on the 8th of April (1884) at the Galerie Durand-
Rueil, there being present — Messrs Francois, Chapu,
Dubois, Mougenot, Rapin, Adam, Grosjean - Maupin,
Busson, Cesbron, Burty, Roger Marx. After inspection
of the models and projects, votes were taken, with the
result that No. 9 was selected. . . ." Accompanying
the No. 9, was the sculptor's explanation. "The pre-
occupation in this project," he says, " has been to
personify, in the most tangible manner possible, the
genius of the painter of light, by means of a composi-
tion in harmony with the Louis XV. style of the capital
of Lorraine. In " Claude Lorrain's " face, surrounded
with air and light, it is proposed to express the painter's
attentive admiration for the scenery amidst which he
stands. The idea is that the statue itself should be in
bronze, the socle, with its decorative group, in stone."
The voting of the eleven members of the sub-committee
revealed that six were in favour of No. 9, four in favour
of No. 3, and one in favour of No. 10. The number 3
was Falguiere. Rodin obtained his commission, there-
fore, only by a majority of one. Still it was a triumph.
Without decrying Falguiere, it may be said that in him
on this occasion, the conventional style of sculpture
received a warning, an intimation of its insufficiency.
Monsieur Marx was jubilant. It was his first victory.
Others were to follow.

The question will be probably asked why, since a com-
plete sketch of the subject was in the sculptor's mind in
1884, he should have been so long in finishing it. As
long intervals between the inception and the achievement
have been the rule with all Rodin's greater works, what
has been already said in this reference upon the " Porte

1 This and the next quotation kindly communicated by Monsieur Marx.

140

"Lorrain," etc., Monuments

de PEnfer " will to some extent hold good here and else-
where. He was not pressed for the delivery, and, on his
side, was not loath to keep the group under his observa-
tion. Of course, there was the money to be collected,
which took time, especially as, in the case of a painter long
dead, there was not the same enthusiasm in the public
which is sometimes aroused when the subscription list is
opened immediately after the great man's death. Finally,
everything was made ready, and the unveiling ceremony
took place on the 7th of June 1892.

Like the good novelist who weaves the intricate threads
of his story round a central fact which permeates and
makes the pattern and plot, so Rodin in his statuary has
a main idea which, in each piece, constitutes its moral
unity. In the group of " Claude Lorrain " — his own ex-
planation above intimates it — the main idea was the light
which the painter had so loved, and the entire monument
speaks of it and evokes it. Represented standing and
studying an effect of the sun on his picture, the artist —
plebeian in his features and build — takes on the trans-
figuration with which he seeks to endow his landscape.
The attitude is one of action, the left knee being bent and
the weight of the body being supported by the right ; the
left hand is stretched down and holds the palette, the
right hand is unconsciously raised, grasping the brush
while the lifted head, eager eyes, and half-open lips, as
he turns in the direction from which the sun's rays are
coming, show that he is comparing them with his own
rendering. The garments are those the painter would
have worn in the open air — the thick boots and leggings,
fit accoutrements for his excursions in the fields; the
sweeping curve of the soil on which he stands, a token of
the broad expanse which more often than not was his
studio. Rodin's comment on his model, while it was still
in his studio, gives his intention and a detail historically
important. He said to some one who interviewed him :

141

The Life of Rodin

" My Claude Lorrain has found, and he is admiring what
he always found, what he always admired, and what we
find and admire in his pictures — a splendid sunrise. The
broad orange light bathes his face, intoxicates his heart,
provokes his hand armed with a palette. I have put him
a palette so that the good workman may be recognised in
him. The resemblance I caught in this way. The best
and only likeness we have of him is just Marchal's face,
the painter Marchal. That is a happy chance for me and
flattering to Marchal. So I have a living Claude Lorrain,
instead of a sheet of paper more or less covered with black
strokes. As regards the soul, the thought, the genius of
Claude, I had his pictures, in which he has put the sun
and himself." The pedestal was utilised to give the statue
its allegorical accompaniment. From the shaft under-
neath the entablature, which represents night, Apollo
emerges, guiding his two-horse chariot. Only the fore-
quarters of the horses and the upper part of the god are
fully disengaged from the black mass of clouds that
towers above, and hangs round, and rolls down below the
horses' feet. With his right hand guiding his snorting,
rearing steeds and his left hand aloft pushing back the over-
whelming darkness, the figure of Apollo with its rushing
force presents the counterpart of the energetically poised
painter above. The two correspond admirably. The god
lends majesty to the artist, and thus, without altering the
physical attributes of the painter by one jot or tittle, Rodin,
through the allegory, throws round him a halo of glory.

The good people of Nancy — at any rate, a great many
of them — did not approve of the sculptor's interpretation.
They politely waited until the inauguration ceremony was
over — they could hardly do less, since the President of
the Republic, Monsieur Carnot, honoured it with his
presence — and then began to manifest their displeasure.
What they wanted was a Claude Lorrain in transcendent
proportions, and not sacrificed, as they said, to the figure

142

"Lorrain," etc., Monuments

underneath. They were willing to admire Apollo and his
car, but asserted that the very superiority of this part
accentuated the inferiority of the rest, which was
" statuettish," a slight Chinese shadow without discern-
ible details against the sky. They denied the historic
characterisation of the man, found fault with the pose,
deemed that the body was of sorry structure. A witty
senator saw in the statue the legacy of generations that
had no knowledge of gymnastics. Certain critics called
it the product of an unhealthy art, which strained after
outlandish movements and wounded the sentiment of the
beautiful. One big- wig summed up the matter by saying :
" In fine, we consider it bad, and yet we are no fools ! "
The dissatisfaction spread to the local authorities, who
talked of nothing less than displacing the monument.

Luckily for the town's credit there were two men whose
counsel in this crisis was listened to and ultimately
accepted. Both were natives of the locality, and the fact
was not without its influence. One was Roger Marx,
who needs no introduction, the other Emile Galle",1 a
second Bernard Palissy, who devoted his life to the
artistic fusion, enamelling, and crystallising of glass.
Some of the latter's remarks in an article concerning the
statue, which he published in the Progrts de I'Est on the
7th of August 1892, are too striking and pertinent to be
omitted here. He says that " to see a work of art well, it
is necessary to have the right point and moment of
vision. To see the statue of Claude Lorrain is no more
difficult than to look at a picture in its proper light — that
is, by placing one's self so as not to be troubled by the
shining of the varnish. Of course, the false light required
for the examination of a stained-glass window condemns
the beholder of a bronze statue placed in a like situation
to see only an opaque blot on a luminous background.
Now the statue has the northern sky as a background,

1 Recently dead.
M3

The Life of Rodin

and the painter is studying the dawn with his head turned
towards the east. In clear weather, the monument has its
right position to be well seen from daybreak and during
all the morning. // is therefore logically placed. Later, its
details become less defined, in proportion as the back-
ground becomes more vividly illuminated. The best
position for studying it is against the foliage of a lofty
elm, whose towering branches give it a sort of grandiose
setting. Seen so, the effect is sure to be felt. As for the
historic inaccuracies, they are puerile. Rodin's symbolism
is better than the rigidly historical — even if the rigidly
historical were known, which is by no means proved. If
the elegantly plastic had been the sculptor's chief aim, his
central idea would be absent, which has conceived mind
in a timid body, urged forward to the attainment of a
radiant idea. People would like an Adonis, and Rodin
has given them, together with the rupture of the line that
pleases the crowd, a physical tension of the body opposed
to the ecstatic vision of the mind. Fable, legend would
fain have some decorative Thiers, with a Gambettian
breast, developed on a tiny historical ground ; the sculptor,
instead, has hoisted up on his vast imaginative conception
the gaunt Chamagne peasant." Monsieur Galle", with
great clearness and wit, distinguished between two forms
of artistic manifestation, the one expressive and the other
decorative, the second seeking to please by form alone,
the first, by reading the meaning of the living body into
the counterfeit presentment of it ; and, after making an
excursion into the annals of past art, which permitted him
to trace back this beauty of expression to the Egyptians,
he proved that Rodin's " Claude Lorrain " was a splendid
example of it — a work at once puissant, grave, poignant,
and sweet, rich in teaching and beneficent to whoever would
raise his intelligence to its height. This brief and partial
outline cannot give an adequate notion of the admirably
reasoned out argument, irrefutable and convincing. It

144

To face page 145

"Lorrain," etc., Monuments

knocked the bottom out of the agitation, which dis-
appeared except in the person of a few irreconcilables ;
and the monument has continued to adorn the Pe'piniere
of the town. The sculptor made one concession to some of
his adversaries, who had objected that the horses were not
finished, because their hind-quarters remained in the mass
of stone representing the cloud and mist of night, and also
because he had fashioned them with a view to their pro-
ducing a maximum impression of vigour seen from the
spectator's ordinary distance. Against his better judgment,
he disengaged them more and gave them greater finish,
which caused them to lose in power. " I like your horses,"
said to him later a connoisseur in the species, " but they
look a little fatigued." That was just what the artist had
avoided in his first modelling. It was the mob which had
its way for once, and deprived the author of this master-
piece of the intimate satisfaction that was his due. But
there is something else that the master relates : —

"In most, if not all of the cases," he says, " when
disputes have arisen over statues I have made, it has
been some slight misunderstanding which has set the ball
rolling. In the case of the " Claude Lorrain," it was an
invitation to a public dinner which I refused, being tired
and desirous of escaping further fatigue." The opinion
is worth noting, especially as grave events so often arise
from trifling causes.

The famous group of the " Citizens of Calais," or
" Bourgeois de Calais," has also a story of its own, with
one or two features resembling the preceding one. Rodin
may claim not only to have modelled the group, but to
have suggested it.

The town of Calais had been long wanting to raise a
memorial to the six citizens who, in 1347, saved the
inhabitants from destruction; and, about 1840, the local
authorities took the matter actively in hand. At first,
it was the Agricultural Society which, in 1845, asked
K 145

The Life of Rodin

David d'Angers to undertake the monument ; but this
sculptor died before the project could be carried through.
Two of his pupils who tried to go on with it were obliged
in turn to abandon their intention, the public subscription
being insufficient. A third attempt in 1868, when
Clesinger was entrusted with the task, also came to
nothing, owing to the Franco-German war. Cle"singer's
rough model was given to the Amiens Museum, and
the question remained in abeyance until the month of
September 1884. It was the Town Council of Calais
which revived the project, and which, after some pre-
liminary hesitation, resolved to make an immediate
appeal for funds. A committee was formed to elaborate
plans ; and, warned by previous ill-success, the members
proposed to raise only one statue, that of Eustache
Saint Pierre, the leader of the devoted band, who, when
Edward III. demanded their lives, went out of the city
to meet their doom, as Froissart says : " Les chefs nuds,
les pieds dechaux, la hart au col, les clefs de la ville et du
chastel entre les mains'' 1 The leader might stand for his
companions and himself, the one figure for the six.

When, in January 1885, Rodin was asked to submit a
rough model for the committee's approval, he had no
intention, or rather no notion, of going beyond his
instructions. It was the subject which forced him. On
beginning his experiments with Eustache Saint Pierre,
mayor of the city, the figure chosen, it seemed to him
that the true historic conception would be to represent
the old man in the act of going to King Edward's camp.
But the more he thought of the matter, the more illogical
it seemed to him to lose the opportunity of grouping the
other five at the side of the aged mayor. The names and
circumstances of three had been always known, the
brothers Jacques and Pierre de Wissant and Jean d'Aire.

1 " Bareheaded, unshod, with halters round their necks, and the keys of the
town and the castle in their hands."

146

"Lorrain," etc., Monuments

Recently the names of the remaining two had been
recovered from oblivion by a discovery made in the
Vatican Library. They were Jean de Fiennes and
Andrieux d' Andres. Finding his opinion confirmed by
the first sketches he made, he proposed to the committee
that he should be allowed to supply the whole group
for the same sum, fifteen thousand francs, that had been
stipulated for the one statue. The proposal was accepted.
His friends blamed him, and considered he was acting
foolishly. From a pecuniary point of view, they were
right. Such an undertaking at such a price meant loss,
not gain, in pocket. But, while not despising money,
Rodin has never been able to weigh it in the balance,
when a masterpiece has been in the other scale. Enthusi-
astic at the prospect of so great a work, he visited Calais,
explored the ground where the pathetic scene had been
enacted, became familiar with Froissart's account of it,
and then set about putting the six heroes on their legs,
according to the varying notions he had formed of their
persons and temperaments, and the parts they had
individually played on the occasion.

By the month of July 1886, he had his rough model in
reduced size ready for examination by the Calais com-
mittee ; and, one fine morning, the Inquisitives of the
town were able to see him at the Mairie helping to
unpack the case in which it had arrived. The result
of the inspection was quite favourable to the sculptor ; but
some months elapsed before he was officially authorised
to proceed with his work. The reason of the delay was a
local financial catastrophe which swallowed up nearly
the whole of the sum subscribed for the statues up to
that date. However desirous the committee might have
been, prior to this misfortune, of increasing the remunera-
tion on account of the very different scheme they had
before them, it was now impossible to do more than
maintain the original agreement, which was finally

The Life of Rodin

approved in January 1887. The official communication
was made to the sculptor as follows : —

"THE MAYOR OF THE TOWN OF CALAIS TO
MONSIEUR RODIN.

" I beg to confirm my to-day's telegram apprising you
that the Town Council, in their yesterday's sitting, ratified
the decision by which the Committee of the Eustache
Saint Pierre monument entrusts you with the execution
of the project for the sum of 15,000 francs."

After this, the work went steadily forward. In 1888,
two plaster figures were exhibited complete at the Georges
Petit Galerie ; and a year later, during the World's Fair
that was being held in the Champ de Mars, the whole
group was placed on view at the same gallery, all the
figures, of course, being as yet only in plaster, but of full
size.

Although the 1888 exhibition allowed some anticipa-
tion, few people were prepared for the spectacle which
the sculptor had prepared in the second. With few
exceptions, public and critics were thrilled with poignant
emotion on beholding it. Once again Rodin had accom-
plished, and this time on a vaster scale, what he had
done with the " St John." By his handling of the clay,
he had brought spirit into the foreground and relegated
matter into the background, so that the historic resur-
rection, the woes of the men, the greatness of their deed
for a moment blotted out everything else ; and, behind
the silent advancing forms, the battlements of the town
appeared to rise over the gate, with a crowd of lament-
ing relatives and inhabitants beside it, watching the
departure of those they never expected to have restored
to them alive. As soon as the attention was able to
tear itself from the pathos of the scene, it began to
investigate the elements which combined to produce the

148

"Lorrain," etc., Monuments

effect. In his composition, Rodin had broken entirely
with the conventional hierarchy of the academic style.
There was no artificial gradation of figures. The
personages were placed on the same level and in two
rows, yet in such a way that from the principal stand-
points the six should be all visible. The positions,
besides, permitted each to have his individual action
manifested to the utmost degree. The same shadow of
impending fate bound the actors in this drama together,
— no other link was necessary — the difference of age
and character, and relations of life agitating or influencing
them differently in their like circumstances, furnished the
variety of interest.

Inevitably, there were some to carp at this simple
yet bold conception of fact — the essentially true one,
since the real men who started on their journey must
have done so with very little care for theatrical
posing. Notably, a writer in the Soleil fell foul
of the sculptor, asserting that his group was not a
group, his attitudes too nai've to be proper attitudes.
One accusation went to the extreme limit of absurdity
by affirming that Rodin had modelled his " Bourgeois "
to be seen only at one angle. On the contrary, each
of the statues separately, and the entire group had been
fashioned and located in such a way as to be effectually
seen — not at all angles, a thing on the face of it
impossible — but from several vantage points which
brought out fresh harmonies of contour and detail.
In 1904, the present writer had an opportunity of
verifying the foregoing statement de visu upon some
plaster reproductions of the figures which were tempo-
rarily in the museum at Meudon. By repeatedly
walking round the single statues, he convinced himself
that each profile, compared with each other, was both
novel and congruous ; and, by performing a similar study
of the group, that its arrangement had been most

149

The Life of Rodin

cunningly devised. Apparently, the gait was haphazard,
the ones pressing on in front, the others lagging behind ;
in reality, the interspaces had been nicely calculated — the
heights of the men, the inclination of the bodies, one
with the other — with the object of obtaining an aspect
of movement from wherever the light played on the
group. And then there was the mathematical ideal
block in which the figures were contained. " An oblong,
a right-angled parallelogram to be more exact," says
Rodin. " I wanted the group to be placed on the top of a
fairly high pillar, so " — and he drew a little diagram with
the oblong mounted aloft. " It would have looked just
as I wished," he added in a tone of regret. Even genius
does not get its own will always in contact with the
vis inertia of the mass.

The sculptor was equally perspicacious in portraying
the anatomy and physiognomy of his personages. Eustache
Saint Pierre, the prime mover in the drama, he put in the
centre of the front line. " He was the one who said, ' We
must,' " explains Rodin. In this old mayor of the city
all the signs of age were marked — the stiffness of limbs
and muscles, the blood flowing slowly and swelling the
veins, the arms swinging loosely at his sides, the bearing,
that of a worn-out frame hardly sufficing to obey the will ;
his bent head and wrinkled features, with the hair and
beard hanging limp and lifeless, breathed a sorrowful
resignation which he would fain have imparted to the
young man beside him, whose half-turned body and
lingering step indicated a struggle between duty and
inclination. The contrast between the two was finely
and firmly established. With lips apart for words to
come which could not, and his right arm held up in a
gesture that carried the hand before his closed eyes in
order to shut out images which persisted on the retina,
the younger presented to the spectator the sharp despair
of a man cut off in his flower. On the extreme left, was

To face page 151

THE CITIZENS OF CALAIS

(a second vieiv)

"Lorrain," etc., Monuments

the figure of a lawyer-like individual beyond his prime,
but still retaining all his vigour, walking proudly and
defiantly. His head was thrown back a little, his face
clean-shaven, his jaws were grimly set, and his hands,
hanging down in front, grasped at arm's-length the chained
keys of the city. All the bitter resistance of the vanquished
was personified in him. Of those remaining, two that were
brothers were shown talking together, the elder in front,
the younger in the rear, the elder bending and turning
to exhort ; while the sixth was glancing back towards the
gates ; it was the separation from his loved ones and his
home that occupied his mind and heart and prevented
him from thinking either of the conqueror he was going
to meet or the death that threatened him.

Just as with the "Claude Lorrain," some were disap-
pointed and even offended because the sculptor had dared
to make his heroes men that exhibited the usual kinds of
human weakness. "They would have preferred," says
Rodin, "gestures a la Marseillaise, whereas I intended
to show my citizens sacrificing themselves as people did
in those days without publishing their names." These
murmurs, however, were infinitesimal amid the chorus of
genuine praise.

For two or three years after this exhibition at the
Georges Petit Galerie, the further progress of the monu-
ment was almost entirely interrupted. The subscriptions
required for the completion of the enterprise remained at
a very low figure. It could hardly be otherwise, since in
the town of Calais itself there were certain malcontents
who, taking their cue from a few carping critics in Paris,
strove to create an agitation against Rodin's " Bourgeois,"
and to convert the Town Council to their opinions. At
one time, indeed, there seemed to be chances of this
movement succeeding. But, in 1892, the triumph of the
" Claude Lorrain " over similar attacks strengthened the
hands of those who were fighting this new battle. The

The Life of Rodin

opposition waxed weaker ; and, although not thoroughly
crushed, became powerless to hinder the resumption of an
active propaganda in favour of the achievement of Rodin's
work.

In 1893, the annual subscription, which had been
neglected, was taken up again ; and, when it was found
that this did not fulfil the expectation of the promoters, a
lottery was organised in the following year, with 45,000
franc-tickets, under the patronage of the Minister of the
Interior. With the additional funds thus provided, it was
hoped that everything might be paid for, the bronze
casting, the architectural basement, etc. However, a
little was still lacking, which the Minister of Public
Instruction made up from his department by a donation
of 5350 francs. Finally, in June 1895, after so many
obstacles and petty annoyances, Rodin had the satisfac-
tion of seeing his " Citizens " set up and unveiled.

The happiness was not quite unalloyed. His preference
was not allowed to dictate either the exact site or the
exact manner of their erection. Failing the lofty pillar
with the group on the top, he would have rather they had
been placed on the ground close to the everyday life of
the city, sharing, as it were, in its interests. Instead, they
were stuck up on a low pedestal, in the midst of the
Place Richelieu, which had no special connection with
the historic event celebrated, Placed on the tall pillar,
it would have been necessary to enlarge the figures to
two or three times their natural size — the actual statues
were enlarged by one-half — and the expense of the bronze
would have been proportionately increased. This, no
doubt prevented the Town Council from entertaining the
suggestion. Still, it is impossible not to regret the un-
achieved ideal, especially as the Gothic style in which the
figures were executed gains by elevation and volume,
especially too as, up to now and probably for always,
Rodin's "Bourgeois de Calais" must be considered his

152

" Lorrain," etc., Monuments

culminating effort in the Gothic. By some perhaps the
Balzac will be deemed to occupy this position. But when
this latter statue was made, other principles intervened,
which, defendable and capable of being artistically exe-
cuted— the Balzac proves it — none the less carry statuary
beyond its expression in the Middle Ages. The char-
acteristic marks of Gothic sculpture, as regards the figure
may be practically reduced to two. First, there is the
subordination of form to the main idea and spiritual
meaning. In a sense, all Rodin's statuary is based on
this conception of art ; yet, in much of the nude, form,
even so controlled, strives, and strives victoriously, for
equality, if not predominance. In other nude figures,
and a fortiori in the clothed ones, the inner life is the
unique aim, and the modelling — the wondrously faithful
and perfect material modelling — reaches self-effacement.
Secondly, there is the simplification, the severity even, of
pose, in order that the light and shade, which alone give
value to the contours, may have the largest, broadest
play over the surfaces, without let or hindrance. The
Calaisian " Citizens " possess these two qualities co-
ordinated and blended as harmoniously as one could
wish to see them.

It was a proud day for Roger Marx when, speaking at
the inaugural ceremony, he was able to compare present
and past, and discreetly to read a lesson to the pontiffs in
criticism who, thirteen years before, had had so little
divination. All that he had prophesied had come true,
and more. He had not anticipated the " Bourgeois de
Calais." How should he? The true Gothic was so
entirely a thing of the past, so bound up with the life of
those Middle Ages in which it had flourished, that a
revival of it with fresh beauty appeared chimerical. And
yet Rodin had accomplished the miracle. To quote
Monsieur Marx, " he touched matter with his magic wand
and history was embodied." His confession that he had

The Life of Rodin

never been able to thoroughly comprehend the anonymous
sculptors of old means no more than that he does not
altogether understand himself. Of their art he is the
perpetuator.

In the Museum at Meudon, where a number of copies
of the " Bourgeois " are kept, some show the figures in the
nude, the sculptor always fashioning his statuary so in
the first instance, whatever may be his intention as to
draping. The six citizens he would have liked to dress
in sacks. " The smock is a fine garment," he declares ;
" it is ample and rich in folds, and the sack is still better."
The garments, however, that he put on them are almost
as simple ; they enwrap but they do not hide the bodies.

The Mayor of Calais, Monsieur Dewavrin, who during
all the incidents connected with the monument had been
Rodin's firm supporter, was another that could rejoice in
the triumph. He had a Golden Book printed giving an
account of everything in the story that was not con-
troversial, and of the inauguration proceedings. A short
letter written by him to the sculptor in the year 1903, and
alluding to the continued grumbling of a small minority
of malcontents, will serve as an epilogue. He says : —

" Our ' Citizens ' still stand impassible, insensible to the
insults of time, as to the silly reflections of the foolish,
whom they overwhelm with their disdain. A day will
come when they will be understood."

CHAPTER XI

RODIN'S CONVERSATION

ALTHOUGH, in what has preceded, something of the
master's principle and methods is incidentally explained,
it has not been possible hitherto for much of his con-
versation to be brought into the narrative ; and the con-
versation is instructive, succulent, and agreeable ; in it
Rodin puts himself; it is an easy flow of thought ex-
pressed in simple language of deliberate utterance,
leavened by a peculiarly rich experience and by the
action of an original mind. During the compiling of this
biography, it has been the writer's privilege to spend
many, many hours in the sculptor's company, and to
hear him talk not only in reply to questions, but of his
own accord on art or subjects suggested by the way.
That which is set down here is culled from these sayings
subsequently read over to the master and corrected and
approved by him.

"No, I am not a Romanticist," he said in the first
interview, as we sat by the little stove of the Rue de
rUniversite" studio. " I should like to call myself a
naturalist, but that the word is so much misused both by
critics and the criticised. It is safer for me to say that I
feel myself to have most affinity with the Greeks, not
with the school that coloured their statues — colour has
nothing to do with statuary. Light and shade are all a
sculptor needs, if his structural expression is right."

And the speaker rose and went towards a small marble
figure delicately chiselled, on which the pale rays of a
February morning sun played, rendering the limbs semi-

'55

The Life of Rodin

transparent The limpidity due to the modelling was an
eloquent explanation of Rodin's naturalism — at least of
its results. In the next meeting at Meudon, the subject
was resumed amid the museum's abundant illustrations.

" Nature has been my great teacher," he said. " Every-
thing can be obtained if Nature is followed. In my early
apprentice days, I had not thoroughly learnt my lesson,
and, in seeking subjects, sometimes relied on my unaided
imagination. But I came more and more to see how
much analogy there was between all the forms that
Nature begets; and thenceforth I had only to observe
them closely, to place myself, so to speak, in the midst of
them, for like shapes to arrange themselves in my fancy
and to make a harmonious whole. If others cannot do
the same, it is because they regard only with a careless
eye, and not with the intelligence. So many who begin
to study dictate to Nature ; if they have a man or woman
model before them, they impose a preconceived attitude
with no relation to the mind or actual intention of the
subject To-day, towards the end of my career, I still
content myself with leaving my model to himself or her-
self. I dictate no poses. At most, I venture to prolong
them, when I have found what I seek. The habit I
have acquired of studying Nature without constraining
her leads me nearly always to choose my models from
among persons who have never posed for other sculptors.
If, perchance, I make an exception, I am sure to repent it
Any dictated attitude is for the nonce unnatural, and is
worse than useless to the student. It is the finite substi-
tuted for the infinite, isolation and interruption of the
secret law of our being ; the body loses its charm, and
becomes absurd and ridiculous. Moreover, this habit of
dictating to Nature blinds people to what is really con-
tained in her life, which explains why so often I have
been blamed for things affirmed to be unnatural in my
sculpture. I reproduce only what I have seen, and what

156

To face page

Rodin's Conversation

any one else could see if they would take the trouble ; but
then I am always looking, and I know there remains to
be found out infinitely more than I shall ever have time
to discover. One thing I have come to realise is that
geometry is at the bottom of sentiment, or rather that
each expression of a sentiment is made by a movement
which geometry governs. Geometry, indeed, is every-
where present in Nature. Why, then, should it not be so
in the raising of an arm or another instinctive movement
of a limb ? A woman combing her hair goes through a
series of rhythmic movements which constitute a beauti-
ful harmony — a grace of the highest order. The entire
rhythm of the body is governed by law. The body can-
not uncentre itself. It remains in union with all that
composes it, and acts in conjunction with its environ-
ment."

The geometry of nature exemplified in man, as in all
creation, is no novelty in the domain of science ; but there
is so far very little realisation of it in art. Rodin's intense
conviction induces him to return to the subject again and
again, but sometimes mingling it with and weaving it into
other thoughts. We had been speaking one day of re-
proaches made him on the score of being too literally
faithful in representing his living model, and of not
flattering the portraits he produced.

" People don't perceive," the master exclaimed, " that
reality of every kind can have its perfection, age no less
than youth, what is called ugly no less than what is
called beautiful. To some extent, it is recognised in
painting — and more in painting than in sculpture. The
portraits of Rembrandt and Holbein show people old
and wrinkled, but the beauty is there that belongs to
humanity. It cannot be otherwise. Nature is always
perfect. She makes no mistakes. The mistake is in
our standpoint, our vision. There is beauty and perfec-
tion even in the skeleton ; but it wants observing from

The Life of Rodin

all round, for the fineness of the workmanship, the exact
adjustment of all its parts to be duly admired and
understood. It wants also the recognition of the
relation of the parts to the uses they fulfil. Utility is
one aspect of law, and, as the law is universal, the uses
are likewise. He who sees all this is the true artist ;
and, again, the artist is the seer. He is the man whose
eyes are open, and to whose spirit the inner essence of
things is made known, at any rate, as a fact of existence.
He does not create, since everything is created already.
That which he does is to represent, but with one or a few
elements, not with all. He is no magician, and cannot in
verity reproduce. It is an illusion of creation, not the
reality that he makes. The better he sees, the more
perfect an illusion his representing will be. He can
give it solidity, he can give it the equivalents of colour
and warmth and movement ; and, if his vision is deep
enough, he can give it the illusion of soul and sentiment,
and even show soul where some people see none."

This conversation took place as we were going down
to the second museum at Meudon, where the Gothic
fragments are kept which the master has made it one
of his hobbies to collect. The Gothic sculpture, with
its strenuous excellence, has influenced him — it has been
hinted so before — quite as much as the Greek.

" These men," he said, touching a figure taken from a
niche, " worked in a way that sculptors too often disdain
to-day. The aim of the Gothic carvers was to fashion
something that should have its full meaning and produce
its full effect only in the place where it was made to
stand. They carved for the architecture, not for them-
selves. Right up on the cornices they modelled figures
in one way ; and on windows, or porches, or arches
in another, and every piece of their work was exactly
calculated to fit into the whole. This gave to their
sculpture a more finely individual character, with little

158

Rodin's Conversation

or no vainly personal mark. Each portion is known,
not as coming from the hand of one or another sculptor,
but as belonging to a window, or a cornice, or a niche
— and the portion helps us to reconstitute the whole. In
the old Roman churches you remark the same thing with
the building also. You see a half circle, a simple
V-shaped beam in the roof, shapes that, looked at from
a wrong angle, seem mere school-boy planning. But go
a little distance, take in the whole effect, and you will
find these apparently rude and primitive forms arrange
themselves into a pattern of the most striking beauty.
In art, there are so many presumptuous critics that forget
the alphabet they are obliged to use in order to spell.
What we see at a foot, or a yard, or a hundred yards'
distance cannot be the same, just as there is an enormous
difference between what is perceived by the aid of a
microscope and that which is embraced by the naked
eye. The artist, therefore, must choose and must pro-
portion his detail to the distance at which his work
ought to be regarded, and he is entitled to ask that his
work shall be regarded with the perspective that he
himself has chosen. Moreover, the artist must learn to
adapt these perspectives to the subject he wishes to
treat. This is, perhaps, one of the things he learns last.
If he masters this branch of his art thoroughly, he is very
near perfection. And yet the attainment is misjudged
by the indiscriminating public. Rembrandt went even
further in this direction in his old age, and his enemies
asserted he had forgotten how to paint. The Gothic
sculptors happily lived in an age when there was less
captious criticism in matters of art, and when there was
a greater sentiment of the beautiful. They reached the
best results by their co-operation and their union. The
Church itself was then a centre of artistic amalgamation,
which we seek in vain to obtain to-day. The arts suffer
by division and separation. Wagner was one of the first

'59

The Life of Rodin

among the moderns to perceive this ; and his music is an
endeavour towards appropriating chord, melody, harmony
to a purpose beyond them, a purpose in which they are
subordinate. Wagner was a true Gothic artist — a Gothic
sculptor in music, if you will. On the other hand, the
statuary of the Gothic sculptors prayed, intoned and
sang, and triumphed in the cathedrals where they lived.
It was a grand art — was the Gothic ! I never come here,
and I never see its works elsewhere, without humbling
myself and wishing to know it better."

One of the best known obiter dicta1 of Rodin is that
telling the development of his art.

" It did not come to me all at once," he confesses. " I
became daring only after a time. At first, I was timorous.
Then, little by little, in the presence of nature, and as I
came to know her better, and more frankly rid myself of
prejudices in order to love her, I made my resolution. I
tried. ... I was fairly content. ... It seemed to
me it was better. The study of the antique also
encouraged me, the sculpture of the Middle Ages, which
is as beautiful as the Greek art. I did my utmost
to conform my soul to those masters. In the beginning,
I modelled things that were clever, neatly executed, not
bad ; but I felt it was not that. I had a good deal of
trouble. Art is not imitation, and only fools believe that
we can create anything. What remains for us is inter-
pretation according to nature. Each interprets in his
own way. I have at last succeeded in determining
mine."

We were sitting out in the garden at Meudon, on a bench
close to the original plaster cast of the " Creation of Man."
The master recurred to the same theme. He said : —

" I used to think that movement was the chief thing in
sculpture, and in all I did it was what I tried to attain.

1 Related by Camille Mauclair in the Revue des Revues^ and also by other
writers.

160

ORPHEUS AND EURYDICE
(see page 220)

Tojace /« ;•

Rodin's Conversation

My ' Hell Gate ' is the record of these strivings. It
contains the whole history. There I have made move-
ment yield all it can. I have come gradually to feel
that sculptural expression is the essence of the statuary
art — expression through the modelling. This is what
made the grandeur of the Greeks. There is repose,
wonderful repose and restfulness in their sculpture ; not
the repose of the academic style, which is the absence
of nature, the absence of life, but the repose of strength,
the repose of conscious power, the impression resulting
from the flesh being under the control of the spirit.
And they obtained the impression by their constant study
of nature and their endless efforts to represent her
worthily. It was not a school-boy imitation ; they knew
how cold this is — tracing a leaf, measuring by compasses,
all such literal copyings can furnish nothing of the image
which reality makes on our senses. The way in which
the artist arrives at his goal is the secret of his own
existence ; it is the measure of his own vision ; it is
the scale of his own progress. He exaggerates or deforms
the literal in sculpture or in painting ; he suppresses or
diminishes one part ; and yet the whole is true, because
he seeks only truth. He seeks to make his work have
the same message for the senses within the domain of
art as the Creator's work in the domain of nature. My
work is often judged by those who have not gone through
the experience on which it is based. I have learnt my
art as a student learns his mathematics, step by step, and
I have solved the principal problem only after solving a
good many minor ones. Before condemning me, they
should go through the same steps. Their view, I
think, would be different. They would see with other
eyes."

In speaking of the statues an allusion is made to the
sculptor's using mathematical designs in forming his
groups. More than once in our talks together, the
L 161

The Life of Rodin

master explained his observance of these designs, and
with special reference to the " Bourgeois de Calais."

" Nature," he said, " is the supreme architect. Every-
thing is built in the finest equilibrium ; and everything,
too, is enclosed in a triangle or a cube, or some modifica-
tion of them. I have adopted this principle in building
up my statuary, simplifying and restraining always in the
organisation of the parts so as to give the whole a greater
unity. This does not prevent, it aids rather, the execu-
tion, and renders the diversity and arrangement of the
parts more rational as well as more seemly. Look at
some of the groups begotten of the school that cares
nothing for this truth to nature's architecture. The figures
they make have parts that fly out in directions and at
angles that have no rhyme or reason, and frequently are
false to the centre of gravity. The sculptor who ignores
the teaching that is offered him in the composition of tree
and flower and the crystal, who fancies he can do better
than the plan by which the universe is raised from its
elements, falls into the grossest error. His figures may
surprise, but they will never satisfy the eye. He seeks
variety, and fails to realise what endless diversity can
be wrought within the strong bounds that nature imposes.
In the structure proper to each pose, there is a fresh
combination, and consequently a fresh revelation. He
has an eternal field of investigation, an eternal source of
delight; and, if only he will have patience, an eternal
possible power of sculptural representation. He can
recommence his work over and over again, and find
that the result comes out different each time. I often
begin with one intention and finish with another. While
fashioning my clay, I see in fancy something that had
been lying dormant in my memory and which rises
up before me in what seems to be a vision created by
myself. I know it is not this, but a suggested com-
bination of form which I must have already perceived in

162

Rodin's Conversation

nature, and which has never before aroused in me the
image that corresponds to it. And then, as I go on, and
the execution becomes more complete, there is a sort of
reverse process in my mind, and that which I have made
reacts on my perception of nature, and I find resemblances
and fresh analogies which fill me with joy. And then I
admire the Creator's work and cannot help thinking that
He too takes pleasure in bringing all these wonderful
things to the birth and in developing them in such
relations with each other."

Occasionally, the conversation assumed a more technical
tone, as points of a more difficult comprehension were
elucidated. But indeed, even spontaneously, there is in
Rodin's outpourings a fair mixture of the abstruse, briefly
told, with the longer and racier stream of discourse. It is a
welling up which reveals the depth of the current, without
materially disturbing its flow.

" In working on a bust, or in fact on any figure," he
said, repeating what he had taught his pupil Natorp,1
years before, " I always carefully model by profiles, not
from a merely front view. It gives depth and solidity,
the volume, in fine, and its location in space. I do this,
however, with a line that starts from one's own brain. I mean
that I note the deviation of the head from the oval type.
In one, the forehead bulges out over the rest of the face,
in another, the lower jaw bulges out in contrast with the
receding forehead. With this line of deviation estab-
lished, I unite all the profiles, and thus get the life-
like form. Those who wish to penetrate into some of the
invariable rules nature follows in composing, should
observe her opposition of a flat to a round, the one
being the foil of the other. They should notice also her
gradations and contrasts of light producing colour in the
real object, and should be careful not to produce effects
that are out of accordance with the natural ones. In

1 See chapter xvi.
163

The Life of Rodin

general, they should avoid blacks, unless these have a
purpose, and not put them into the depth of a fold in
drapery ; the latter should always reflect light. On
beginning their work, they should exaggerate character-
istic features ; the exaggerations will get toned down fast
enough later on. In the first instance, the exaggerations
are necessary to establish the structural expression. It
is only by the graduation of these more characteristic traits
that the relative value of all the parts can be determined.
In the flesh, there is the spirit that magnifies one or
another detail of expression. In the clay or marble, it
must be by the positive magnifying of the material part,
not especially by size, but by the line, by the direction,
the depth, the length of its curve, that the expression is
made equivalent."

We were in the Museum at Meudon one Sunday morn-
ing, the sculptor, the French painter Jacques Blanche, an
English artist whom Monsieur Blanche had brought to
see the sculptor, and the present writer. Rodin was
showing his guests some of his older statuary. An en-
largement of the " Ugolino " group occupied a prominent
place in the foreground. He was engaged in certain
modifications which he explained, adding : —

"I am simplifying \heplans"

Here was an opportunity. The French word plan,
frequent in writings on sculpture, is used so loosely by
many, and so naturally without definition by all, that the
reader, even when he thinks he has grasped the sense of
the term, or its various senses, is suddenly arrested by
another employment of it in which the meaning looms
out as vaguely as ever.

"What do you mean by plan?" inquired the one who
knew least about the matter.

" It is the architecture of the statue," answered Rodin.

The reply was pithy, but it left the door open to more
than one interpretation.

164

Rodin's Conversation

" Then you use the word as an architect does, when he
speaks of the plan of a house ? "

" No, not exactly that ; it has to do with the relief of
the various parts of the statue."

" Then, perhaps, it is a synonym of surface ; and when
you talk of simplifying the flans, it is equivalent to saying
that you diminish the number of surfaces ? "

" No, not altogether that, either ; it signifies getting rid
of all that would hinder the light from freely glinting
over the surface of the marble."

Apparently it had to do with light, and something, in
common, therefore with painting. An axiom often heard
in art circles is that the plan is to the sculptor what the
valeur is to the painter. To quote was convenient if only
to provoke further discussion. Monsieur Blanche and his
friend intervened, the former giving as his notion of valeur^
the effect of one colour placed in juxtaposition with
another, so as to relate the object and make it appear solid.
Still we were not arrived at a perfectly clear understand-
ing of the word plan"

" I have often been puzzled to translate the word myself
into English for English-speaking pupils of mine," ad-
mitted Monsieur Blanche. " This is surely a simplification
of the plan" he continued, pointing to an amplification in
the outstretched arm of a statue standing near.

" No," again said Rodin, with a smile ; from which
negation it was evident that it was not only the profane
who failed to seize the exact signification of the word in
the mouth of the sculptor most qualified to employ it.

" Look ! " he went on, taking a piece of board and
holding it in front of a statuette. " You see that nearly
all, if not quite all the front of this figure touches the
board on this side. There are no projections that inter-
fere with the sweep of the light across these surfaces and
the illuminating of the various reliefs. Now look again.
Down this side there is another plan. I place the board,

165

The Life of Rodin

and you may convince yourselves that here, with the ex-
ception of the top of the two heads, which I intend to bring
up to the plan, every projection touches the same straight
line."

" Ah ! don't change anything ! " cried and protested the
two painters in a breath, admiring the exquisite rendering
of Romeo and Juliet embracing just before quitting each
other at the balcony, at the moment of the dawn when —

" Night's candles are burnt out and jocund day
Stands tiptoe on the misty mountain tops."

Was it to the simplification of the plans that the statue
owed its perfection? At any rate, the perfection was
there, in lines that ravished the eye. Returning to our
argument after the illustration, we settled that the real
sense of the word plan was its mathematical one, and that
it could be translated by the word plane. The planes of
a statue, therefore, are the plane surfaces in which it is
contained, and the simplification of the planes is the
reducing, for instance, of a group or a statue that was
enclosed in a pentagon to another of fewer sides.

"There are many sculptors," concluded Rodin, "who
don't keep to this use of the term, and their language is
correspondingly inconsistent."

Perhaps, after all, the word is not badly applied some-
times to indicate those amplifications of the parts of a
statue which a sculptor makes in order to obtain the due
effect of light and shade.

It was another Sunday morning, and again the talk
had become a sort of lesson in which the sculptor was
replying to a few supplementary questions about the four
lines,1 surfaces, and volumes of the body which the Greeks
and Michael Angelo now and then reduced to two in
their sculptural treatment of it. The writer had already
received Rodin's explanation of this fundamental equili-

1 See chapter iii.
166

ROMEO AND JULIET

To face page 166-

Rodin's Conversation

brium of the human frame, but the reduction of four to
two was not quite plain to him.

" Come," said the sculptor, rising, " I will show you with
some clay."

He led the way to one of the studios and asked a
workman for some of the blue-black compound that serves
for the first model. Breaking a long roll into two, he fixed
half of it on a revolving block as a support, broke the
remainder into several other pieces, and in a few seconds
there was a coming together of legs, arms, trunk, neck,
and head, an addition of breasts and thighs, and a
figurine stood before us shaped according to the
antique.

" See now," said the master, taking his chisel and
making a few marks down and across his figure. " You
understand the four-line arrangement, the W-on-end
position, thus ^," and his chisel again described the zig-
zag. " Or a spiral," he continued, " since the body is
built up on the spiral principle," and as he spoke he gave
a few twists to the clay, so as to make the spiral more
visible.

" Now, look again." Here the figure was straightened
up from the stand-at-ease position, and then two or three
thumb-and-finger pressures were made. The on-end W
had become an on-end V, thus >, which the sculptor
twisted again into different positions, the torso, however,
remaining always in one plane, and the lower part of the
body, from the thighs downwards, in another. The loins
were the hinge on which the two great oppositions turned,
and, arranged like this, it was easy to seize the reason of
the simplification.

" You remark," concluded the master, " that the broader
surfaces yield a much more effective juxtaposition of light
and shade."

Scarcely an interview would pass without some one-
line phrase appearing in the midst of the sculptor's dis-

167

The Life of Rodin

course, a sudden spark struck out by the impact of a new
thought on those that had gone before.

" There are as many kinds of beauty as there are kinds
of feeling."

"The best and purest pleasures are those that cost
nothing."

" Art is nature's reflection in man ; the essential thing
is to polish the mirror."

All Rodin's friends to whom he has talked in confid-
ence could doubtless recall similar brevities, focussing the
subject and fixing its souvenir.

It would be strange if a mind so constantly observant
of phenomena should be silent as to the moral problems
they involve. More than once we spoke on the apparent
discords in the nature he so loves, and on the world-
suffering of which he has had his share.

" After all, evil is only the distance that separates us
from the infinite," he said — " a distance that can be con-
tinually lessened. The good I see keeps me hopeful. I
am content to have lived and had the experience that has
fallen out to me. It has taught me more than I thought
I should ever know. As for the future, I look forward to
it without fear, feeling its attraction even. There is so
much in what nature shows us which suggests fuller life
and greater beauty, that the yearning for it grows."

A more recent chat was during an early morning drive
from Meudon through the wood to Petit Bicetre, where we
breakfasted, and from there round Chatillon, Jouy-en-
Josas, and Velizy. Getting out of the carriage for a
stroll through the grassy paths, we talked of what was
around us.

" It reminds me of England here," said the master ;
" the same hedges and sweeps of upland, and the same
style of cottages."

This was also the writer's impression. The south side
of Paris towards Versailles is very different from the north.

168

Rodin's Conversation

"On foot is the best manner of finding out what a
landscape really is," he continued, unconsciously repeating
Jean-Jacques Rousseau. "You can go as long as you
like, stop when you like, and enjoy everything. It would
please me to start from home and walk by short stages,
just a few hours each day, slowly through one and another
stretch of scenery. People rush their enjoyments as well
as their business nowadays. I prefer the more tranquil
mode. This undulating land" — pointing to the Bievre
valley — "with its smiling fertility, is more to my taste
than either mountain or sea ; they always chill me by
their lonely wastes."

We admired the richly varied tints of the tree-foliage —
some of it in the far background, seen between other
trees, assuming a warm purple under the dazzling sun.

" If I must choose, it is the spring tints that appeal to
me most," exclaimed Rodin. " They are so delicately
fresh and quite as varied as the autumn ones, and then
there is the promise of summer in them."

A yellow rock-rose, with its mysteriously beautiful
composition of calyx and pistils and stamen, attracted
his attention. He looked at it with as much wonder as
if he had never seen such a thing before. To him it was,
doubtless, a fine piece of nature's statuary, penetrated as
he is with the conviction that every microcosm is also a
macrocosm. He saw in this yellow rock-rose as much as
Wordsworth in his yellow primrose of the rock.

" There are times," he said, " when one of these flowers
seems inexpressibly precious. I remember once, when I
was not well — it was late on in the winter — I used to go
out for a short walk every day in the garden. There was
a single, tiny primrose which somehow or other had
managed to open its petals before spring. I can't tell
you with what eagerness I returned each time I went out
to see if the primrose were flourishing. That little flower
interested me more than all vegetation besides."

169

The Life of Rodin

We turned into the deep shade of the woods after being
in the glare of the sun. The master took off his hat and
caught the breath of the cooler air.

" Ah ! that reposes after a week's work," he exclaimed,
leaning back the better to enjoy it. " For woods of
refreshment and meditation, however, I know of none like
those round Brussels. They have something so fresh and
primaeval."

There was a reversion to the favourite theme.

" It is true," he said, in reply to a question, " analysis
and synthesis balance each other in the artist ; but the
analysis is not a tearing to pieces. He thinks — does the
artist — of the whole, even in the part, and his study of
the part is for him a way towards more nearly grasping
the whole."

The carriage passed by a pool where some people were
fishing.

" It was there the painter Gros drowned himself,"
remarked the sculptor, looking curiously at the spot.
" He was saddened and soured by old age and the
attacks made on his work. It is not altogether easy
to support calumny and spiteful misrepresentation. I
have had my share, and know something about it. But
one can learn to endure. A man alone is stronger than a
host, if he will wait his time."

Again, a drive this time towards the south-east, in the
direction of Fontenay-aux-Roses and Sceaux, under a
hot July sun, brought us to the famous Robinson Crusoe
tree restaurant, where Parisians delight to go in summer.
We had breakfast in the second story of the tree, with
a splendid view over the valley, and returned by the
Versailles road, passing Chateaubriand's house. A good
deal was spoken on literature, the sculptor's preferences
being decided, his comments pithy. Dumas the elder
he had read with enjoyment, the younger with little or
none. Gautier he praised, but coldly, adding : —

170

BELLONA

(see page 87)

Toface/iage 170

Rodin's Conversation

" I met him once at the banquet of the Society of
Fine Arts1 in 1864 or 1865 ; and, with the confidence
begotten of a glass of champagne, I tackled him in
conversation. But I fear I said some stupid things, and
he did not pay much attention to my youth."

Shakespeare came in for a passing mention.

" A play I am very fond of," the master continued, " is
Richard III., which I have read, like the other plays I
know, in Montegut's translation. I find the courting
scene with Anne a masterpiece of psychological insight."

We spoke, too, of Richardson's " Pamela," which he
was still reading, carrying the volumes with him to peruse
in the train, and one of which he had managed to leave
behind on the seat. Rodin exclaimed : —

" His description of English life seems to me so simply
yet truthfully given. There is a naivete in it similar
to what I have met with in other branches of eighteenth-
century art. And the character of ' Pamela,' besides its
intrinsic interest, is a type one feels familiar with directly.
Some of the traits remind me of my own sister when a
girl."

A turn in the conversation brought up the question of
Japanese art, on which, indeed, the sculptor's opinions are
well known.

"The Japanese art," he said, "is superior to ours by
its immense patience of observation and its research of
beauty in the smallest things. The Japanese have
worked a vein that others have neglected, and have been
rewarded by discoveries no other nation has made. This
superiority in art is not of recent date ; it has nothing
to do with the country's adoption of European habits.
On the contrary, it has a long past behind it, and has
gained perfection through centuries of slow development.
I remember once watching some Japanese artists at work
during the exhibition. Now and then, intending buyers
1 See the story at the end of the chapter.
171

The Life of Rodin

tried to hurry them, wishing to have the article before
it was really finished, and offering the money for it in
order to tempt those who were working. But they
refused, and would rather lose the money than allow a
piece to quit their hands which, in their judgment, was
not completed. That is the true artistic spirit ; and it
has given the Japanese a superiority which enables them
to place their productions on our European markets in
spite of prohibitive tariffs. If there is a yellow peril,
it is in the peaceful invasion of our artistic domain by a
strong and united oriental art, whereas we are decadent
and disunited."

An anecdote told by Rodin during this same excursion
will serve as a conclusion to these scraps of conversation.
The subject of it is Alexandre 'Dumas the elder.

" When I was about twenty-three," he began, " I
belonged to a Society of Fine Arts, not the orthodox
one, which had its day of notoriety and prosperity.
Celebrated artists exhibited there, Ingres and Delacroix
among others. The meetings and exhibitions were held
in a building opposite the " Credit Lyonnais," and which
has since been made into a theatre. I sent one or two
of my things there, and should have sent my " Man with
the Broken Nose," only the society came to grief a little
before I could carry my intention into effect. On the
society's programme was an annual banquet, to which
were invited celebrities of various kinds — and mostly
men of letters. I attended one of these banquets in
1864, I think, and among those present were Theophile
Gautier and Alexandre Dumas the elder. The latter
made one of the speeches of the evening. In it he
related that on a certain occasion he and Victor Hugo
were together in London, and went, by special request,
to a reception held by Lord Palmerston. At a con-
venient moment the host, to whom they had not been
introduced, came with his wife to where they were sitting,

172

Rodin's Conversation

made her sit down between them, pulled out his watch,
looked at it a few seconds, and then, addressing his wife,
said, ' Remember that you have sat for half a minute
between the two greatest poets living.' This was blowing
his own trumpet with a vengeance ! But the best
remains to be told. Not knowing Dumas so well as
my elders, I remembered the story; and twenty years
later, being in Victor Hugo's company, I repeated it to
him. ' Dumas and I were never in England together,'
he said when I finished. Evidently Dumas' capacity for
invention was not confined to his novels."

CHAPTER XII

THE BALZAC STATUE

THE Balzac statue, together with the controversy that
raged round it, is one of the most instructive incidents in
the history of contemporary art. One issue it raised is
an old one, being whether the sculptor should sacrifice
his convictions to public taste or public taste bow to him.
The second issue was more personal. The question in
the particular case was as to whether the sculptor had a
moral right, against his own word, to withhold his pro-
duction, and not to deliver it until he himself should
pronounce it to be finished. Throughout the greater part
of the dispute, it was the latter issue which occupied the
foreground. The story, as told in the following pages,
will, it is hoped, supply sufficient data for an answer to
both questions, the former as well as the latter depending
to a great extent on the individuality concerned. When
an honest man fails in his promise, the presumption
should be that it is materially impossible for him to keep
it ; and, when a genius places a new development of his
creation before the public, the probability is that he is
right. In matters of art, the errors of genius are small,
those of the profane are colossal. During this phase of
Rodin's work, his genius and his honesty were impugned
in a way that showed how utterly sweet reasonableness
had been put out of court and its room taken by popular
prejudice, or a truckling to it among those whom educa-
tion and perception ought to have rendered more
independent.

The howl of execration that went up from so many in

174

HEAD OK THE BAI.ZAC STATUE

To face page 175

The Balzac Statue

1898, when the plaster statue of the novelist was at length
exposed to view in the Palais des Machines, was not
entirely spontaneous. It had been largely prepared by
jealousies and unreflecting disappointment in the time of
waiting. Not a few were quite prepared to say even before
looking, " Parturiuntur montes, educitur ridiculus mus " ; 1
and, though, when they did look, they saw that the quota-
tion would not apply, though it was not to be denied that
there was something grandiose in the huge pillar-like
figure crowned by the wonderful head, yet, as it did not
correspond to their preconceived notions, as it did not
conform to the ordinary canons of statuesque drapery, as
it simplified the lines of the body in order to concentrate
attention on what was above it, condemnation was passed
by the majority of beholders — passed in noisy demonstra-
tion, for majorities like to make themselves heard. Not
that they had it all their own way ; Rodin's tried friends
and supporters nearly all stuck to him in this instance as
they had in other battles, and they made their voice heard.
Their defence, if it did not change the opinion of those
whose mind was already made up, was none the less
helpful to a considerable number — and among them the
present writer — who without prejudice had gone to see
the statue, had examined it, had vaguely felt its attraction
amid their wondering admiration of its power, but had not
understood it. The opportunity now afforded them of
studying it in connection with the sculptor's preceding
work furnished them with a proper criterion, and they
were able to appreciate it aright.

The beginning of the story goes back to the first year
of the decade. When towards the end of the eighties the
" Socie'te' des Gens de Lettres " 2 collected thirty-six
thousand francs for the purpose of giving the author of
the " Come"die humaine " his statue, the sculptor chosen

1 "The mountains are in labour and a wretched little mouse is born."

2 Men of Letters Society.

175

The Life of Rodin

was Chapu, whose reputation had been made by his
" Jeanne Dare at Domremy " and " Mercury inventing
the Caduceus," both acquired by the State for the Luxem-
bourg Museum. This was in 1888, and Chapu died in
1891, while yet his rough model was in an embryo condi-
tion. The Committee, therefore, had to look about for
another sculptor ; and, among the letters received from
candidates for Chapu's succession, was the following : —

"yd July 1891.

" To the President of the Socie'te' des Gens de Lettres.

"DEAR SIR, — Being informed that the Socie'te des
Gens de Lettres would perhaps have to look out for
another sculptor for Balzac's statue, I write to ask you,
in this case, kindly to submit my name to the Committee.
I offer to execute a Balzac in bronze, about three metres
high, with pedestal to match, in eighteen months from the
receipt of the commission, for the sum remaining over from
the subscription. I have always been interested in this
great literary figure, and have often studied him, not only
in his works but in his native province. — I remain," etc.1

After a period of hesitation and negotiation, Rodin's
offer was accepted, not unanimously as the letter reveals
which was addressed to him on the I4th of August, by
Zola, and which gives the figures of the preliminary
vote.

" MY DEAR RODIN, — I am happy to announce to you
officially that the Committee of the Socie'te' des Gens de
Lettres, at their meeting of July 6th, selected you by
twelve votes against eight to execute the statue of Balzac,
which is to be erected on the Square of the Palais Royal.
Everything being now settled with the family of the late
Monsieur Chapu, the vote of the Committee is henceforth

1 This letter was written on the advice of Alphonse Daudet, Emile Zola,
and one or two other well-known men.

176

The Balzac Statue

final. I shall feel personally obliged if you could push on
your work as quickly as possible, and submit your plan in
November. We all reckon on your great talent to give
us a superb statue. — Cordially yours, E. ZOLA."

The Committee's anxiety for a speedy termination was
natural enough. They had to deal with subscribers,
many of whom supposed that a statue could be turned
out to order, with the same celerity and in the same
mechanical way as an ordinary manufactured article.
Three years had been wasted ; the subscribers wanted
something for their money. And yet, as literary artists
themselves, the Committee ought to have refused to let
this anxiety guide their conduct. They knew that artistic
production cannot be calculated and wrought out to date.
The responsibility for what subsequently occurred rests
largely on them. On the other hand, there was the
pledge, which was a mistake on Rodin's part, since it was
against his nature, against his method, and against the
interests of those he was desirous of serving. The promise
was not quite so voluntary as his letter of application
would seem to indicate ; Rodin knew before he wrote
that the commission would be given only on a condition
of this kind; but still it was sincere. There was the
three years' labour of Chapu that might probably be
utilised ; his other works were just then in a satisfactory
phase, and no obstacles appeared likely to interfere with
his carrying the execution straight through.

Some six thousand francs of the thirty-six had been
expended by Monsieur Chapu. About thirty remained.
It was settled, therefore, that the price to be paid to Rodin
should be thirty-one thousand francs, of which ten were
advanced as earnest-money and to provide for incidental
outlays. So the sculptor started on his new undertaking
with characteristic thoroughness and energy. Balzac's
writings being already familiar to him, he proceeded to
M 177

The Life of Rodin

learn all he could about the novelist's life, the history of
the novels themselves, the spots where the great man had
lived, the portraits and descriptions made of him by con-
temporaries. Two precious documents he had within his
reach, a bust for which Balzac had sat to David d'Angers,
and a fine daguerreotype showing the author of Eugenie
Grandet, half-length in a standing posture, the open shirt
collar bringing into prominence the broad, massive neck.
In his conscientious endeavour to impregnate his imagina-
tion with the circumstances and events of Balzac's life,
Rodin spared no pains. He even went more than once
to stay in Touraine, the novelist's native province, in order
if possible to receive from the landscape and surrounding
objects whatever influence they had exercised on the
subject he was studying. While searching for a person
sufficiently like Balzac to serve as a model, he came
across an old tailor who had made trousers and waistcoats
for him. Though he had long retired from business, the
tailor's souvenirs of more than forty years before were
precise in regard to his illustrious customer ; and, the
measures he had taken being still preserved, a suit was
provided for the sculptor's benefit.

But, the further Rodin went with his task, the more he
found that he was faced by one of the most difficult
sculptural interpretations that had yet devolved on him.
The lineaments were strange and abnormal, the char-
acter was most complex, the personality extraordinary,
the literary production phenomenal. His difficulty,
however, was not only the necessity of making a statue
in which these various elements should enter. Such a
difficulty to him was chiefly a material one, and material
difficulties had ceased to embarrass him. The fact is
that, at this time, the sculptor's mind was strongly
turned towards the Gothic conception, farther developed
by himself, of simplifying into large surfaces, adapted to
the play of light and shade, all that constitutes the trunk

178

To face page 175

The Balzac Statue

of a statue, in order to concentrate upon the head the
highest possible vigour of inner life-expression. Balzac
was just the subject for the experiment, which had been
partly attempted in the Citizens of Calais and had
succeeded.

Chapu's conception had been a Balzac seated with two
allegorical figures, a boy and a woman, at his sides.
Rodin, being opposed to the addition of other figures,
and preferring the standing position, was unable after
all to utilise Chapu's work, and had to begin de novo.
The head and face that he had to represent, and the
body which supported them, are thus described by
Lamartine : " It was the face of an element ; big head,
hair dishevelled over his collar and cheeks, like a
mane which the scissors never clipped ; very obtuse ; eye
of flame ; colossal body. He was big, thick, square at
the base and shoulders, much of the ampleness of
Mirabeau, but no heaviness. There was so much soul
that it carried that lightly ; the weight seemed to give
him force, not to take it away from him ; his short arms
gesticulated with ease." Rodin's plan, in its broad
outlines, was to fashion the individual Balzac with his
idiosyncrasies, and in him to incarnate the thinker in
action, evolving from out his brain the scheme of a
novel, spinning the mesh of its plot, elaborating its
characters, co-ordinating its events. As soon as his
gathered information allowed him, he started on a
number of plaster figures modelled in the nude, each
with a somewhat different pose of head or body, and
on some of these he draped the monkish dressing-gown
that Balzac generally wore when composing. Meanwhile,
the year 1892 was slipping away, and it appeared every
day more evident that the statue could not be finished
within the delay stipulated. Of Rodin's pre-occupations
and experiments the Committee of the " Socie"te des
Gens de Lettres " seem to have been unaware, or, if they

179

The Life of Rodin

knew, to have considered them unnecessary. In the
latter part of the eighteen months, there was an exchange
of correspondence between them and the sculptor, which
caused strained relations, and hindered rather than ad-
vanced matters. Some of the members of the Committee,
more generous and clear-sighted than their colleagues,
held aloof from the subsequent proceedings ; in particular,
Monsieur Jean Aicard may be mentioned, whose letters
to Rodin throughout evince the deepest respect and
admiration. Curiously enough, Zola followed the hostile
majority. This majority had it all their own way when
Monsieur Aicard, together with several besides who
supported Rodin, retired from the Committee.

The first tart communication was despatched by the
secretary to the sculptor on the 6th of December 1892,
reminding him of his bond in curt terms, and urging him
to be ready for the date fixed. The pin-prick must have
been irritating, when he had expended so much energy,
not to speak of money, in conscientious preliminary
labours that he might have spared himself. However,
he held his peace, and tried to continue his work as if
nothing had been said. After the eighteen months had
expired without delivery being made, another communi-
cation was forwarded to Rodin by the secretary, on the
1 5th of June 1893, informing him that the subscribers
were becoming impatient, and asking how much longer
they would have to wait ; to this note and another from
Zola conceived in the same language, the sculptor replied
that he would do his best to give the Committee satis-
faction by the autumn of 1894 or the beginning of 1895.
Before the end of the former year, a fresh correspondence
took place between himself and the Committee, accom-
panied by negotiations of a legal character. The upshot
was an entirely new agreement, from which the obnoxious
time-clause was absent. Its place was taken by another,
standing as Article 3. " No limit is imposed on Monsieur

180

Toface p'lge 181

BALZAC (SIDE VIEW)

The Balzac Statue

Rodin," it said, " for the termination of his statue. The
Society declare that they trust the word of Monsieur
Rodin, who acknowledges his moral obligation to com-
plete, as soon as possible, an undertaking to which he
is devoting every care, and which imposes a very
considerable labour upon him." In return for his
regained liberty, the sculptor consented to hand back
the ten thousand francs earnest-money which had been
paid him on his securing the commission, and to make
no claim for remuneration of any kind until he should
deliver the statue to the Committee.
Here is the text of his letter : —

" MONSIEUR LE PRESIDENT, — I thank you for transmit-
ting to the Committee my desire to become free at the
price of a provisional restitution. With the greatest
pleasure I accept the Committee's vote (of the I2th of
November 1894) restoring me the liberty necessary to the
achievement of Balzac's statue as I wish. It is then
understood from the terms of the vote you kindly com-
municate to me that you grant me as long a delay as I
shall judge needful. Rest assured that I shall not go
beyond it. My sole pre-occupation is to make Balzac's
grand figure as perfect as possible.

" The 10,000 francs, which were paid me as earnest-
money, shall consequently be handed over to the Deposit
Bank as money set aside for Balzac's statue, not to be
withdrawn, except by the Socie"t6 des Gens de Lettres
on the completion of the work, or by myself, by an
agreement to be made between us on the day I shall
deliver the statue.

" Thanking you, Monsieur le President, for your con-
ciliatory attitude, which I shall not forget, I ask you to
believe me, cordially yours, AUGUSTE RODIN."

This third article was a virtual acknowledgment by the
Committee that Rodin's explanations were reasonable,

181

The Life of Rodin

and that their action had been rather that of an employer
towards an employee, whose time they might monopolise.
They knew quite well that, between 1891 and 1894, the
sculptor had other commissions to finish, notably the
groups of Claude Lorrain and the Bourgeois de Calais,
not to speak of busts and several pieces which, being
begun, could not be altogether laid aside. When a
glance is taken at what was accomplished in those years,
the wonder is not at the delay, but that one man should
have sufficed for it all.

The publicity given to the dispute with the " Societe*
des Gens de Lettres " brought into existence a kind of
" Affaire Balzac," only less exciting than the Dreyfus
affair. It became the fashion to joke about the non-
forthcoming of the statue. Between 1895 an^ the spring
of 1898, the belief spread in many circles that, if the
sculptor did not produce it, the reason was that he felt
the undertaking to be beyond his power. " Just as Balzac
could never write a five-act play," asserted Aurelien
Scholl, "so Rodin will never be able to model a
Balzac. . . ." "But I've seen the rough model," objected
the interlocutor. " Oh ! " answered Scholl, " it's only a
bit of clay he rolls together hurriedly when anybody rings
at the studio door." Monsieur Scholl was wrong. Rodin
was successfully, though very slowly, pursuing the achieve-
ment of his statue of the novelist, serenely indifferent to
the quips and quirks of newspaper or society critics. A
fresh series of studies in the nude had been made, based
on fuller information, and a correcter idea of the novelist's
physiognomy than the bust by David d'Angers — at first
over-estimated — had afforded. It is most interesting to
compare one of the earlier " maquettes " l with the
definitive one, and to notice how greatly the sculptor
had developed his conception in the interval separating
them. When the period of hesitations was ultimately

1 Rough models.
182

The Balzac Statue

closed, and the matured plan was set forth in plaster, it
showed a figure standing with arms crossing in front of
the waist, and the monkish gown loosely drawn around,
with the empty sleeves hanging. If this swathing of
trunks and limbs concealed them in detail, they were
still divined by the fall and folds of the covering, and
even manifest in the most important reliefs.

Interviewed by a journalist in August 1896, Rodin was
able to say : " To-day the bulk of the work is done. I
have made a Balzac that pleases me. It would have been
a better one had I been let alone. But, as I have planted
him on his feet, my dear great man satisfies my concep-
tion of him. I have endeavoured to put into a simple
statue not only my admiration, but that of others for the
master-writer. A few months more are needed before
submitting it to popular inspection. Within a year the
subscribers shall have their wish, if only I am granted the
tranquillity so necessary to me."

As a matter of fact, nearly eighteen months more
passed before the last touch was put, making up about
seven years since the idea of the statue germinated in the
sculptor's mind. Then, in the spring of 1898, Rodin
packed up his finished work, and it left the studio of the
Rue de 1'Universite for the big Palace of the Champ de
Mars. Betrayed into fresh confidences at this moment
by another member of the Press, he allowed a glimpse to
be obtained of what he had thought and felt during the
interval. " I hope I have succeeded," he said, " and yet,
if I must be frank, I must own that I should have liked
to keep still for some months, away from every eye, the
statue to which I have given the final pressure of my
thumb. I should prefer to contemplate it every day for
a while, and wait until a sudden inspiration, such as
occasionally flashes through the brain, came to flood my
imagination and enable me to perfect and idealise my
work. For a work, even when achieved, is never perfect ;

183

The Life of Rodin

it is always susceptible of a modification that can increase
its beauty. What I should love above all would be to
dwell in some cloister, freed from the cares of existence,
where, like the monks of old, I might, without remarking
the lapse of days, linger over my dreams and strive to
embody them in marble. Just now, I am finishing the
monument of Victor Hugo, which is to be erected in the
Garden of the Luxembourg. I have spent five years
modelling a group composed of two women, symbolising
voices that whisper into the poet's ear. Well, it seems to
me that only a few months have gone by since I began
the monument, and I regret to part with it."

The "Balzac" reached the Salon in company with
another masterpiece of the sculptor, the " Baiser," one
of the variations, as previously remarked, on the theme
of Francesca and Paolo, and which to-day is in the
Luxembourg Museum. The contrast between the two
pieces of statuary was great. There was the marble
group of two, in which every effort had been concen-
trated on incarnating love and loveliness, with each detail
wrought out to the finest perfection ; and there was the
plaster giant, whose every outline, surface, and part, while
representing the individual in his most characteristic
traits, gave him a maximum of ideality. Referring to
the contrast the two statues offered, Rodin afterwards
said : l " When my marble group was carried away it
passed in front of the " Balzac," which I had left on pur-
pose in the yard, in order to get a good look at it in the
open air. I was not dissatisfied with the simple vigour
of my marble, but, just when it was going by, I felt it was
tame, and yielded to the other, as the celebrated torso of
Michael Angelo to the antique statues ; and I realised that
I was right, even though I were alone against every one.
My modellings are present, whatever may be said to the
contrary, and they would be present less if I were to

1 Related by Camille Mauclair in the Revue des Revues,
184

THE "BAISER," OR KISS

To face page 185

The Balzac Statue

finish more in appearance. As to polishing and repolish-
ing toes or locks of hair, this has no interest in my eyes,
and would compromise the central idea, the grand lines,
the soul of what I intended to express; and I have
nothing more to say to the public on the matter. Here
must be the limits between them and me, between the
faith they should have in me and the concessions I have
no right to make."

The latter half of the preceding statement was a reply
to the attacks of his critics during the exhibition. In
anticipation of them, Roger Marx, who had seen the figure
in the studio, wrote a few wise words which were not as
widely published as they deserved. If more generally
known, they might have prepared the public taste ; and
the subsequent expression of opinion would have had less
impulsiveness and been more reserved. "In Rodin's iconic
statues," he said, " whether of Bastien Lepage or Claude
Lorrain, the garment, relegated to the rdle of framework
or accompaniment, plays no other part than in the por-
traits of Franz Hals and Rembrandt. In nowise photo-
graphic, broadly indicated by means of intentional
abbreviations, it never interferes with the significance of
the gesture ; it never distracts the attention from the face
where life and thought are manifested. Here the attitude
is full of calm and sovereign tranquillity; the arms are
crossed in front, without letting anything be seen of the
prelate's hands that Balzac was so proud of. Con-
sequently, the eye at once seeks the countenance, and
endeavours to penetrate its significance. The bust by
David d'Angers had shown a Balzac embellished, insipid,
of Olympian gravity, whereas, according to Gautier's
testimony, the usual expression of the face was a sort of
puissant hilarity, a Rabelaisian mirth, but ennobled by a
mind of the highest order. Rodin has made it his business
to seek for that which, in this broad, frank, open face,
betokened power, will, genius ; and he has aimed at the

185

The Life of Rodin

resemblance which is required by the perspective of a
public square — a statuary resemblance, with accentuation
of such characteristics as indicate the man's personality :
to wit, the elevation of the forehead, the depth of the eye's
setting, the keen brilliancy of the glance, the bulk of the
nose, the sensuality of the thick lips. But yet, what is
the fidelity of carriage, aspect and physiognomy, if you
compare to it the expression diffused over this visage,
the complexity of sentiments that can be read there !
An indefinable smile, made up at once of kindness,
raillery and defiance, parts the lips with their sinuous
outlines; and the concordance of this smile with the regard,
the pose of a towering head, proclaim the indifference to
past insults and denials, a lawful contentment with what
has been accomplished and a trust in the judgment of
posterity."

Most of the people who, on the opening of the Salon
doors, rushed to see the long and impatiently expected
statue, committed the initial error of placing themselves
quite close to the pedestal and looking straight up at the
overhanging block. So examined, the impression was
bound to be a disappointing one. In front, the parts of
the head most noticeable were the double chin, the under
side of the nostrils, and the black cavernous holes of the
eyes, with the bristling eyebrows. Of the body, only the
foot showed below, and the shape of an arm through
the sack-like garment that descended from the shoulder
to the ground. Behind, the view, close to, was not less
bizarre ; the beholder saw what seemed to be little else
than a huge pillar leaning towards him and threatening
to fall. If, however, he walked a few yards away and
took the trouble to gauge his distance, the appearance of
the whole changed at once ; figure and face became alive.
Looked at from either side, both pose and face indicated
intense vigour ; the view from the left also made it
possible to remark the thought-contracted brow, the

186

The Balzac Statue

quivering nostril and the meaning of the slightly curled
lip. The garment too, at first so opaque, grew trans-
parent, and the simplicity of its arrangement was felt to
be intentional.

The majority of visitors to the Salon gave themselves
no trouble to find the right perspective. Many of
them followed the lead of those who were prejudiced
against the sculptor ; so that a sort of movement was
created, a wave of popular disapproval and mockery,
which, if it did not sweep all before it, yet prevented the
statue from obtaining any other success than that of
publicity. The most intelligent among the unfavourable
critics maintained, with such reasoning as theycould adduce,
that Rodin had tackled a subject too difficult for him, and
had not been able to disengage it from the block. Rodin's
past achievements were the best refutation of this argu-
ment. Other critics lavished abuse, lacking more serious
weapons. And the incomprehending part of the public
had no better objection than the college student who
wrote of the University don :

" I do not like thee, Dr Fell,
The reason why, I cannot tell,
But this I know, and know full well,
I do not like thee, Dr Fell."

The " Societ6 des Gens de Lettres " sided with the
majority. Apparently influenced by the first derisive
outburst of the crowd, they passed a hurried resolution in
the early days of May, in which they protested " against
Monsieur Rodin's rough model, and refused to recognise
it as a statue of Balzac." The resolution was forwarded
to the sculptor, together with an intimation that the
Society would neither receive the work nor pay for it —
this, notwithstanding the 1894 agreement which bound
them to accept what should be delivered.

Rodin's first impulse was to fight the matter out. Un-
moved by hostile comments and conscious of his own

187

The Life of Rodin

worth as an artist, he was not inclined to adopt any com-
promise that might be interpreted as an admission of
error on his side. Meanwhile, however, other events
were preparing. No sooner was the Committee's letter
made public than a communication reached him from
Monsieur Auguste Pellerin, a well-known, rich art-amateur
of Paris, offering to buy the Balzac. For a moment,
Rodin was tempted to accept the proposal, since he was
seriously out of pocket, and the twenty-thousand francs
offered would be a welcome addition to his purse. But
there were other competitors in the field. Letters poured
in from admirers anxious that the statue should still be
erected on a public square, and promising subscriptions
for the purpose. A committee of sculptors, painters and
other celebrities was formed, with such men as Constantin
Meunier, Camille Lefevre, Bourdelle, Jules Desbois and
Lucien Guitry on the list, and the money would easily
have been collected. A third proposal came from Brussels,
soliciting the honour of possessing the statue.1

These various testimonies of esteem were consoling.
They also enabled Rodin to reflect more leisurely on the
line of conduct he should pursue. Second thoughts con-
vinced him that to drag a work of his art into a court of
law, and to make it the subject of legal dispute, would be
infinitely distasteful to him. He, therefore, abandoned
all idea of a lawsuit. His further decision not to sell
the statue to anyone, disappointed a good many; but
none were surprised ; it was quite in the character of the
man. Here are the lines in which he made known his
determination : —

"MY DEAR FRIENDS, — The statue of Balzac was
ordered from me by the Socie'te' des Gens de Lettres for

1 During the exhibition of the statue at the Salon, a telegram was sent
from the International Exhibition of Artists at Knightsbridge, London. It
was worded as follows : " It is said, you are withdrawing your Balzac from
the Salon. If so, the Council invites you to send it here."

1 88

To face page 18

BUST OF FAI.GUIERE

(see page 93)

The Balzac Statue

a site in Paris, which the Society had obtained from the
Town Council. It is to such a destination that my statue
is fitted in my thought. This monument is the logical
outcome of my artist-career. I take the responsibility
of it ; and my desire is to remain in possession of it
until the day, when, as I have a right to hope, justice
will be done to me. I thank you all, my dear friends, for
your courageous devotion. It is with real emotion that
I beg you to express my gratitude to all those who, in
such a valiant way, have testified to me so much sympathy.
I consider this, up to now, as my best reward. Let me be
content with this manifestation ; and ask you to convey
my sincerest thanks to such as have joined you, and at
the same time my formal wish to remain the sole
possessor of my production.— Yours, my dear friends,
with deep obligation, RODIN."

To complete the story, Falguiere, who had offered to
take up Chapu's succession in 1891, was now entrusted
with the commission, and visitors to the Salon a year
later were able to see there his presentment of the novelist
in plaster. The marble statue was subsequently erected
in the Avenue Friedland, near the "Arc de Triumphe,"
the original site of the " Palais Royal " having been aban-
doned. The sitting figure, with bowed head, and hands
clasped round the crossed knees, which is the rendering
Falguiere has given, is an ordinary " bourgeois," with
little or nothing to characterise him. It is probable
enough that some of the opponents of Rodin's work, after
their inspection of the substitute, regretted their preci-
pitancy of judgment.

It is equally probable that if Rodin's request for the
statue to be cast in bronze had been acted upon, the
Committee of the Soci^te des Gens de Lettres and other
critics would have perceived the really fine build of the
body, and that those things which shocked them in the

189

The Life of Rodin

plaster would have appeared quite harmonious and natural
in the bronze. Even in the plaster, a wonderful attrac-
tion is experienced after lengthened contemplation of
the figure. The better the sculptor's intention is under-
stood, the more it is approved. One feels that he has
added a culminating perfection to the Gothic style
of statuary, with its subservience of form to the idea.
To have done this, and yet to have given us the in-
dividual, for Balzac is there, a very living Balzac, is the
best proof that the conception Rodin endeavoured to
execute has not failed in the process.

And so the monument remains, awaiting its hour.

190

CHAPTER XIII

RODIN ON THE ANTIQUE — HIS LETTERS

THIS chapter may be considered as a sequel to the one
giving specimens of the sculptor's familiar conversation.
In the latter half of it are given portions of a few letters
he has written ; and, in the former, two short articles,
signed with his name, and published in a 1904 number
of the Musee,1 a comparatively new bi-monthly magazine
devoted to ancient art. These contributions, being the
first he has ever made to a review, have a biographical
importance, even apart from the subject ; and the interest
is increased by his being a connoisseur in what he treats
of. In fact, they are lectures on his hobby. His small
leisure not allowing him to inscribe all the words on
paper, they were communicated to the editor of the
magazine, Monsieur Georges Toudouze, who took them
down in shorthand, and submitted his copy to the
author for correction and approval. So the articles are
really Rodin's own language and thought. The first
one is entitled, " The Lesson of the Antique " ; and this
is what the sculptor says : —

" First of all, the antique is life itself. There is nothing
more living than it, and no style in the world has known
how, or been able to interpret life like it.

" The antique knew how to interpret life, because the
ancients were the greatest, the most earnest, the most
admirable observers of nature that had ever lived.

1 Published at the address of the Director, Monsieur Arthur Sambon, 6
Rue de Fort, Mahon, Paris, by whose kind permission, and that of Monsieur
Toudouze, the articles are translated and reproduced here.

191

The Life of Rodin

" The antique was able to interpret life, because the
ancients, owing to this mastery in the observation of
nature, saw what was essential ; that is, the grand planes
and the details of these grand planes. They confined
themselves to the great shadows given by these grand
planes ; and, as the truth itself is there, never have
their figures thus constructed been in danger of losing
firmness.

" See ! Let us take examples. Here is a hawk in
stone which was sent me from Egypt — all the details are
enveloped, studied as a whole ; and, when I place it like
that on my wrist, wouldn't you say that it was going to
fly away ? This little bronze cat, which is Egyptian too,
has not a hair visible, detailed apart, and yet cannot one
fancy that, when stroking its back, the velvet of its fur
will be felt ? Here, again, is an ibis, one of those little
bronzes of which Egypt has produced such wondrous
examples — there is not one feather, but there is the
aggregate of all the feathers in this nervous body stuck
up on those two long legs ; and yet look how he walks,
look how he is going to fly.

" Ah ! those people were true \

" In a different way, I grant ; but they were all so in
one way or another. The Etruscans are more gloomy,
the Greeks gave greater suavity to the shadows, the
Egyptians and the Assyrians are more savage. Ah !
the Assyrian figures! they are as terrible as tigers.

" So this truth, just see what it yields — that is a hand, a
marble hand, which I found at a bric-a-brac dealer's. It
is broken off; it has no fingers, nothing but a palm ; and
it is so true that to contemplate it, to see it alive, there
is no need of its fingers. Mutilated, it still suffices, because
it is true.

" Next, the antique is simple, and that is a great force ;
it is simple, and it knows how to simplify, which gives it
astonishing energy.

192

Rodin on the Antique

" And then it is much more studied than appears at
first sight. I once had an opportunity of realizing this
in a practical way. While engaged on my ' Age
d'Airain,' I paid a visit to Italy, and I saw there an
Apollo, with a leg in exactly the same pose as that of my
figure on which I had spent months of labour. I studied
it ; and remarked that, whereas in surface everything
seemed summary, in reality all the muscles were properly
constructed, and the details could be distinguished in-
dividually. The ancients studied everything by profiles,
by all the profiles successively ; because in any figure
whatsoever, in part of a figure even, no one profile is like
another ; and it is only by studying them separately that
the whole appears simple and living. Thus, for instance,
this vase, whose neck resembles the stalk of a leek, is
life-like. Why ? Because it was made from nature by
profiles, whereas we should turn it on a lathe, and should
obtain only something stiff and hard. The whole secret
lies there.

" In reality, that, let me tell you, is the capital error of
the Neo-Greek school. It is not the type which is and
must be antique, it is the modelling. For want of
understanding that, the Neo-Greek school has produced
nothing but cardboard.

" It is a bad thing to give the antique to beginners.
One ought to finish by the antique, not begin by it.
When you want to teach any one to eat, you give him
fresh aliments, so that he may learn to crush them.
The idea would never occur to you of giving him
already masticated food to try his teeth on. Well !
when you want to teach any one sculpture, put him in
direct contact with nature ; and, when he is well versed
in nature, you may say to him : Now here is what the
antique was able to do. And then the antique will be a
source of new energy to him. On the other hand, if
you give the antique to a beginner who has never
N 193

The Life of Rodin

grappled directly with nature, he will understand nothing
about it, he will lose his own personality, you will make a
plagiarist of him ; and, instead of making his own prayer
to nature, he will repeat to her the prayer of the
antique without understanding its language ; and he
will go on doing so all his life, and he will die an old
scholar, but not a man.

" To teach the antique at the outset of a person's
studies is to render it incomprehensible. First of all,
the antique is not taught ; that is not possible ; this art
of truth and simplicity cannot be taught. The sculptor
works on nature ; and then, when he has well studied a
thing, he goes to the museum, and sees how the antique
interpreted what he has just been seeking in front of his
living model — that is the truth. But if, with his eyes
closed to nature, he goes straight to the antique, our
sculptor cannot transport this vision into his work, except
as an echo ; so what he makes will be neither antique
nor modern — it will be merely bad.

" I told you it was the modelling, not the type, which
is antique. Now this is what can be done. In our days,
a man may quite well produce the antique, not in the
false sense current of antique type, but in the true sense of
antique modelling. Such a man (whether he be a sculptor,
a painter, or an engraver, matters little) will take nature,
and, if he has the force of the antique, of the veritable
antique, he will produce an antique which is altogether
different from the spurious antique taught, but in entire
agreement, in real relationship with the works in our
Museums. Life, nature, the great shadows and planes —
that is the antique. Take Carriere, for example. His
power lies in his structure. Carriere in his modern art is
the true continuer of the antique. These things need to
be repeated to the young ; the Neo-Greek school desires
them to subject themselves to antique influences. It is
doing things backwards ; it is starting from the end.

194

I!UST OF GUII.LAUMK

'l'o face page 194;

Rodin on the Antique

Nature first, the antique next. That is the road to follow.
You don't give the Divine Comedy or the Legend of the
Centuries to children that cannot spell. Life before
everything ! When one begins with nature, it is possible
to go to any lengths, to inventions that are materially the
most unlikely. The antique itself is an example. Do
you know anything more impossible in nature than the
Centaur ? Two hearts, two bellies, four lungs ! . . . But
do you know at Olympia, at the Parthenon anything
finer ? Those people were so well versed in nature that
they became her accomplices and created beings which
were not old-looking phantoms, but beings that lived in
spite of the impossible physical conditions in which they
were forced to live.

" And since it is my opinion on the antique that you
wish, this is it. The antique is a sublime thing, because it
is a thing that has come straight forth from nature and life.
In my idea, if one studies it badly, one would do better
not to study it at all. It is not the artist's alphabet, it is
his reward for working. The veritable order it gives us
is not to copy it, or to interpret it, but to go and do like-
wise— which is not the same thing — and by all its works
it gives us as] a lesson to go only to a single school, the
School of Nature.

" That is how I understand the antique and why I love
it with passion. AUG. RODIN."

The second article is upon a statuette of the old collec-
tion Gr6au in the Naples Museum. Monsieur Toudouze
having taken the sculptor a photograph of it, the latter
analysed its plastic qualities.

"In the first number of this magazine, I expressed
some few ideas which are dear to me, and to which I
attach great importance, referring to the antique art that
so many young men have wasted their energies in study-
ing, misled by unintelligent commentators. The chance

The Life of Rodin

which puts into my hands the photograph of this admir-
able female form allows me to resume my exposition and
to continue it, not in a merely theoretic manner, but, on
the contrary, in a practical fashion.

" To assert that the antique — the clear portrait of the
marvel of life — is beautiful, is to employ an insufficient
term, a superficial praise ; for beauty is a culminating,
not a starting point ; and a thing can only be beautiful, if
it is true : outside of truth, no beauty. Truth itself is
nothing more than complete harmony ; and harmony is,
in fine, only a bundle of utilities. Now, what is the
model itself of useful things? It is nature, in which
everything has its reason of existence ; known or unknown
of our limited vision, it matters little. The miracle of
life could not be perpetuated without the continual re-
newing of a universal equilibrium. In nature, everything
is therefore a utility ; between and above these utilities,
reign harmony, general law ; because harmonious nature
is true, and because true, she is beautiful, eternally and
prodigiously beautiful. The people of antiquity felt this
immense rhythm ; they knelt before it ; and their art,
inspired by it, modelled on it, appears to us the most
natural of harmonies, and consequently a sublime expres-
sion of beauty.

" Take the gesture of this woman, who, gently fallen on
her two knees, slightly arches her bust. It is beautiful.
Why ? Because, some commentary will say, the learned
art of the sculptor endeavoured to seek and was able to
find an elegant attitude which he translated with a sure
chisel. An absolute error in my opinion : that system is
a procedure of our period, of our time, governed by the
employment of the studio model, the worn-out model,
stereotyped in twenty-five or thirty conventional poses,
like an automaton without life. To-day, too often the
school procedure directs the professional model, who in
turn directs the docile artist to an imposed tradition. I

196

Rodin on the Antique

believe that in this woman's statue, there is something
quite different. Here, it is nature who has directed the
model ; according to the useful and harmonious rhythm
that bent her knees and swelled her loins to counter-
balance her gesture, a woman set her muscles in move-
ment— a natural woman, a woman like others, and not a
professional of the model table, executing the conven-
tional kneeling gesture — and in the presence of this
beautiful and simple movement, the sculptor produced
this statue.

" So now, to-day, if you wish to understand this work,
do not copy it, but turn your back on it, take a woman
who happens to be by, make her repeat the gesture, and
look at her well. Each muscle moves in turn ; and, in
a flash, shows you a new beauty. The thing that stirs in
nature is the professor that comes and explains to you.
Then everything becomes calm again. It is finished;
but you have understood, you have done better than
penetrate into the exterior construction of this piece of
marble ; you have for a moment lived over again the
impression of him who originally produced it.

" Great supple lines are the resultants of the harmony
you caught a glimpse of, two thousand years after the
sculptor. He felt them so well that his work is a small
living world by its force and its equipoise. And then,
without his knowing why, or any one else, simply because
the relations of the profiles were well co-ordinated, because
the geometry of forms exercised a magical and irresistible
enchantment, the living soul of this woman, long dis-
appeared, came to inhabit for ever this marble statuette
that represents her. Criticism calls that eloquence, emo-
tion,— words empty of meaning ; in reality, it is soul
which is fixed there, immortalized by truth.

" If now you wish to study by what means the artist
constructed this pure piece of universal truth, nothing is
more easy.

197

The Life of Rodin

" It is perfectly useless to drag in here laws, rules,
principles which have germinated only in the brains of
commentators dissecting a series of works twenty centuries
afterwards, and of which no artist ever dreamed. It is
equally useless to employ a vocabulary bristling with
words forged on purpose and understood by hardly any
one. In art, the most difficult things are explained with
words you may hear in the street. Here you have neither
laws, nor outlandish words. A man has made this statue.
How did he set about it?

" We certainly shall not come to know it by studying
the antique ; even if we were to study this for twenty
years, we should know only the nomenclature, but not its
spirit. As indeed in order to understand all styles, we
must begin by studying nature. Rembrandt is not to be
understood by copies made at the Louvre. The compre-
hension is reached only through nature. It is not by
addressing ourselves to the antique that we shall under-
stand this great consciousness that has descended to us
from so far; it is by addressing ourselves to his
inspiration.

" Now nature, kind nature, is always at hand, patiently
waiting for some one to reproduce the antique. The
model she offers is at hand too, the same as before, alive
and waiting for some one to come at last, no matter from
where. For it is a mistake to fancy that the antique is
of the south. It is of everywhere ; the antique may be
reproduced with a Dutch or an American woman, the
type being nothing, and the model being all.

" It is pretended that Ingres used to say : ' Make the
two profiles, and put inside them what you will.' The
error was a huge one. Nature contradicts it point-blank ;
our statuette also, being here to prove that what con-
stitutes the essence of the antique is the truth of all the
lines. A single glance at the figure we are considering
will show that the marvellous truthfulness of it lies in

198

To J <ice page 199

Rodin on the Antique

the union of the profiles of all the sides. In the full
light, the lines forming the front surface are only seen as
one walks round it. To the superficial observer they do
not stand clearly out, but the artist realises the union ;
and, although the eye may not seize the whole of the
form, it knows that the form is there, and that, being
present, truth is there also. If certainty is desired, the
study of each profile will furnish an irrefutable proof.

" Hence, this body of the woman has become an
admirable living thing, of sublime harmony, and of a
rhythm of utility which contains an infinite grace that
charms us. The sculptor gave the woman free action.
Unlike us, he took care not to disturb the harmony of
nature. Only, as all the ancients, in order to show the
light with greater intensity, he slightly exaggerated the
half-tints. This procedure will be best comprehended
by placing a moulding from nature by the side of an
antique, the moulding appears more meagre compared
with the antique rendered more puissant through the
slight exaggeration.

" In this marble, there is nothing which is not simplicity
itself, for nature at bottom is very simple in her beauty ;
but, in this geometric beauty, life is contained. The
woman is in reality nude, since it is the silhouettes of
her suave ample form which shine, and the garment
that covers her is also alive, not of itself, for it is not
natural that a drapery should have a will, but because it
receives its movement from the nude, because, living
with the body, it lives like the body and the body's
simple movement. There is no need, indeed, to
explain matters by the trick of wet drapery, which, in
this particular case, would form circles in every direction,
but which has not been done. Lo'fe Fuller recently
obtained the same effect without needing to wet her
draperies.

" And now, shall we seek for similar attitudes to those

199

The Life of Rodin

of this statue ? What would be the use of it ? Such
comparisons are most often a factitious cataloguing which
abandons the substantial for the shadow ; for, if the antique
was passionately fond of repeating the same models, it
never repeated the same modelling. But the modelling
is just the important thing.

" To this work may well be applied the term morbidezza,
which expresses with such fulness of meaning the life it
contains. We have here a morbidezza of Correggio.

"There is in this piece of marble an astonishing
mystery of life which effaces all thought of size. The
figure is only a few centimetres large ; it might just as
well be life-size, proving once more that when a thing
is well organised, the size is in the fashioning not in the
dimensions. Thus, for instance, if the Eiffel Tower and
a Tanagra were to be photographed, and the two proofs
were shown to some one that knew neither the one object
nor the other, I am sure he would declare the Tanagra
was larger than the Eiffel Tower ; for it is truth which
is great, not dimension. A pear, an apple, from the
modelling point of view, are as large as the celestial
sphere.

" This radiance of truth is such that, finding no word
to interpret it, we have called it ideal.

"Now, if I am asked what this statue is, I must
confess that I don't care. Is it a nymph of the waters ?
If you like. In reality, I should be tempted to think
that, when caressing this piece of sculpture, the sculptor
was seeking nothing else — and that was sufficient — than
to interpret the mystery of nature. He did so with such
power that it gives us spectators ideas ; and the ideas that
are ours we fancy, by transposing them, to be those of
the artist.

" The antique, which did not understand what we call
1 fineness,' and which understood only structure, both
largely and strongly conceived, had, in fine, an imagina-

200

Rodin on the Antique

tion (in the sense we give to this word) inferior to its
supreme passion for truth, to its exalted love of the
human form, which, like nature in the aggregate, seemed
to it celestial.

" And in terminating, one cannot fail to perceive one
thing, namely, that the commentary of antique art is an
eternal repetition of the same words — life, nature,
harmony. But is not repetition study itself, which
never changes, yet increases each day a little more ? l

"Auc. RODIN."

It would be an exaggeration to attribute to Rodin's
letter-writing the same importance as to his spoken
thought in familiar utterance with a friend or sympa-
thetic listener. In his fingers, the pen is less docile than
the modelling chisel. But, on the other hand, there is
so much revelation of character in the short pithy notes
which his friends have received from him by dozens, and
also frequently such felicitous phrases, that not to give
some quotations would make this sketch of the sculptor's
life and work less representative.

One of his earliest correspondents, after returning to
Paris from Brussels, was, of course, Roger Marx, for
whose support in his hard-fighting period he felt most
grateful. Writing to him in December 1887, he said :

" What pleases me is that with you nothing is capri-
cious, everything proceeds from faith in art, which you
instinctively love with passion. Consequently, my dear
friend, I am happy in your friendship, which will be
lasting; for I shall benefit by your ardent aspiration
towards the art of expression which you desire."

There is a previous letter, dated November 1885, with

1 Another article on " The Gothic in French Cathedrals and Churches "
was published in 1905 in the February number of the North American
Review. This article was taken down by a shorthand writer under Mr
Rodin's dictation, and translated by the author of the biography.

201

The Life of Rodin

a trifle of discouragement and satire in it, and containing
its own explanation.

" You hardly suspect the apropos of what you have
published in the ' Progres Artistique,' and dedicated to

me. For you know that my friend G wanted to sell

something of mine to a large firm, and yet all he sees in
my studio would not please. So you see what a pity it
is not to have talents for the service of large firms and
rich amateurs. There will remain, therefore, only men
of letters and artists who are not afraid, and who, like
you, my dear friend, will take what is my preference in
sculpture."

In December 1887, he wrote a second time, with men-
tion of the painter Puvis de Chavannes, whose " Poor
Fisherman " the State had acquired on Monsieur Marx's
recommendation.

" I have seen Puvis de Chavannes ; he called at the
studio, joyous as a child to see my studies, which pleased
me I can't tell you how much. But I don't think he
would have chosen as well as you, as regards his own
exhibition, wishing, as he did, a museum canvas, which
has no meaning, whereas the c Poor Fisherman ' is his very
soul."

Illustrative of the change that coincided with his going
to live in the country is a paragraph indited in 1892.

" For the evening, I have carried my weakness to the
extent of suppressing the regulation dinner at home,
everything being ordered in view of the morrow's work."

Quite a recent letter addressed from Florence on the
2nd of November 1902, throws additional light on his
sentiment towards the ancient and modern. He exclaims :

" How is it that in Italy great artists are so great in the
street that their name is in the mouth of all, and that in
France it is almost the contrary? Our masterpieces of
architecture all ought to be defended. But our ignorant
committees are monstrous and kill in the name of art. I

202

Rodin on the Antique

feel it restful to see the love of this country for its gods,
Dante, Donatello, Michael Angelo, Perugini. The peoples
of the north still have a trace of barbarism. Just think
of Shakespeare unknown ; of Beethoven and Rembrandt
dying in poverty as the sun dies in the fog. How good
this love (of the Italians for their masters) seems to me !
Methinks I am at home, the real home. Ah ! the primi-
tives ! what peace comes from them ! Oh ! travellers !
who are weary for want of something to do, come and
look ! Begin to live. All the old time is misunderstood.
Look at it ! Pardon me, my friend, all this, which is not
in my means of expression."

Unfortunately the early letters addressed to Mr Natorp
are dispersed. A selection from them would have been
the proper complement of this old friend and pupil's
reminiscences. In place of this, two of later date may be
given, since there is an allusion to the long-standing
intimacy: The first is dated September the 6th 1897.

" MY DEAR FRIEND,— Your letter and what it contains
is very flattering to me. Indeed, I have always been
charmed with your real friendship. It is true we have a
like taste in sculpture. . . . The fine portrait that Legros
painted of me lias come back ; and is one of the things I
most value. . . . And you, dear friend, have your plans
been partly realised, and have you some sculpture at the
Academy this year ? I am staying with my friend Fenaille
who published the drawings.

CHATEAU DE MONTROZIER, AVEYRON."

The second is an answer to Christmas wishes, and bears
the date of the 23rd of December 1900.

"MY DEAR NATORP,— You are faithful to your old
professor. I am pleased and touched by your kindness
to me. I wish you also a Merry Christmas, and recall
the time when we used to do sculpture together. You

203

The Life of Rodin

are the only one of my pupils to keep up the ' Auld Lang
Syne/ and I thank you from the bottom of my heart. . . .
My own affairs have succeeded, especially from a moral
point of view. Purchases have been made by foreign
museums, for example, in Germany and in Copenhagen.
I shall drink to your health on Christmas day. — Your
friend, RODIN."

A few letters have come into the present writer's hands
addressed by Rodin to a friend who prefers to remain
anonymous. His name is mentioned in the book else-
where as one of the men who have been for years with
the master both in evil and in good days, and who re-
ceived sincere recognition of their fidelity. The first letter
is dated the 2Qth of June 1884, and marks the beginning
almost of the intimacy.

"... You know," Rodin writes, "how happy your
sympathy makes me. It seems to me you have been my
friend for a long time ; and I write to you without seek-
ing for phrases, as a plain man, in full cordiality. But
if my literature is weak, I join a little sketch to divert the
attention. . . ."

In a second he speaks of an accident or a failure in his
work.

"... An unfortunate thing has happened to me. I
thought I had finished my woman's bust yesterday, and I
have ruined it. It will have to be begun over again.
Three weeks lost ! Ah ! how annoying ! . . . I begin to
be afraid ; and must now work hard. When I leave the
studio, my ideas, like birds, are too slow in coming back ;
and I spend whole days in trying after an effect. . . ."

A third letter written in May 1885 shows how close the
friendship had become.

"... It is another sentiment, more than thanks, which
for some time I have felt towards you. Our like tastes
and judgments are a bond of union between us. I should

204

THE ETERNAL IDOL

Tojace pagt 204

Rodin on the Antique

be pleased for you to have some little thing of my sculp-
ture, being certain that in your literary execution there
must be the same minute work that you attribute to
me. . . ."

A fourth, dated the 6th of September 1891, refers to the
Balzac.

"... And yet, friend, if I did not work hard at my
Balzac, I should be bored. We toilers with the hand
cannot do with an indefinitely prolonged enjoyment of
pleasure. We are like the falcon (who must go a-hunting
and bring back what he finds) — and need to be kept on
the alert if we are to be cheerful. I am making as many
models as possible for the construction of the head, with
types in the country ;l and, with the abundant information
I have secured, and am still procuring, I have good hope
of the Balzac. . . ."

A fifth in February 1892, comments on an article written
by his friend in the Figaro.

"... What precision without emphasis ! It is one
of your qualities. To be true and simply that. The
article will create you enemies, but you will be stronger
than them all by being always as true. Truth has an
eternal constraining power. . . ."

The last quotation is from a letter, dated the I2th
of October 1900, and was called forth partly by the
reading of another of his friend's publications.

"... I think that you and I are all the same, suc-
ceeding in obtaining a hearing from that deaf collectivity
—the public, badly directed it is true, and which turns
like a weathercock, repeating two or three words, always
the same. Dante has given a circle in hell of them,
making them insignificant shades all similar. ... In
the pleasure I experienced when reading your note, I
could not help reviving the episodes of our journey, dear

1 Where Balzac lived.
205

The Life of Rodin

companion, I carrying my wallet of heavy tools, and you
more lightly laden but yet more full of care. . . ."

To Henley, from the beginning of their correspondence,
Rodin wrote with great cordiality ; and, in each suc-
ceeding letter, the tone of familiar confidence was main-
tained or increased. One of the '80 decade letters
confirms information given as to the way in which the
Victor Hugo bust was made.

"... He has not — what is called — posed ; but I have
lived with him, lunching or driving or frequenting his
soirees for the last four months, with the bust at his
house, which allowed me to work there always. Some-
times I was with him whole afternoons, but I did not
have him as a model that one places as is most con-
venient for the purpose. . . ."

Another of the same period contains Rodin's preference
on the choice of a photograph.

"... I have sent you a photograph, which seems to
me a very good one. It is one that I should choose for
engraving. As it is black, I have sent a paler one, so
that the engraver may discover the details he would not
see on the black copy; but the dark one is the most
effective ; and the beauty of its powerful impression, like
a Rembrandt, pleases me exceedingly. . . ."

Undated also, as the two preceding, the following
letter is one of those brief expressions of feeling char-
acteristic of the master.

" MY DEAR HENLEY, — I am very happy to hear from
you, and your note delighted me. Think of me sometimes
like that, and send me news about yourself, your beautiful
daughter, and Madam Henley. Engrave, my dear friend,
I am glad that in England I am not losing the small
reputation I have already. — Yours, RODIN."

Writing some ten years later, on the 4th of November

206

Rodin on the Antique

1898, after the episode of the Balzac statue, the sculptor
unbosoms himself without reserve.

" MY DEAR FRIEND, — You have written me a letter
which has deeply stirred our old friendship. We have both
reached the same reflection ; our lives are, in truth, some-
what similar ; and I have had, too, terrible sufferings in
affection. Profound, pleasureless melancholy has come
upon me. The struggle I must carry on still wears me
out ; and yet I am so proud that I cannot degrade myself,
which, however, would be the only way of escaping from
my embarrassments. What a sorry time we live in !

" Some believe in progress because there are telephones,
steamers, etc.; but all that is only an improvement of the
arm, the leg, the eye, the ear. Who shall improve the
soul, which will soon disappear?

" My dear friend, I don't know how I have managed
not to live and have a reputation that another more cute
than I would render so lucrative. Moreover, I find that
the length of the struggle tells on me. How I wish I
could have my child's soul and fairy religion of yore to
uphold me ! My dear friend, I envy you if you have still
your pen at the service of your thoughts. ... I con-
gratulate you (on your book). We have the misfortunes
that come with age ; but you have compensations ; and
the respect shown to you by your younger contemporaries
who accept your advice is no common thing. Good-bye,
my dear great friend. — Affectionately yours, RODIN.

"P.S. — And our friend Stevenson who was so dear,
also lost on the way, leaving only his glorious name ! "

Two Christmas letters in 1901 and 1902 are full of
delicate sentiment. In the first we read :

"... I am happy to send you the expression of my
faithful and admiring friendship. You know how far life
is spent from one's friends and, as it were, at the galleys,

207

The Life of Rodin

where there are always intruders at one's heels. It
refreshes me to write to you with the hope that your
health may be re-established, undermined as it has been
by the loss of your daughter. You were inconsolable,
dear friend; and it is more than a man's strength can
bear to always remember his misfortunes. . . ."
The second begins :

" MY DEAREST POET, — I always write to you with the
feelings of a brother. You have been so generous, so
faithful to the friendship you bear me ; your life is so
artistic and poetic ; . . . everything in your home yields
matter for thought, just as your life with its energy and
admirable character. Accept my best wishes, ardent and
sincere, for yourself and Madam Henley. . . ."

The last letter penned by Rodin would seem to be a
farewell to his dying friend. It is dated the 6th of July
1903.

"... From my heart to my faithful friend Henley.
How well I remember your sweet home and Madam
Henley's affection for you. You have also your thought,
dear friend, which animates you, and, through your
poetry, England. To you, glorious thinker, your old
friend who loves you. AUGUSTE RODIN."

208

CHAPTER XIV

RELATIONS WITH AMERICA — THE SARMIENTO
MONUMENT

JUST at the time when the Affaire Balzac was beginning
to enter into its acute stage, in other words, in January
1894, Rodin received an intimation from Buenos Ayres
that his name had been brought forward in connection
with a proposed monument to the late1 Domingo
Faustino Sarmiento, who was President of the Argentine
Republic between 1868 and 1874, and had died in 1888.
It was especially the educational philanthropist that the
Argentines wished to honour, most of Sarmiento's life
having been devoted to promoting the instruction of the
young and increasing the number of schools.

The first intermediary between the Buenos Ayres
Committee and the sculptor was an Argentine business
man residing in Paris, whose name was Marco del Pont.
After a preliminary exchange of inquiries there was an
interval of nearly twelve months before real negotiations
commenced. Rodin's experiences with the Chili monu-
ments had made him cautious, and he had stipulated
conditions that would not leave him at the mercy of
events. About the close of 1894, the following com-
munication was handed him, through the Paris proxy,
from Sefior del Valle, who was Chairman of the Buenos
Ayres Committee :

1 Born at San Juan, 1811. Forced to emigrate to Chili in 1842 ; created
there the first normal school in South America. Persecuted in Chili, he
travelled in Europe ; returned to Argentine, and was elected senator in
1860. Minister in 1861, Ambassador to Chili in 1864, to the United States
in 1865.

O 209

The Life of Rodin

" Beg Monsieur Rodin to re-read Sarmiento's biography,
and tell him what an exceptional man Sarmiento was,
and how deserving of the monument to be erected to
him, as of the effort of the sculptor's artistic genius. To
my mind, the figure on the pedestal ought to be the
expression of intelligent force. Sometimes, Sarmiento
himself said that his book, " El Facundo," was like a
rock of the Andes with which he had destroyed barbarism
in the Argentine Republic ; and, as his whole career was
spent in this struggle for civilisation, I think we might
give material form to the idea by representing a Titan
boldly hurling a huge piece of rock. In order that the
allegory may not be taken as the expression of mere
physical force, it would suffice for the artist to put into
the features an expression of high intelligence. I think
also that the statue should be represented standing in an
attitude and gesture that would convey the impression
of strength in repose, the concentration of the intimate
thought of a man of action who was also a thinker. The
bas-relief might have as its subject Sarmiento as an
educator with young children around him. Tell Mon-
sieur Rodin that half a million men are indebted to
his influence for their knowledge of reading and
writing."

The preceding document has been quoted at length,
partly for the details furnished on the subject of the
statue, and partly as a reference to prove that the sculptor
pondered on the hints given and profited by them in his
execution. The suggestion about the rock-throwing he
did not see his way to accept. It would have been a
hopeless task to put a stone in a man's hand, and idealise
the casting of it. His proposal was for the pedestal to
allegorise Sarmiento's achievement by a combination of
the Apollo and Hercules myths, and to represent the
sun-god as vanquishing the crawling snakes of error and
ignorance. This project was ultimately adopted, as

210

STATUE OK SARMIENTO

To face page 210

Relations with America

appears from clauses of the agreement drafted in August
1895 :—

"The monument," we read, "shall comprise a bronze
figure, two metres high, representing Senor Sarmiento,
and a pedestal, five metres high. One part of the
pedestal shall consist of a single block of white marble,
three metres and a half high, with a figure on it in full
relief, representing Apollo fighting with a hydra. The
crowning portion of the pedestal shall be of another piece
of marble, but of the same quality. The arms of the
Argentine Republic shall be placed behind the pedestal.
A basement, one and a half metres high, shall complete
the monument."

The total price to be paid to the sculptor was seventy-
five thousand francs, the most he had yet received for
any work public or private, but not large, considering
that he had to find all the material and pay all inci-
dental expenses, save the transport to South America.
Three and a half years were fixed as the limit for the
completion of the work, and the money, which was to be
paid by instalments during its progress, was, in the first
instance, deposited with a cousin of Senor Marco del
Font's, bearing the same name. The agreement was
signed on the 3Oth of November, and, as soon as might
be after, a commencement was made.

In spite of the sculptor's precautions about the pay-
ment, difficulties cropped up in the course of 1896, which
for a short time threatened to disorganise everything.
The Buenos Ayres Committee, deeming it preferable that
the money should be deposited at the Credit Lyonnais
Bank rather than with a private person, requested Senor
Marco del Pont to give up possession of the sum re-
maining in his hands, and as the latter demurred, legal
proceedings were taken. However, this cloud blew over,
the dispute was satisfactorily terminated ; and a new
proxy was appointed in Paris, to wit, the Argentine

The Life of Rodin

Minister, Senor Miguel Cane. The latter took great
interest in what Rodin was doing; and spoke to him
even of another projected monument in Buenos Ayres —
that of General Belgrano — the fee being one hundred
and forty thousand francs; but, for some reason or
other, the matter did not go any further. Like Senor
del Valle, the minister seems to have had very pro-
nounced opinions as to what the statue should or should
not be, and formulated them, amicably but bluntly, in
his interviews with Rodin and his letters to him.

"You tell me that Sarmiento's figure is practically
finished," he wrote on the i6th of October 1896; " I hope
that you have paid attention to the observations I made
you on the subject of the physical type of the personage,
and that now I shall see the true Sarmiento."

This letter has its importance, as its author alluded
to it pointedly in a correspondence that took place when
the monument arrived at its destination. Probably a
little nervous on account of the sculptor's delay in
delivering his Balzac, Senor Cane* also wrote frequently
to ask if one or another part were ready. Whether his
reminders accelerated the progress or not, Rodin termin-
ated his undertaking within about the period laid down ;
and, in the last months of the century, the huge mass — the
marble alone weighing at least twenty tons — was shipped
off to South America. Senor Cane had quitted Paris
definitely in the autumn of 1898 ; so he was on the other
side to superintend the disembarking and the conveyance
of the monument to the spot where it was to be erected.
The site was a plot of ground close to the crossing of
two avenues in the capital, one bearing the hero's name ;
trees bordered the inter-spaces and a fountain adorned
the centre of the cross roads. In his lengthy epistle
announcing the arrival, Senor Cane, with unconscious
prophecy, said : " Nobody yet knows what the effect of
the whole will be ; but, at any rate, I am quite tranquil.

212

Relations with America

Some people will say stupid things about the President's
figure, and others won't understand a word of the
allegory ; but we don't care for such folks, do we ? "

The unveiling ceremony took place on the 25th of
May ; and, as a fact, many stupid things were said anent
the statue and the sculptor. It was a repetition of the
old conflict between the notion which ordinary persons
had formed about a given face and character and the
notion which an extraordinary artist had formed of him.
Funnily enough, Seftor Cane himself turned round and
became a blasphemer, not coarsely but very decidedly.
In an account of the inauguration proceedings which he
despatched to Paris on the 27th of May, he reproached
Rodin with having paid no heed to his recommenda-
tions. The explanation of this sudden change was the
unfavourable reception accorded to Rodin's work by the
majority of the Committee, and an evident desire to dis-
engage his own responsibility. He informed the " master
and friend," as he still called him, that the critics judged
the eyes too small, the hair too abundant, the forehead
too receding, the aspect too ape-like, and — like the good
inhabitants of Nancy — the chief figure too meagre for the
proportions of the pedestal. Naively, Senor Cane added
that none the less he considered the whole was a fine
piece of sculpture, and that he wondered if the sur-
rounding shrubbery could not be modified so as to
conduce to a better effect.

What the former minister expressed with politeness
was expressed with more vulgar emphasis in an effusion
preserved by Rodin as a literary curiosity : " I say, my
good fellow," it began, " what were you thinking of?
You surely said to yourself: 'The Argentines are a lot
of savages. It will be good enough for them ! ' Not at
all. You've been squinting. The Argentines are not
what you fancy in France. You said to yourself: 'I
see it like that ' ; and you wouldn't listen to the Com-

213

The Life of Rodin

mittee's recommendations. ' Bah ! a lot of savages.' I
say, my good fellow, what should you think if a sculptor,
commissioned to put you into marble, bronze, or choco-
late, should twist your long and venerable beard into the
form of a serpent, like that of Mr Moses ? The gentleman
(not Moses) might say, in turn : ' It's like that I see
Gaffer Rodin.' What could you reasonably object. His
argument would be worth yours. Be persuaded by me.
Go and sin — I mean sculpt no more. — Yours, etc."

From the preceding gentle writer and Senor Gang's lan-
guage, it is plain they imagined that since the sculptor had
not obeyed every single word of advice proffered by sincere
but unskilled persons," he must have despised all they had
said. The non sequitur is patent. His habit, on the con-
trary, is always to carefully listen to opinions, like Apelles,
but also, like Apelles, sometimes to reply. Ne sutor ultra
crepidam. In this particular case, never having seen
Sarmiento, he was only too anxious to procure all
possible information as to the man's person and charac-
ter. Two photographs sent to him, at his request, in
1896, by an old friend of the President, living in London,
were studied with the greatest care ; but, in reproducing
the likeness, he had to consider the impression it would
make under the perspective of its exposure in the light
of the open sky. He had aimed at a resemblance that
would convey and maintain an illusion of living energy,
and certain photographic details were of necessity slightly
modified.

Competent critics were not lacking to justify the
sculptor's interpretation. Senor Schiaffino, Director of
the National Museum of Fine Arts in Buenos Ayres,
affirmed : " No one of those who knew Sarmiento or
examined, during his life, any of his portraits will hesitate
in recognising our great man at first sight." Another
wrote : " The artist has not failed in the historic truth
which is imposed on all. He has dealt freely with

214

To face ja*e 215

Relations with America

material exactitude, in order to aggrandise his hero and
raise the soul of his contemporaries." Sefior Cane's own
fault-finding was confined to the head, which he con-
sidered small compared with the body, and more especi-
ally referred to the eyes, which he comically complained
were two holes hollowed out below the forehead.
Apparently, he would have liked glass eye-balls.

Used to objections against his art from people who
formulate opinions overweeningly and with little reflec-
tion, Rodin replied conciliatingly, and offered to model a
new head,1 a proposal which was eagerly accepted by
Senor Cane, as it allowed him to shuffle off the role of
the scape-goat, which he had to some extent played.

The Buenos Ayres Revista Tecnica for the month of
June 1900, gave an illustrated supplement containing
four plates — engravings of the monument and its various
parts. The first was a general view both of the monu-
ment and of the site ; the second, the head and upper
body of the statue in profile ; the third, the pedestal with
its allegory ; and the fourth, the whole statue of Sar-
miento seen from the front. Putting aside the question
of material resemblance as sufficiently treated, there is
something to be said about the rest and all the rest. The
figure of the President stands at ease, the weight of his
body supported on the left leg, the right leg and foot bent
outwards ; the left hand, which grasps a scroll, hanging
down against the thigh, the right arm lifted to the breast
flap of his buttoned frock coat in a gesture that shows the
back of the hand and fingers. An ample cloak hangs
behind from shoulders to feet ; the neck is enclosed by a
loose collar and tie ; and the head — the much maligned
head — which bespeaks a good-looking, strong and straight-
nosed, heavy-jawed type, sits lissomly and limberly, raised
a little and a little forward, in an attitude at once appro-

1 So far arrangements have not been concluded, and the original head
remains.

215

The Life of Rodin

priate and agreeable. The top of the cranium is bald,
and what hair clings round the sides is sufficient only to
be visible ; those who would fain have had him with less
could hardly have been contented without a monk's crown.
Seen from the front, the eyes are full of kind, shrewd in-
telligence ; while the parlous lips are pursed with a half
smile. No trace of disproportion between the head and
trunk strikes the unbiassed observer. What he does
notice is the animation of the whole figure, the finely
calculated and designed curve, inwards from head to hip,
and outwards from hip to heel, the congruous draping and
creasing of the clothes, and, in fine, the fashioning of the
hands, classed even by a hostile critic among the "admir-
able details " he acknowledged in the statue.1 The white
marble pedestal, with its Apollo, is a most dazzling vision
of sculpture. An original rough-plaster model preserved
at Meudon together with photographs, makes it quite
possible to get an adequate idea of the execution. The
nude figure of the god stands out on the uneven back-
ground of cloud and shadow, casting it behind him with
an upward and downward slant of his wide-extended
arms. With legs astride, and ready to move onward,
he crushes one of the crawling snakes in his right hand,
and spurns others with his foot. Comparing it with the
Apollo of the Nancy monument, a resemblance may be
traced in the face and in the forward impulse of the
body, but there is no repetition ; the theme is taken up
again only to receive a fresh treatment, and to be applied,
perhaps as no other allegory could, splendidly to the facts
of the President's career.

Rodin's opinion is that much of the agitation which
the inauguration of his Sarmiento provoked in Buenos
Ayres, was fostered by a feeling of irritation that such a

1 Monsieur Leon Maillard, who speaks briefly of the President's figure
which he saw in the studio, evidently found it a fine piece of workmanship,
and so characterises it in his book on Rodin.

2l6

Relations with America

monument had been executed abroad and not been en-
trusted to a sculptor of Argentine nationality. Allowance
must be made for a sentiment of this order, which cannot
be altogether condemned. Those whom it may interest
to read at length the pros and the cons in criticism which
were published at the time, will do well to consult the
articles of Senor Schiaffino in the Nation of the 24th and
25th of May 1900, and the reply of Senor Enrique
Chanourdie in the June Revista Tecnica of the same year.
More pertinent to this biography is the letter written
by Senor Schiaffino to the sculptor in 1889. He says : —

" ILLUSTRIOUS MASTER, — I address myself to you to
know if there is still time and a way to obtain for the
Buenos Ayres National Museum of Fine Arts — the
sculpture section of which is now being formed — the
plaster models of the allegory for the Sarmiento monu-
ment, ' Apollo, the Vanquisher,' and that of Sarmiento's
statue. I beg you will kindly give me information about
the matter, for I should be very glad to place these
valuable copies before our visitors.

" Our museum is not yet in a position to ask you for
one of the marble pieces of statuary like those I had
opportunities of admiring when I was in Paris between
1885 and 1891, and was studying painting under the direc-
tion of my regretted master Pierre Puvis de Chavannes
and Monsieur Raphael Collin. The ' Age d'Airain,'
the 'St John,' the 'Bourgeois de Calais,' the 'Head of
a young woman ' at the Luxembourg, a glimpse at your
works in two exhibitions at the Georges Petit Gallery
made on me a deep impression. I owe to you, O Master,
the joy of having understood the grandeur, charm and
beautiful suffering concealed in clay, stone or bronze. I
then had the happiness of transmitting my admiration
for you to my noble friend, the late del Valle, who was
chairman of the Sarmiento statue Committee. Del Valle

217

The Life of Rodin

had never seen any of your productions ; but his mind
was so largely open to the things of art that it sufficed
for me to show him some copies ; the reading of Gustave
Geffrey's fine studies did the rest. Del Valle was pur-
posing to ask you for a marble reproduction of the Baiser
when death took him from us.

" As for us, not now being able to ask you for a fine
stone original to put in our museum, I should like at least
to place there a drawing of yours. Not knowing the
price, I do not dare to send a sum of money ; allow me
to ask you what one would cost — the one you would
choose to see figure in our collections. . . . Please also
tell me if it would be possible to obtain a plaster copy ot
your bust of Puvis de Chavannes, of the group ' The
Ravishment,' or the ' Baiser.' — Sincerely and admiringly
yours."

To this Rodin replied promising satisfaction to the
requests after the preparation of his 1900 exhibition was
complete. The articles of Senor Schiaffino, and another
letter in June 1900, relative to the drawings and casts,
prove that his views had undergone no change, and that
after the erection of the Sarmiento monument, as before
it, he was the sculptor's devoted supporter. With this
testimony the subject may be left, the closing word being
that of the master, who, scrupulously anxious for truth
and fair in his self-judgment, admits that no likeness can
be so unerringly exact as that which is obtained by the
artist from the living model. In spite of Schiaffino's
assertion that the portrait was physically true, he regrets
that it could not have been fashioned from the life.
The concession on this point, however, takes nothing
from the worth of the execution, which, it is hoped, will
be done justice to when time has buried resentment and
the monument has stood long enough to be regarded as
an old friend.

218

FRANCESCA AND PAOLO
(see pages 109, no)

Tofaccfiage 219

Relations with America

Considering the warm interest shown by the United
States in French art and literature, and the pleasure with
which eminent Frenchmen are received there, one cannot
but regret that Rodin should never have crossed the

Atlantic and given Americans an opportunity of welcom-
ing him on their own territory. His relations with the
United States began only a year or two later than with
England, and almost in the same way. In the middle
of the 'eighties, two Americans sought him out in Paris,
and made themselves acquainted at first hand with the
man and his art. The one was T. H. Bartlett, the Boston
sculptor, who, after his return to the United States,
spread Rodin's fame abroad among his countrymen. A
most comprehensive and appreciative article was pub-
lished by him in the American Architect in 1889. The
other was W. E. Brownell, the art critic, who wrote a
separate study on the French master, and subsequently
devoted other pages to him in his book on French art.

Rodin sent several specimens of his statuary in plaster
to the Chicago Exhibition of 1893. There was the
magistrate of the "Bourgeois de Calais," which after-
wards went to the Chicago Museum. And there was
the group " Francesca and Paola," with its companion
group " The Baiser." Besides, according to the Chicago
Sunday Herald of October the 1st, there was "Andro-
meda." This name does not figure in any of the
catalogues, and Rodin does not remember what work
is indicated. He believes he sent his group " Meta-
morphosis of Ovid," but that the authorities refused to
exhibit it. What is undoubted — the Herald relates it —
is that both the " Baiser" and the " Francesca and Paola"
were put into a private room, to which visitors were
admitted only by special application.

About the same time, the well-known American, Mr
Yerkes, bought two fine pieces of the sculptor's statuary,
which have never been reproduced. The one is " Cupid

219

The Life of Rodin

and Psyche." In this group the god is in the act of
leaving Psyche for mistrusting him, and she is endeav-
ouring to retain him as he flies. The second is " Orpheus
and Eurydice." Another group of the same name is at
present in the museum at Meudon. It shows the
Thracian poet and musician, lyre in hand, stooping
under the burden of his woe and desolation. His wife
has been promised him by the gods ; but he has not
seen her or touched her, and finds it hard to believe
that she can be restored to him. Meanwhile, the shade
Eurydice comes hovering on the air behind him. The
Orpheus of the Yerkes collection stands at the issue of
Hades, represented by a wall of rocky background. So
far he has observed the command not to look back at his
beloved, but she, following behind, insists with reproaches ;
and he, powerless to resist longer, raises his hand to his
eyes, feeling that he is going to lose her again. Both
executions are marked with a wonderfully tender
sentiment.

During the last ten years, great attention has been
given to the master in America, both by writers and
lecturers ; and American students in Paris have been
eager to profit by his advice and example. In the last
edition of his " French Art," Mr Brownell records one
or two utterances of the sculptor, which are interesting
to note. Speaking of style, he (the sculptor) says :
" Unless it is something wholly uncharacterisable, it is
a vague and impalpable spirit, breathing through the
work of some strongly marked individuality, or else it
is formalism." In answer to a question whether the
anatomic in sculpture did not involve a risk of the
artistic being lost in the scientific, Rodin said : " Yes,
for a mediocre artist." A saying of Mr Brownell himself
is a happy characterisation. " Rodin," he exclaims,
" reveals rather than constructs beauty."

To the St Louis Exhibition in 1904 only one piece of

220

ORPHEUS AND EURYD1CE

Tofaccfiage 221

Relations with America

statuary was sent — " The Thinker." However great the
impression made by a single work, it is inadequate
to-day to convey a just idea of the scope and varied
excellence of the master's production. It is to be hoped
that the series of busts executed in recent years for
Americans of both sexes — Mrs Potter-Palmer's is one of
the latest — will lead to a thoroughly representative Rodin
exhibition in Boston or New York. America should not
be any less capable of organising one than the European
countries, and the gain and stimulus to American art
would be great.

221

CHAPTER XV

THE PAVILION AND THE EXHIBITION YEAR OF IQOO

DURING the Great Exhibition year of 1900, there might
be seen at one corner of the Place de 1'Alma and close to
the Exhibition gates, yet outside them, a simple-looking
oblong structure with a portico, in reality an iron frame-
work filled in so as to have the appearance of stone ; it
was between forty and fifty feet high, and its sixteen
lofty windows and glass roof made it an abode of light.
If anyone asked what this building was, he was told
that it was Rodin's Pavilion of sculpture. On entering,
he could count in the various rooms, formed and draped
with light yellowish curtains, no fewer than one hundred
and seventy-one pieces of statuary, either in bronze, or
marble, or plaster casts ; in fact, nearly all the sculptor's
productions. The idea was Rodin's own — at any rate, in
its practical form. Standing, as he had always done,
apart from the orthodox school, it seemed to him that
the occasion was a propitious one to assert his own
position, not with any intention of puffing himself, but
with the desire that his work, thus gathered into a whole,
should be judged for what it was worth. The estimated
price of the finished construction was eighty thousand
francs. If enough people could be got to pay their franc,
the money laid out would be recovered. One question
was as to whether so many were interested in his sculp-
ture ; another, as to who would help him to bear the risk
and to find the cash, since three thousand pounds odd was
more than he could conveniently raise alone. At this
juncture, three Paris bankers stepped in and offered each

222

THE HAND OF GOD

(see page 230)

To face page 223

Pavilion and Exhibition Year

to lend twenty thousand francs. The sculptor himself
advanced a similar sum, and the enterprise went through.
The three men who shared the risk were Messieurs
Albert Kahn, Johanny Peytel and Louis Dorizon. The
site was lent by the Paris Municipal Council, notwith-
standing another outbreak of the hostile comments
which have been periodically Rodin's portion. Of
course, a number of eager helping friends were active in
preparing the way for this result. In the Town Council
itself the opposition was strong. Happily, Monsieur
Escudier and two or three of the more influential
members used their persuasion to good effect, and
pressure was brought to bear upon indifferent or hostile
opinion by artists and critics who were anxious to see
the sculptor's worth at last judged by a fair standard, in
the same way as that of former masters, such as Ingres,
Courbet, etc. In due course, the Pavilion was opened.
On the first day, which was also the 1st of June, the
attendance was modest, some two or three hundred
people, mostly artistes and dilettanti^ a few foreigners
among them, brought together by curiosity or by the
prestige of the inauguration under the presidency of the
Minister of Education, Monsieur Leygues. Gradually,
however, the visitors became more numerous, and, towards
the month of September, whatever doubt the sculptor or
his friends might have entertained about the success of
the exhibition, vanished.

For the help of those who wished to study this finest
and most original collection perhaps ever shown by one
man at the same time, an illustrated catologue was
prepared by the Societe" d'Edition Artistique, under the
editorship of Arsene Alexandre, an art critic of known
competency, whose own preface, with eulogiums by
Carriere, Jean-Paul Laurens, Claude Monet and A.
Besnard, made the book still more valuable. The
second of these eulogiums has already been quoted in

223

The Life of Rodin

the chapter on the busts. The others, as coming from
men of equal eminence in the world of art, are worth
preserving. This is what Carriere said : —

" Rodin's art issues from the earth and returns to it,
like those giant blocks, rocks or dolmens which guard the
desert, and in whose heroic proportions man has recog-
nised something of himself. The transmission of thought
by art, like the transmission of life, is the work of passion
and love. Rodin, making himself the obedient servitor
of passion, is enabled by it to discover the laws through
which it is expressed. It is passion which quickens
his sense of volume and proportion, and guides him in
choosing the most telling reliefs. In the same way,
earth exteriorises her usual forms, images and statues,
which initiate us into the meaning of her inner life.
These terrestrial forms have been Rodin's real teachers.
It is they who have freed him from the traditions of the
schools ; by them he has grown cognisant of his own
being, and of the creative instincts of men. To him has
been revealed the analogy that trees and plants have
with those fair maidens whose smooth legs, like slender
columns, support the undulating body and swelling
breasts, over which droops the head on its lissome neck,
even as a bough is bent by the beautiful juicy fruit that
hangs to it. ... Rodin's generalising mind has caused
him to seek solitude. Born too late to have his share in
building our cathedrals, he is nevertheless, by his intense
sympathy, in union with the eternal forms of nature."

Claude Monet spoke briefly, but to the point.

" You ask me to tell you in a few lines what I think of
Rodin. You know already what I think, but to say it as
I ought, I should need a talent I do not possess. Writing
is not my trade. However, what I may set down is my
great admiration for the man, unique in these times and
great among the greatest. The exhibition of his collected
works will be an event. It is sure to be a success,

224

Pavilion and Exhibition Year

and will constitute a definite testimony to his artistic
fame."

Albert Besnard wrote at somewhat greater length, but
his contribution is all too short for the fine psychology it
contains. He says : —

" In the course of the twenty years that have gone by,
everything has been discussed that could be by men of
letters and by critics. Their intervention, like the
surgeon's scalpel, has done no more than lay bare
admirable bodily organs, leaving the artist's soul veiled ;
for the divine fluid in which it bathes escapes analysis,
even that of the artist himself. Did Prometheus know
of what nature was the fire that he stole from Jupiter ?
His punishment taught him only that here below pain
is the price of genius. Rodin also has had his vulture,
just as all great artists who have sought their ideal in
loftier regions. To-day, you ask an artist to develop the
high reasons of art and skill which make this sculptor,
unique in our time, the creator of forms and the evoker
of ideas that have caused the present generation to thrill
with admiration or with rage. I don't really know
whether I have the right to try and satisfy you. What I
may do is to set down a few of the thoughts suggested
to me by the immense work before me. I imagine that
Rodin's brain contains the total idea of the world with
all its forms, its symbols and their innumerable com-
plexities whence far-reaching syntheses are born. The
passionate contemplation of nature has certainly brought
him to feel that no force outside it is capable of sug-
gesting its own symbol. Thence, that love of the piece,
which furnishes Rodin with the expression itself of life,
and permits him to fix the trace of the passions by
making form reveal the idea, all ideas and the signifi-
cations of humanity. Form, as Rodin understands it,
becomes life. First, he makes men, and then he
animates them ; or better, they live as soon as they are
p 225

The Life of Rodin

perfect. This is contrary to the aesthetics of those
artists who fancy they can produce something grand
by selecting a pompous subject, without perceiving its
human side, the absence of which condemns their works
to oblivion. For the generations care only for those in
which the human has the preponderating role. It is for
this reason that Greek art is immortal, and will for ever
be the guide of every art that will remain great. What
would be our conception of the pagan world without the
great sculptors of Greek antiquity ? Poor Jupiter would
be forgotten to-day without the divine Phidias. This leads
me to say that Rodin is also a great historian ; for he
has recorded states of soul in matter by means of form,
a thing which is still more important to history than facts
or physiognomies, these latter being disfigured by reality.
What, think you, would be said by future artists and
men of letters, if, after all traces of our present world
had disappeared, the statues of Hugo and Balzac were
to be discovered ? Well ! they would say that these
were vestiges of a great art period in which the
admiration of the multitude for men of thought sug-
gested grand works to sculptors of genius. They would
divine in the Hugo statue the universal, inspired poet,
the singer of nature and humanity, of passions and
storms. They would see in the Balzac, so much
criticised, so wantonly insulted, rising from his pedestal,
as if about to spring into life ; they would see the palpi-
tating, intense and painful genius of a powerful psycho-
logist ; for to no other can belong such a carriage of the
head, such orbits, in the depths of which roll eyes that
are almost useless, humble servitors, as they are, of the
all-seeing brain. At this height, the amplification of
fiery ardour becomes serenity — the summit of art illumi-
nated by genius and refreshed by the breath of pure
thought."

As it has not been possible in the previous chapters to

226

THE SISTER AND BROTHER
(see page 229)

To face page 227

Pavilion and Exhibition Year

give anything like an adequate notion of the sculptor's
entire production, a cursory notice of a number of pieces
exhibited in 1900, and not already mentioned, will help
to remedy this defect Even the 1900 catalogue is not a
complete list. To prepare such a one, and make it
chronologically accurate, is a desideratum ; but long
investigations would be required for it.

Among the single statues were very many nude figures
of women, each pose a fresh study, and with emanating
expressions ranging from the simple to the wondrously
complex. One was combing her hair ; another in a bath
stooping and rubbing the back of her neck, while her hair
fell over her head in front ; a third was recumbent on
her side ; a fourth, fashioned in the antique style and
standing ; here was a torso leaning backwards, there a
woman stopping her ears ; others lying prone or prostrate
or squatting. In them the attitudes and the modelling
were the chief things to observe, though in all was the
vibration and thrilling of the body, besides the outline.
Elsewhere, the emotions were more clearly defined. On
the corner of a huge folio placed flatwise, a sylph-like form
lay on her back, and with wanton joy held her feet raised
in the air, clasping them with her hands. Another sat
frog-like, with her knees drawn close to her chin, and gazed
with melancholy air before her. A third, of still more
dejected look than the preceding, cowered with one leg
bent over the other knee, and grasping the extended
foot. A fourth knelt, subjugated by the mastery of love.
The female busts to which no name was attached were
not less striking than those which had. One showed a
face weeping bitterly, a second a type that might be
called ugly, with high cheek bones and thick lips, but
redeemed by the dreamy, wide open eyes. The most
remarkable was a woman's head surmounting a column
of marble, which was adorned with small low relief figures.
Symbolic it suggested the poet's outlook on life.

227

The Life of Rodin

The purely female groups were less numerous. Here,
however, one saw a fountain embellished with three
sirens, two playing together, and a third poising on the
crest of the water, with crossed legs and holding her feet
with her opposite hands. In the ocean waves three other
sirens, enlaced together, sang like Wagner's daughters of
the Rhine. Standing, with their heads near and the lower
body draped, were three beautifully and chastely-chiselled
forms representing the three Virtues. Quite different
were the " Lost Women," a group of two — one lying on
the ground tired out with weeping, the other lamenting
and trying to raise her with outstretched arms. Different,
too, the three female forms, counterparts of the Virtues,
dancing in a ring with careless grace.

With the exception of the celebrated great master-
pieces, single male figures were rare. One most strangely
attractive was an allegory of man being reabsorbed by
nature. The man's body was doubled up and had begun
to sink into the ground among moss and flowers, which
partially covered him, and from which his arm emerged.
Worthy of ranking with the greatest, was a kneeling
figure with all the upper part of the body and the arms
straining towards heaven in an attitude of urgent entreaty.
It was a statue in which the planes had been simplified to
the utmost, and the lines executed with a beauty that
haunted the memory. Its title, the " Prodigal Son," was
hardly the best conceivable. The entreaty of face and
gesture were something more passionate — a prayer that
would rend heaven.

The bulk of the subjects were those that mingled the
sexes ; and in them the gamut of emotion was touched
throughout its compass. The dalliance of a " Dryad with
a Fawn," was the contrast of coy feminine charms with
the elementary physical force of the male ; the hairy,
hoofed creature half-pleased, half-irritated at the teasing,
would fain have seized the dryad, but felt her power and

228

Pavilion and Exhibition Year

doubted of his own. In the " Ravishment," there was
the male's force broken loose ; a man held a woman high
in the air with the exultation of conquest ; cramped and
crushed, the victim, with lack-lustre face, manifested a
mute animal suffering. A detached group from the
" Hell Gate " presented a man and a woman carried
through the air, back to back, in a pose boldly original ;
it was the Flight of love. Of another kind was the
" Sculptor and his Muse " ; the artist seated with his
elbow on one knee and his hand supporting his head,
while the muse that had approached him hovered on the
breeze. Allied to it, was another group of two, an angel
fallen from heaven and a form bending over him to
console. The hostility of the sexes was represented by
a woman and a satyr, the former wrathfully defending
herself, and the latter endeavouring to seize and detain
her. Woman as the tempter and man as the tempted,
had also their portrayal. In one small group, the woman
high above the man embraced him as a helpless prey ; in
another, the man resisted but weakly, while the woman
wound herself around him ; in another, it was a siren
bearing a youth into the waters. Venus and Adonis,
Daphnis and Lycenion showed lovers' love in sorrow and
in joy.

Affection of another and calmer sort, with all the pure
joy it could comprise, was figured in an alto-relievo group
of two, a mother stooping and holding out her arms to
her baby, with a grotto background to shroud the scene.
A second reading of the same subject was a baby brother
sitting on the knees of a grown-up sister. In both, the
motherly sentiment was so wrought into the sculpture
that it seemed warm with tenderness.

Other subjects from mythology embodied passions less
germane to love ; for example, a " Vulcan and Pan-
dora" and a "Perseus and Medusa." This latter was a
splendidly imaginative piece of statuary. The hero stood

229

The Life of Rodin

with the monster's head that he had just cut off and
brandished it aloft with lightsome feet. The headless
trunk of Medusa lay beneath him, one hand clutching
at her conqueror's toe.

Of the remaining groups of two, some touched and
embodied the mystery of mind and individuality ; for
instance, the " Man and his Thought," a male figure in
large size facing an idealised and smaller self — the only
real communion that is permanent. Or again, it was the
conflict of the religious aspiration with the flesh ; in the
" Temptation of St Antony," the saint was prostrate on
the ground, striving to hide himself with his serge mantle
from the sight of a fair woman that was bending over
him.

Unique and apart was the " Hand of God," a huge
hand modelled with all the science of an anatomist,
physiologist, and chiromancer combined, and all the art
the sculptor can show in fashioning the whole body. In
the palm were a miniature Adam and Eve resting on a
portion of the clay that had served to make them, the
role and character of each sex being indicated — the
woman embracing, the man protecting.

Among the mixed groups of three or more figures, the
subjects were equally various. One represented a Triton
carrying off a siren into the sea, while two other sirens
stood on a rock, excited by the spectacle. A second was
a dying poet extended on the ground and raising his
head in a last effort; three muses bent over him with
differing expressions of mourning, of hope, and of doubt ;
exquisite in sentiment and workmanship, this piece of
sculpture attracted every eye. Not less affecting was
Niobe with eyes raised to heaven and lamenting her
dead children scattered around her.

For fancy to call up the picture and spectacle composed
by so many and diverse forms, in which the great and
well-known masterpieces stood out, imposing and seemly,

230

MAN AND HIS THOUGHT

Tofacefagt 230

Pavilion and Exhibition Year

it requires more than description in detail. What is
wanted is the same wonder that was felt by eye-witnesses
of the reality ; and a good expression of this, together
with its explanation, was the discourse pronounced within
the walls of the Pavilion on the last day of July, two
months after the Rodin exhibition had been opened. It
was Monsieur Camille Mauclair who was chosen by the
International School of the Exhibition as spokesman.
His lecture, a model of clear exposition, related the
genesis and evolution of the master's style, dwelt on the
increasing attention paid to rendering the statue as
largely visible as possible in the open air, and con-
sequently to the related light and shadow, called by
artists the value. Defending Rodin from the charge of
being a literary theorist, he confessed him to be a
symbolist, who did not distinguish matter from the
ideas it engendered. Seeking, however, to understand
every state of the soul, the symbolist came to be able
to translate all and every one, by their effects on the
body, which accounted for the erotism of some of his
subjects.

"The sculptor," he said, turning to Rodin's method,
" began to work with great precaution on parts already
executed in faithful proportion with the model, adding
clay to a relief, hollowing out a cavity more, exaggerating
here and there the relation of two planes, insisting on the
characteristic curve of a bone or a muscle ; then he grew
bolder, felt himself more satisfied. The half-tints became
softer, more downy ; the light glided more easily over the
surfaces ; the large silhouette was firmer, and, at the same
time, less hard, as it was seen against the background of
the studio. The atmosphere, caressing its amplifications,
vibrated around them. The research of large planes
furnished a play of light and shade much richer and more
vivid; all the essential outlines were put in their right
place ; but they contributed better to the whole. Around

231

The Life of Rodin

the plaster there was no void ; the light impinged strongly
on the round boss, but also penetrated gently into the
recesses and connected them with the environing space.
The forms, enlarged and harmonised, contained the essen-
tial details of the personage, yet without attracting the
eye on one or another point to the detriment of the
whole. Sculpture, at last, gained the same mysterious
diffusion of light which is the charm of painting, and a
perspective was obtained by the magic of amplification.
A work of Monsieur Rodin seen in a gallery was recog-
nised first by a sort of luminosity surrounding it, and
only afterwards by its exceptional silhouette. It would
almost appear to be surrounded by a nebulous halo, like
the concentric waves photographers were able to perceive
round the fingers of a medium. Between the statue and
the ambient atmosphere there existed a union of vibra-
tions, which painters obtained in a picture by the chromatic
gradation of tones."

" Rodin's potent quality was less imagination than the
instructive sense of the occult volition in matter, the
sense of atomic life."

This, and a good deal besides, Monsieur Mauclair
spoke, that gave to his listeners on the July day, beneath
the Pavilion's cover, and surrounded by illustrations of
the lecturer's language, a reason of the wonder which was
in them. Those of the sculptor's friends who had worked
hard to obtain the authorisation for the Pavilion to be
erected — and hard work had been necessary — were more
than rewarded by the enjoyment of the scene.

As chorus to this special manifestation came the publi-
cation in the Exhibition year of a special number of the
Art Journal: La Plume; a symphony of no fewer than
twenty-one writers giving their voice in various tones and
notes, but forming an impressive tribute. Marx, Mirbeau,
Geffroy, Mauclair were among the number, and two
English writers on Rodin's art, Arthur Symons and Frank

232

Pavilion and Exhibition Year

Harris, had the honours of translation. In Mirbeau's
short but pithy preface there were very sensible hints
that dithyrambic praise might miss the mark. " If one
were to believe some of the sculptor's admirers, he was a
mystic philosopher, a magician, an astrologer, everything
except a downright good sculptor, perfect in his kind.
On the contrary, the beauty that Rodin expressed was
shown solely by form, and by his intimate comprehension
of the immense yet simple harmony enclosing in the same
language of forms, the human body, the clouds of the
sky, the tree, the mountain, the stone and the flower.
This was why the sculptor astonished and moved us. It
would seem that nature, as being better loved by him,
took pleasure in making him the depositary of even her
best kept secrets. His genius was not only to have
bestowed on us immortal masterpieces ; it was to have
done his work as a sculptor, to have rediscovered an
admirable art which was in danger of being entirely
forgotten. The really affecting quality of Rodin's figures,
the quality by which, over and above, but perhaps still on
account of their sculptural beauty, they touched us so
profoundly, was that we recognised ourselves in them,
and that, as Stephane Mallarme said, they were our
suffering companions."

This symphony, of which Monsieur Octave Mirbeau
wrote the prelude, had followed a symposium also
organised by the Plume, or rather by its owner and
editor, Monsieur Karl Boes, than whom Rodin has no
sincerer disciple. The feast was held on the nth of June
at the Cafe" Voltaire, and was a sort of house-warming for
the Pavilion. More than a hundred and twenty artists
and men of letters were present, representing the sculptor's
own generation of artistic talent with Felix Re'gamey,1
and the succeeding one which he had helped to form,
with Emile Bourdelle ; representing also different nation-
1 The brother of Guillaume Regamey.
233

The Life of Rodin

alities, the English, naturally, with the others. Although
commemorative of past accomplished labour, the char-
acter of this manifestation was a look-out into the future ;
It was to young artists that the master addressed himself
in his speech, and it was in the name of young artists that
Karl Boes proposed his toast The latter was a fine
utterance, composed only of two periods, with a dozen
words of introduction and another dozen to close.
" Brother in glory," he said, " of our great Puvis de
Chavannes down the centuries to come, you are, like
him, of those who prevent tired nations from despairing
of themselves, and who awake in chilled hearts as it
were a blood of miraculous resurrection — admiration ; the
admiration of masterpieces, therefore admiration of what
life can be made. Your glorious pieces of sculpture have
in sooth recalled to our minds, too long in dalliance with
the learned tricks of jugglers, the solemn truth : Life is a
block of precious matter, but has its final worth only
through the chisel that carves it ; it is a shapeless in-
different block, yes, but a block from which under
the ideal's fashioning breath, beauty can arise, always."
As Rodin's own exhibition in 1900 was in no wise
dictated by a proud wish to separate himself from his
brother artists, he availed himself of the common oppor-
tunity to share in the Centennial and Decennial collec-
tions of painting and sculpture that formed part of the
Great Universal Exhibition. He had once before taken
part in a Centennial display of sculpture in the previous
exhibition of 1889; but, as the regulations admitted only
works that were at least ten years old, his " Man with the
Broken Nose" was the sole specimen that then repre-
sented him. In the Centennial collection of 1900, there
were eight of his pieces of statuary numbered from 1790
to 1797. They comprised the "Age d'Airain," the " Head
of St John the Baptist," these two in bronze, the "Creation
of Man," in plaster, the busts of Jean Paul Laurens and

234

THE PRODIGAL SON
(sec page 228)

To face page

Pavilion and Exhibition Year

of Dalou in bronze, the bust of Victor Hugo in plaster, as
also of Mrs Russell, and one of the " Bourgeois de Calais "
in plaster. In the Decennial collection he was repre-
sented by one of his masterpieces, the " Baiser."

Foreign criticism of the Pavilion and all its works was
a very fair counterpart of the French. In Paris detractors
had their say, some with intelligence, some with none.
So abroad. An amusing specimen of what might be
called — borrowing Lord Beaconsfield's famous phrase —
"the hair-brained chatter of irresponsible frivolity," ap-
peared in a San Francisco newspaper from a lady writer.
" Rodin," she said, " is the greatest man of his day and
generation, and he is the most degraded example of the
decadence of French art. He is animated by the most
lofty spiritual motives, and his work is simply ' cochon-
nerie,'1 no more, no less. He has founded a school, and
he is dragging sculpture from its pedestal and trampling
it in the mud." After this preface, we are not at all
disturbed by the lady's description of the Balzac : " This
monstrous thing, ogre, devil, and deformity in one."
Different from this seven - league - boot, sky-scraping
criticism, more measured and logical, but hardly less
hostile was the pronouncement of Mr Claude Phillips in
the Daily Telegraph? After concessions to the master's
realistic power, he summed up his life-work as a " magni-
ficent failure," deemed the Bourgeois de Calais, as a
whole, grotesque, and the Balzac as an insult to the
great public. Unfortunately, Mr Phillips as well as the
lady — whom it is better to leave anonymous — offered no
arguments in support of their strong statements. The
former, indeed, spoke of Rodin's having been spoiled by
foolish flattery, but omitted to say who were the flatterers.
On the other hand, writers who spoke in praise of the
Pavilion collection, had arguments, and very solid ones,

1 " Piggishness," meaning something very low.

2 8th September 1900.

235

The Life of Rodin

to advance for the faith that was in them. Mr D. S.
MacColFs articles in the Saturday Review,1 published a
few days after that of the Telegraph, were as full of close
reasoning observation as a good joint of meat is full of
gravy. To select only one example. Speaking of the
" Creation of Man," he said : " It will bear long examina-
tion from one point after another, to note how this shape,
so highly endowed with expressive life, plays also a
rhythmical music among its parts, and that this is one
secret of its life. It might seem impossible that a head,
a torso, two arms, two legs, elements so few should re-
combine in so many patterns, all simple, all subtle and
surprising, all enforcing that one slow dragging upward
gesture of the awakening man. From in front, the shape
is almost rectangular, the head droops so flat upon the
shoulder, with its profile in the slightest relief upon the
plane of the chest, while the other arms hang in heavy
parallel. From other points of view the forms, so simply
enclosed in this, set up new correspondences, and you
would think the whole had been designed for each new
angle of vision."

That and the rest of Mr MacColl's articles are better
than assertions of Rodin's life being a "magnificent
failure," whatever the epithet may mean. Dipping into
the mass of literature good, bad, and indifferent, which
was called forth by the Alma Exhibition, it is clear that
its aims were much misunderstood by the sculptor's
enemies, and not altogether understood by his friends.
Both sides too much ignored that the practical question
was the one legitimately uppermost in Rodin's mind, and
that a great artist, as well as any other man, has a right
to be prudent, to defend himself when attacked, to be
tenacious in the struggle, to obtain justice for his artistic
performance. The Pavilion was, in particular, a reply to
the refusal of the Balzac, and, in general, to the ostracism

1 The last, on September 29, 1900.
236

Pavilion and Exhibition Year

of the academicians from which he had so much suffered.
It was the best reply that could be given ; yet how far it
was from the master's thought to make it an occasion of
vain glory or boasting defiance is proved by the fact —
revealed by a friend — that alone the insisting request of
the bankers who were guaranteeing the bigger share of
the initial expenses, induced him to consent to the re-
appearance of the Balzac in public at that time. He
would have much preferred appealing to his fellow-
countrymen and the world at large, without seeking to
snatch a victory for his most contested statue through
the recognised qualities of his other sculpture. If the
effort had a success beyond its immediate object, like
Longfellow's arrow shot into the air, and carried with
it echoes and perfumes of the higher regions of poesy, it
was no more than the reward which now and again
falls to the lot of the toiler who knows how to work and
wait.

The Pavilion did not long survive the close of the
exhibition. It was a grief to the master to pull it down,
although it was to rise again at Meudon. He would
have been glad to go there from his studio on the other
side of the river, and still enjoy for himself the right of
his assembled family — children he had begotten — whom
he loved with much of the affection peculiar to the
parent. " I wanted to keep it open two or three months
longer," he said, confessing himself to a visitor, " if only
to study the collection awhile where I have plenty of
space to see it well. But there are obstacles which
prevent — the site, which is wanted. So all the things
must go, some back to my studio, some to different
museums and private owners who have lent them to me.
It is a pity." This note of regret was the best adieu to
an undertaking, in which the commercial had been pre-
sent, but only as a necessity, and which had contained
and shown so great a portion of the sculptor's self.

237

CHAPTER XVI

RELATIONS WITH ENGLAND

RODIN, it will be remembered, had started for England
in 1871, but, as he went through Belgium, it took him ten
years to get to London. The delay in arriving was no
bad thing for him, since, on paying his visit to Legros in
1 88 1, he found that his reputation had preceded him. It
is true the number of those who then understood his
" Age d'Airain " and " St John " was not large, but the
interest created was no eight days' wonder, and was
destined to grow.

His first works exhibited in the Egyptian Hall1 had no
particular notice taken of them. Besnard, Roll, Gervex,
and one or two other artists also exhibited ; and a party,
with Rodin among them, came over on the occasion of
this experiment, and put up at the Charing Cross Hotel.
The sculptor believes that one of the pieces of sculpture
he sent was subsequently offered for sale at Christie's
rooms, where some amateurs thought it was a Donatello,
and were disposed to bid high for it ; but, as the name
was discovered, their zeal cooled.

There was one man who more than any other at this
time encouraged the French master to appeal to the
English public. It was W. E. Henley. The acquaint-
ance was made through their common friend Legros;
and, from 1881 until his death in 1903, the editor of the

1 The sculptor is under the impression that no work of his was exhibited
in England previously ; but, as he is unable to give the date, and it is certain
that the " Man with the Broken Nose " was shown at the Grosvenor Gallery
in 1 88 1, there is some reason to doubt this statement.

238

To face fxtge 239

THE THINKER

(see pages 107 and 251)

Relations with England

Magazine of Art was in frequent and affectionate corre-
spondence with Rodin. He was taken away just too
soon, and before the triumph for which he had prepared
the road. One of his last preoccupations was to arrange
for the sculptor to do the bust of Mr Wyndham, at the
time, Secretary for Ireland. It would have been a joy
for Henley to see this fresh example of the power he
so admired. His enthusiasm was early-born. Writing
to Rodin from Chiswick in November 1881, and alluding
to the " Man with the Broken Nose," of which he pos-
sessed a copy, he says : —

" The bust is a perpetual reminder of you. It remains
eternally beautiful, with a beauty of the ' great art.' You
have not lacked disappointments, my friend ; on the
contrary, I know that you have struggled hard, suffered
much, and toiled hard. And yet how happy you must
be ! You work for the centuries to come ; you know
what you are doing ; you do it well. Yes, how happy
you must be ! "

In preceding chapters, mention has been made both of
the sculptor's portrait painted by Legros1 in 1882, and of
Legros' bust executed by his friend a little later. There
was also another portrait of the sculptor — an engraving
done by Legros in 1881. To this a reference was made
by the latter in an epistle dated the 23rd of November of
that year ; he has a word about the bust too : —

" I shall shortly have to ask a service from you with
regard to some medallions which I have finished and will
send you in a few days, when the painter has delivered
me the proof engravings of your portrait. ... I arn
anticipating the pleasure of having my bust from you,
and, when I come to Paris, I will give you a good many
sittings."

Of course, Henley's endeavours to educate his readers
and public was no A B C task. Prejudice was not

1 It was done in Cazin's studio in Paris.
239

The Life of Rodin

unknown on the London side any more than on the
Paris side of the Channel. His aim, however, was not
to provoke controversy; he wished rather a study and
a fair discussion of Rodin's most characteristic produc-
tions ; and by the tone of his articles, as by the advice
given to the sculptor about what to exhibit, he secured
his object. One unfortunate incident happened in 1886,
when a piece sent by Rodin to the annual exhibition
of the Royal Academy was refused. But it appears that
the rejection was due to a misunderstanding, so that
the affair has no great importance. Writing to the
sculptor about it on the 4th of May, Monsieur LanteVi
said : —

" You will no doubt receive by the same post a letter
from Mr Boehm, to whom I spoke of the refusal of your
group at the Academy. He knew nothing of the matter,
and was exceedingly vexed ; and begs me to tell you
that he was not on the Committee this year, nor can he
imagine who is responsible for the blunder. ... In
artistic circles here everybody is shocked, knowing and
admiring your talent as they do. . . . Mr Boehm will
give you further details, as he intends to make inquiries ;
but especially he wishes you to know that he has had
nothing to do with the judging this year, and is most
grieved at what has occurred."

Before 1886, Rodin had returned to England on more
than one occasion since his first journey across the
Channel, had extended his acquaintance with London
artists and men of letters, and come to know Henley
better. In the year 1883, there was some correspondence
between the two friends with regard to the Victor Hugo
bust. As showing his increasing admiration for the
sculptor, one letter written by Henley in October is
nearly all of it relevant. He says : —

" As for the bust, we have time. The day for sending
is the 1 8th of next month. Between now and then, I

240

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will do all that is necessary, and you shall shortly know
how to act. Now, for the matter between us. I really
think, my dear friend, I ought not to accept the
reduction you offer. First, you owe me nothing at all.
What I have done, and shall do in the future, has been
and will be done because you are a great artist, and
because it is my duty as a critic to praise a thing
which is fine. Moreover, I must confess to you that I
don't care much for the great poet, he makes me swear
too much and laugh too much. You have achieved a
masterpiece with his head, a masterpiece for which I
have a great and sincere admiration, as you will see in
the article I am going to write on the two busts. But
masterpiece as it is, I am stupidly unable to disassociate
the model and the bust, the poet and the sculptor, the
false art from the true. If only it were Berlioz, Shake-
speare, Millet, or Rodin ! But Hugo ! . . . I don't
know whether I make myself understood. No doubt
you will say I am silly, and you will be right. One of
these days, if you really insist on seeing in me only a
relentless creditor, you might make a sketch of my
big, empty head, and there will be an end of the
matter. . . . Your two busts will appear in the issue of
the 25th of December."

Another acquaintanceship Rodin made through Legros
was with Mr G. Natorp,1 who, born in 1836 at Hamburg,
went to America in 1854, where he naturalised himself,
and after remaining in business there and in England
until 1875, retired, in order to devote himself to art.
Commencing his studies at the Slade School in 1879, he
was introduced to the French sculptor a couple of years
later. His own account of their relations is pleasant
reading. He says : "In 1881, intending to spend the

1 Examples of Mr Natorp's sculpture are — Medallion of Robert Browning,
1888 (this is in Rodin's possession) ; Biblis Statuette, 1892 ; Atalanta, 1896 :
Bust of Miss Adelaide Burton, 1897 ; Diana, 1898.
Q 241

The Life of Rodin

winter in Italy, with a view to a little study of sculpture
(I had only drawn and painted so far), Legros suggested
my studying under Rodin for four or six weeks ; and so I
became Rodin's pupil in November. His teaching was
absolutely a revelation to me. I do not believe he has his
equal in the ability to give to his inferiors the benefit of
his vast insight into the great principles of all art by his
wonderful power of analysis, and by the warmth of his
admiration for all that is great in art and in nature.
While I was at the Boulevard Montparnasse, he came
to see me twice a week from November 1881 to May 1882 ;
and not the least admirable lessons were those when we
left the studio after dark, and when, talking most delight-
fully about his art, he would take me to a caf6, call for
pen, ink and paper, and illustrate his views on com-
position, etc., by his masterly drawings. Needless to
say, I have them with me. I was his first pupil ; but
several more, R. Barrett Browning, F. Baden Powell,
etc., were attracted by him, and he joined me and my
chums in our monthly dinners. This fact brought many
other artists to them, Sargent, de Nittis, Besnard,
Edelfelt, Collin, Gervex, etc., and we had the most
delightful gatherings.

" In the winter 1881-2, Professor Legros came to Paris
on a visit to me, and sat to Rodin for his bust in my
studio. I returned to Paris in October 1882 and stayed
until June 1883, Rodin coming to see me twice a month.
I was then doing a two-thirds life statuette of Hercules,
exhibited at the Royal Academy in 1884, and at the
Salon. When I left, Rodin said : ' Now, I have given
you a compass, by means of which, with nature for a
professor, you can steer by yourself.' What an admir-
able master ! Rodin came to London with me in June
1883, and stayed a week or two in my former house in
Palace Gardens Terrace. He was charmed with our
galleries, and with everything he saw or heard here ;

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for I must not omit to say he is very fond of listening
to good music. Rodin paid me another visit (in this
house) in 1886 or 1887. After that, his visits to London
were only short ones, but we always saw something of
each other, and he does not forget his old pupil. I
may add that, during the 1887 visit, I gave a dinner in
honour of Rodin, at which most of the prominent sculptors
and painters were present."

The R. Barrett Browning spoken of by Mr Natorp is,
of course, the son of the poet, whom the sculptor also
knew, and some of whose verses he has read in trans-
lations. In an extant letter from the son, dated 1882,
there is an allusion to the bust of the " Man with the
Broken Nose," a copy of which had been despatched to
the elder Browning. Once, at least, in Paris, the author
of the " Ring and the Book " met his son's professor.
Monsieur Thurat even related that he entertained Rodin
at a dinner in a restaurant on the Place de Rennes ;
but the sculptor has forgotten the circumstance. A
short missive from the poet still exists. It is dated the
4th of January 1883, and has the address 19 Warwick
Crescent, W. The contents are as follows : —

"MY DEAR MONSIEUR RODIN, — Nothing could be more
flattering than your kind note of yesterday, the expressions
of which I reciprocate, begging you to believe that it
is for me, as for my son, an inestimable advantage that
a sculptor of your rank should allow the latter to profit
by the advice and friendship which he appreciates as they
really deserve. — Believe me, dear Monsieur Rodin, very
sincerely yours, ROBERT BROWNING."

The other English student, Baden-Powell, is the brother
of the celebrated general. His presence at one of the
recent London banquets implied that the memory of the
student days is still green.

243

The Life of Rodin

As Mr Natorp testifies, Rodin genuinely enjoys being
in London. From the very first, he felt the mysterious
attraction of the city's immense hum of life and its colour-
ing, which his friend Claude Monet has interpreted in his
series of Thames and Westminster pictures. " Nothing,"
he says, " can be more beautiful than the rich, dark, and
ruddy tones of the London buildings, in the grey and
golden haze of the afternoon." In his earlier visits he
made excursions to Windsor, where he saw some Holbein
drawings that he speaks of with all an artist's love ; and
to Oxford, whose blending of old and new in their frame-
work of lovely scenery made a deep impression on him.
One of his experiences in the University town was a dinner
at Christ's College, where he sat at the Fellows' table.
The return journey was effected by short stages, allowing
him to see something of Reading and the banks of the
Thames.

His intimacy with Henley gradually assumed a more
familiar character. The latter's epistles to him were
mostly short, confidential in tone, with a word on pro-
fessional matters as an excuse for writing. For instance,
in one dated November 1884, he says: —

" Tell me if you received my last letter, and why you
have not replied to me; I mean the one in which I
announced to you the fine ending to our negotiations
with the Portfolio. Dramas don't pay now. People want
something besides dramatic composition; they want
sensation, juggling, conjuring. It's annoying, isn't it ?
You are familiar with the like experience, and we shall
have your sympathy. How happy you must be! To
care so little about money, and to, at last, have the
opportunity of being recognised as an artist ! That's
real life ! Good-bye ! To think of you is the finest
lesson I know."

Although Legros was the primary agent in introducing
Robert Louis Stevenson to Rodin, Henley had much to

244

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do with their further relations. A good French scholar,
the novelist charmed the sculptor by his fine understand-
ing of the beautiful. His brother also, the artist, was
much appreciated. Begun in the last years of their life,
Rodin's intercourse with the Stevensons was too short for
an extensive correspondence ; but there are two extant
letters from the novelist's pen which may be appropriately
given here. They were apparently written in the same
year, the one to the Times, about the sculptor, the other
to Rodin himself. This latter is undated, and the address
is Bournemouth.

" My dear Friend," he says — " I should have to count
the arrears of letters I owe you by tens ; my excuse is
that, though better, I am still only so-so. The journey
to Bournemouth had to be made through fear of the
murderous fogs. It was like the flight into Egypt, and I
was very tired before it was over. Now I feel stronger
and can send you a few lines.

" The ' Printemps ' l duly arrived, but with a broken arm ;
so we left it, as we fled, in the care of a statue-doctor. I am
expecting every day to get it, and my cottage will soon be
resplendent with it. I much regret about the dedication ;
perhaps it won't be too late to add it, when you come to
see us ; at least I hope so. The statue is for everybody ;
the dedication is for me. The statue is a present, too
beautiful a one even ; it is the friend's word which gives
it me for good. I am so stupid that I have got mixed
up and don't know where I am ; but you will understand
me, I think.

" I cannot even express myself in English. How can
you expect me to do so in French ? More fortunate than
we are, the Nemesis of the arts does not visit me under
the form of disenchantment. She saps my intelligence
and leaves me agape without capacity, but without regret ;

1 A small plaster group of the "Eternal Spring." See chapter on the
" Magnum Opus."

245

The Life of Rodin

without hope, it is true, but also, thank God, without
despair. A mild astonishment has taken possession of
me ; I cannot accustom myself to being so block-headed,
but I am resigned. Even if it should last, it would not
be disagreeable ; but, as I should certainly die of hunger,
it would be at least regrettable for me and my family.

" I wish I had the power to write to you ; but it is not
I who hold the pen. It is the other, the animal, who
doesn't know French., who doesn't love my friends as I
love them, who doesn't appreciate the things of art as I
appreciate them, whom I disavow, but whom I always
dominate sufficiently to make him take pen in hand and
write twaddle. This animal, my dear Rodin, you don't
love ; you must never know him. Your friend who is
asleep at present, like a bear, in the depths of my being,
will shortly awake. Then, he shall write to you with his
own hand. Wait for him. The other doesn't count. He
is a sorry and unfaithful secretary, with a cold heart and
a wooden head.

" He who is sleeping, my dear friend, is ever yours.
He who writes is commissioned to inform you of the fact,
and to sign for the Firm.

"ROBERT Louis STEVENSON and TRIPLE BRUTE.

(per T. B.)."

The document published in the Times is dated
September the 6th 1886, and bears the address, Skerry-
more, Bournemouth. It is a reply to an attack on Rodin.
Under the light of what has since happened, it reads like
a prophecy. He begins : —

" SIR, — Mr Armitage, R.A., repeating (by his own con-
fession), in ignorance, that which he has gathered from
the lips of the indiscriminating, comes before your readers
with a strange account of Monsieur Rodin. That gentle-
man, I read, is called the Zola of Sculpture \ and his work

246

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is too realistic and coarse even for the strong stomach of the
French public. I will not deny that he may have been
called the Zola of sculpture, but I should like to know by
whom. The point of such a phrase lies in the authority,
and a byword is no argument; or which of the two
popular views are we to accept of Mr Gladstone, and
which of the Academy ?

"Mr Zola is a man of a personal and fanciful talent,
approaching genius, but of diseased ideals ; a lover of the
ignoble ; dwelling complacently in foulness ; and, to my
sense, touched with erotic madness. These defects mar
his work so intimately that I have nothing further from
my mind than to defend it. I do not think it can often
have a good influence ; I am inclined to fear it will always
have a bad. And on this I would say one word, in passing,
to Mr Armitage — that national comparisons are seldom
wise ; and he will find (if he look around him) the dainty
stomachs of the English supporting Monsieur Zola with
a fortitude hardly to be distinguished from gratification,
and that, in a translation from which the redeeming
merits of the original have fled.

" To Monsieur Rodin the first words of the above de-
scription may be applied, and the first words only. He,
too, is a man of a personal and fanciful talent, and there
all comparison is at an end. Monsieur Rodin's work is
real in the sense that it is studied from the life and itself
lives ; but it has not a trace of realism in the evil, and
that is in the privative sense. Monsieur Zola presents us
with a picture to no detail of which can we take grounded
exception. It is only on the whole that it is false. We
find therein nothing lovable or worthy; no trace of the
pious gladnesses, innocent loves, ennobling friendships, and
not infrequent heroisms by which we live surrounded ;
nothing of the high mind and the pure aims in which we
find our consolation. Hence we call his work realistic in
the evil sense, meaning that it is dead to the ideal and

247

The Life of Rodin

speaks only to the senses. Monsieur Rodin's work is the
clean contrary of this. His is no triumph of workman-
ship lending an interest to what is base, but to an in-
creasing degree, as he proceeds in life, the noble expres-
sion of noble sentiment and thought. I was one of a
party of artists that visited his studio the other day ; and,
after having seen his later work, the ' Dante,' l the ' Paolo
and Francesca,' the ' Printemps qui passe,' we came forth
again into the streets of Paris, silenced, gratified, humbled
in the thought of our own efforts, yet with a fine sense
that the age was not utterly decadent, and that there
were yet worthy possibilities in art. But, remark, it was
not the sculptor we admired ; nor was it his skill, admir-
able and unusual as that is, that we talked of as we went
homeward. These questions of material talent had fallen
below our thoughts ; and the solemn face of the ' Dante'1
over the great door still spoke to our imagination.

" The public are weary of statues that say nothing.
Well, here is a man coming forward, whose statues live
and speak, and speak things worth uttering. Give him
time, spare him nicknames and the cant of cliques, and I
venture to predict this man will take a place in the public
heart. — I am, etc., ROBERT LOUIS STEVENSON."

Henley's letter, referring to his own and Stevenson's
busts, has already been quoted. Many others were
exchanged between him and the sculptor in the following
years ; but private circumstances prevented the corre-
spondents from saying much to each other that could be
aptly reproduced here. Rodin was in the thick of his
professional activity, and ceased his visits to England
from sheer lack of leisure. On the other side, Henley's
occupations also became more absorbing, and his always
precarious health more troublesome. Then occurred his
terrible loss — the death of his only child and daughter,

1 A first sketch of the " Penseur." See chapter on the " Magnum Opus."

248

Relations with England

the " Golden Child " as he styled her. Some time after,
towards the end of the 'nineties his tone recovered a little
of its old cheerfulness, but never entirely. One letter
written in October 1898, which weaves his own name
with Rodin's in touching fashion, forms a sort of
epilogue : —

" Dear and great friend " (he calls him), — ..." I have
done a good deal since you made me live in bronze. I
am almost a somebody. People speak of me, my dear
Rodin, a little, a very little, as they speak of you ; I
mean, as of an artist who has always done as he thought
fit, without ever caring for other people's money or
praises. ... I believe my verses won't all perish. And
yet, what is the use of speaking about it ? I am dead ;
my wife, too, is dead. We lost all in losing that marvel
of life and wit — our daughter. You would have cared
for her, too. She had everything, everything. And now
we have finished with life.

" As for you, my dear Rodin, you are still for me the
only one of the moderns since Corot. Just now, that
admirable bronze of yours is being exhibited at the
Society of Portrait-painters ; and the public are begin-
ning to speak of it as it deserves. Here and there,
friends are asking me for proofs of it. Send me the
address of your caster.

" I love you and admire you still, as in the fine times
gone by. And that is all I can say, my dear Rodin, all
I can say. — Your devoted friend, W. E. HENLEY."

Although England saw very little of the sculptor
himself during the 'nineties, his productions continued
to attract an attention which kept him well in public
view. Besides the newspaper notices of his sculpture at
the New Salon, special articles were written on some of
his greater works. The Magazine of Art, for instance,

249

The Life of Rodin

published illustrations and criticisms of the Bastien
Lepage statue, the Puvis de Chacannes bust, and the
" Bourgeois de Calais " monument in 1893 and 1895. The
"Balzac" and the "Hell Gate" were dealt with in 1898.
During this last year, there was some talk of entrusting
the master with Mr Gladstone's statue, but, whether on
account of the strained political relations between the
two countries at the moment, or from a private reason,
the commission was not given. At this date also, a
young artist, Mr W. Rothenstein, was endeavouring to
form an establishment for the exposition and sale of
works by masters old and new, and to place the French
sculptor's smaller productions on his list. In 1900 the
Carfax Gallery in London showed a number of the
master's drawings, both of the older and newer style, and
with them two or three little statuettes in bronze, one being
a reduction of the " Balzac " head. Another detail that
cannot be passed over is the willingness that he still
manifested to advise and teach young English sculptors.
Miss Otille Maclaren, whose talent the master praises,
came to him at the close of the century, and continued to
benefit by his counsels for two or three years.

When in 1902, after a long absence, Rodin returned
once more to England, there were new faces to welcome
him among the old ; and he came to be received as a
public guest. The occasion was an auspicious one. A
copy of the famous " St John " had been purchased by
public subscription and presented to the South Ken-
sington Museum. In this case, the initiative had been
largely due to the younger generation of the sculptor's
admirers, notably to Mr John Tweed, Mr Rothenstein,
Mr D. S. MacColl, and Mr Arthur Symon^s. Had there
been any risk of failure in the subscription, Mr Ernest
Beckett, M.P., was ready to provide the money himself.
But the movement was well taken up ; the amount
required was easily found ; so Mr Beckett made known

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his intention of buying the " Penseur," and offering it as
a second gift to the nation. To celebrate the success of
their scheme, the above-mentioned friends of Rodin and
Monsieur Lanteri, Dalou's successor at South Kensington,
organised a banquet and invited the master to be present.
So he crossed the Channel in May, twenty-one years
after his first journey to England, which the " St John "
had also in a way caused, and there was an enthusiastic
gathering at the Cafe Royal, Mr Wyndham, the Chief
Secretary for Ireland, being in the chair. At the close
of the banquet, there was a spontaneous manifestation
which surprised and delighted the guest of the evening.
A certain number of art students connected with the
South Kensington and Slade Schools, who had come to
cheer him, unharnessed the horses of the carriage which
was waiting to take him back to Mr Tweed's house,
where he was staying, and themselves drew it for some
distance through the streets. Thereupon Sir Alma
Tadema, who was with Rodin, and enjoyed this unre-
hearsed part of the entertainment, insisted on treating
the students, who were over a hundred in number, to
supper at a convenient restaurant. Rodin, Henley,
Sargent, and others sat down too, and made a second
meal, but touched the viands more lightly.

There was a sequel to this impromptu meeting between
the French master and the English students. The latter
induced Rodin to promise a visit for their especial benefit,
which he paid in the ensuing May. On this occasion, the
students themselves prepared the banquet, and made Mr
Alfred Gilbert, R.A., their chairman. In the principal
speeches, high praise was given to Rodin, and graceful
acknowledgment was added of the services rendered to
England by French art. The sculptor was much affected
by the genuine language of these young men who had
assembled to do him honour, and counts the evening
among his most precious souvenirs.

251

The Life of Rodin

The echoes of the preceding feast had hardly died away
when Rodin was informed of an important resolution
which had just been passed by the International Society
of Sculptors, Painters, and 'Gravers. Whistler, the
president, was dead, and the committee wisely thought
that the sculptor of the " St John" and the "Penseur"
would be a worthy successor. A delegation, consisting
of Mr Lavery and Mr Ludovici was sent to Paris to sound
him on the subject. " The proposal was very agreeable
to me," says Rodin, relating the matter ; " and I at once
intimated my willingness to accept the nomination." The
election was made before the end of 1903 ; and in the fol-
lowing January, for the third time within less than three
years, there was a public greeting of the French master, and
an equally public recognition of his talent. Accompanied
by three Paris painters, Jacques Blanche, Cottet, and
Fritz Thaulow, Rodin went quietly through the lionising,
inevitable, excusable, justifiable even under the circum-
stances. The opening ceremony at the New Gallery,
the dinner at the Cafe Royal, the visit to South Kensing-
ton Museum, with the students' welcome, who again un-
harnessed the horses and drew the master's carriage, are
events too well remembered to need much dwelling upon.
The newspapers mentioned all that occurred, and one
thing, at least, that did not. The Times announced
that the King received the sculptor at Buckingham
Palace ; and the Sketch, embellishing, added that the
latter was amazed by his Majesty's wonderful know-
ledge of contemporary French art. Probably there was
an interview proposed between the King and Rodin, but
what is certain is that it did not take place.1

There was one speech at the dinner, that of Mr
Edmund Gosse, which, by its representative character
and its happy expression, was peculiarly interesting. In

1 This proposed interview took place subsequently, during a visit of the
sculptor to England in the spring of 1906.

252

Relations with England

proposing the sculptor's health, he said that "it was
nearly a quarter of a century ago that the genius of
Monsieur Rodin was revealed to us. We recalled, in
the Salon of 1881, those extraordinary works, 'La
Creation de PHomme,' and, in bronze, the 'St John.'
It would be the self-deception of memory if we pre-
tended that we saw then in those works all that we
saw in them to-day. There were young sculptors, like
Coutan, like Lanson, like the unfortunate and gifted
Idrac, who exhibited far more rhythm of line, a far more
delicate finish of forms. But these tormented, arid figures
of the new sculptor, if they scandalised and repulsed the
eye trained in the academic tradition, at least arrested
its attention. Who was there that night who could
remember what graceful contribution Idrac made to the
Salon of 1 88 1 ? Who could forget the wasted and bitter
anchorite which St John appeared to Monsieur Rodin's
energetic vision ? He could not conquer our convention
at a blow, but he could shake it to its foundation, and he
did. No one in the intelligent world looked at sculpture
to-day exactly as he did before Monsieur Rodin put his
mark upon it. It was too often forgotten that the appeal
of genius is very diverse. There was a kind of genius
which was the slave of man, and the indulger of his
prejudices ; there was another kind which was the
noble companion and friend of his best thoughts,
but there was yet another, very rarely revealed as
the ages evolved, but, thank Heaven ! even now-
adays occasionally revealed, which was not the slave,
nor the companion, but the tyrant of man's taste. To
this class the genius of Monsieur Rodin belonged ; he
was one of the intrepid conquerors of the world of art.
Every artist should live in his intelligence ; but, if ever
one had done so since the days of Phidias, it was
Monsieur Rodin. He was not merely concerned, as
other very excellent and admirable sculptors had been

253

The Life of Rodin

and still were, with brilliant problems of composition,
learnedly carried out, with wonderfully refined modelling,
with high competency of finish. These gifts he possessed ;
but it was not of these that we thought when his work
affected us most deeply. We then, with astonishment
and joy, saw him labouring in the refulgence of the
uncreated image, while his soul was visibly torn with
agony until he could bring his vision to the birth. He
sculptured as if he were singing, and this lyrical rapture
which marked all that he produced was one of the most
striking of his characteristics. We used to think of sculp-
ture as of an art in dignified repose. We turned to
Monsieur Rodin, and we saw torture and ecstasy, languish-
ment and terror — all the primal passions of our race —
quivering on the surface which enveloped the vehement
creation of his dreams. In being permitted to welcome
Monsieur Rodin that night, as the successor to Whistler
in the presidency of this active and ambitious society of
artists, they could not but express the hope that he
would put his stamp on the spirit of all those who
approached him. We welcomed him with peculiar
warmth to English shores; and it was perhaps nothing
but national vanity which made us hope that, in the
energy and roughness of our race, which was called
barbaric by those who did not love us, he might even
find something sympathetic to his own violent sentiment
of truth. Monsieur Rodin succeeded that beautiful and
winning spirit Whistler — a man more like the living
flame of fire than any one he had ever known ; and
the Society had shown its wisdom in choosing as suc-
cessor to that incomparable man the only artist in Europe
who could really be placed on a level with him."

The few words pronounced by the master, in reply to
the toast, did not satisfy those who would have wished
for a long and eloquent discourse, or a witty speech, such
as many of his countrymen can easily trip off the tongue.

254

Relations with England

He would have required a smaller audience, two or three
at most, and a given subject capable of inspiring him, to
show how charmingly he can talk. Yet what he said
had point. After apologising for his lack of oratory, and
thanking them for his reception, he continued : " I should
like to say what I think of art and nature, the real source
of all beauty, but I think that you know it already. It is
because my heart is filled with humility in the face of
nature, and with admiration for nature, that you have
called me among you. The reception of last night, so
full of taste and made beautiful by the ladies of London,
has occasioned a great stir ; and, having seen those
ladies, I cannot but think of the charming and noble
pictures of Sir Thomas Lawrence at Burlington House.
I am glad to be the president of your Society ; and my
great wish is to continue in the spirit of my regretted
predecessor, Whistler — a great master, a hard worker,
whose keen mind was so austere in art, and whose
originality had such creative power. You honour also
in me that work and painstaking which are the character-
istics of art in all countries. I lift my glass to the
success of our exhibition, and may tell you that your
active sympathy has given me fresh strength and renewed
youth. I drink also to the generous friends who, in 1902
and 1903, offered me banquets, precious souvenirs, to
which will be added those of this evening."

Amid the general chorus of praise accorded to the new
president, and to the six l specimens of his sculpture on
view at the New Gallery, there were one or two discordant
notes, but nothing beyond an allowable difference of
opinion. The art critic in Truth, evidently no great
admirer of Rodin, spoke of him as possessed of wonderful

1 (i) A large plaster of the " Penseur," (2) a small bronze of the same,
(3) "Bellona," (4) "La Patrie Vaincue" ("The Vanquished Mother-
Country "), (5) " The Dream," (6) «' A Torso of St John "—all but the 6rst
in bronze.

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The Life of Rodin

power and virility, but limited in his art, incomprehensible
mostly to the man in the street, a Walt Whitman or a
Browning amongst the sculptors, a sculptor's sculptor ; in
fine, just as George Meredith is a novelist's novelist, and
Spenser a poet's poet. The fact is that the writer, who,
by the title of his article, " Rodinesquerie," and the tone
of it — somewhat flippant — had meant to be severe, dealt
very gently with his man, and came near to blessing him.

Much interviewed at the time of his last visit, it would
have been difficult for the master to be otherwise than
complimentary, whatever might have been his reserva-
tions on some of the points about which his opinion was
solicited. There is reason, however, to believe that he
was quite sincere in all he expressed. One valuable
quality he has in large measure, that of an unbiassed mind
when viewing fresh phenomena. He said that he found
English ladies and their dresses charming, and he does
still. The fact of there being some types of both that
would not warrant this epithet did not blind him to the
existence of beauty, moral or physical, and of taste, where
it was revealed to him. Opportunities had been previously
afforded him of judging our English homes in their more
modest as in their more elegant aspect and constitution.
They pleased him greatly. He recurs to the subject now
to say how well they tally with the national genius. It
does not occur to him to make comparisons which would
be to the detriment of one of the two nations. He likes
to look on that which is fair in both. Such catholicity in
taste, which does not mean indifference, has endeared him
to Englishmen of very different temperament, whose un-
animity in testifying to the good they receive from his
acquaintance is better than any other eulogium. The
letter which Mr Beckett wrote him in January, to welcome
him again on English soil, breathes the same sentiments
that appear in Henley's early epistles.

" I thank you heartily," he says, " for your kind note

256

THE EARTH AND THE MOON
(seepage 299)

To face page 256

Relations with England

and your words that strike, touch, and enlighten the mind
and imagination. Especially did you please me by telling
me that I brought you luck by my faith in you. As one
of our great poets expresses it, ' I needs must worship
the highest when I see it.' . . . My faith and the luck it
brings are only the reflection of your own genius in the
spirit of your numerous enthusiastic admirers. Your kind
hopes and wishes will receive a full realisation when
the great bronze is finished, which is going to be
magnificent."

If Rodin were to close this chapter himself, he would
say that in return for what he has been able to give to
our country, England has awakened in him new ideas,
which he does not feel too old to receive and profit by.
This is as it should be.

257

CHAPTER XVII

THE " VICTOR HUGO " AND THE " UNFINISHED TASK "

HAD ambition been the stimulus of the master's activity
throughout his career, he might have pronounced his
" Nunc Dimittis" at the end of 1900. He had climbed
to the summit of his art, he had received the laurel crown
of victory; no one could have blamed him for retiring
from further toil, and for spending his last years in
rest and contemplation. That he continues working,
that he will doubtless lay down the instruments of his
handicraft only at the summons of death, is due to the
love he bears his art. He cannot help modelling. It
is part of his breathing and thinking. And then being
so much a sculptor for the future, an innovator as well as
a traditionist, it is well that his production should have to
do with two centuries, that things begun in the nineteenth
should be finished in the twentieth.

Up to now, no account has been given of the Victor
Hugo monuments — for there are two. As neither of
them is completely terminated, there is no inappropriate-
ness in having delayed the notice and in speaking of
them here. They have a common story and origin, and
are the logical sequence of the busts and dry-point
engravings executed in the poet's lifetime. The project
for a statue from Rodin's chisel was informally made
within a year or two after Victor Hugo died ; but, as is
often the case in such matters, there was considerable
debate before the commission was officially given. In a
letter to the sculptor two or three months before the
opening of the 1889 Universal Exhibition, Monsieur

258

The "Victor Hugo," etc.

Larroumet, then at the head of the Fine Arts Depart-
ment, wrote : " I have the project at heart : if I have
allowed it to remain in abeyance, necessity has been the
reason ; but it will soon be revived." Meanwhile, the
understanding was quite clear enough for a preliminary
model to be begun. On the nth of October 1889,
Monsieur Larroumet said in another letter : " Don't forget
to send me word when your rough model of Victor Hugo
is ready to be seen ; I am very desirous of being the first
to have a glimpse of it." Monsieur Larroumet no doubt
had his glimpse ; but it was not until the middle of 1891
that the model was submitted to the committee. This
appears by the two following extracts from the same
correspondence as those above ; the first is dated the
2Oth of February 1891: "Please tell me when your
' Victor Hugo ' for the Pantheon will be finished, so that I
may see it before bringing the committee " ; the second,
the 6th of June 1891 : " Are you back? If so, we might
appoint a day for the meeting of the committee."

When the matter came on for consideration, the members
of the committee appointed to give judgment had a paint-
ing made of the plaster model (which Rodin says he had
executed about the size of Richelieu's statue in the chapel
of the Sorbonne, and intended to be about the same dis-
tance from the ground), and they had it stuck up very
high with a huge mass of cardboard rock-work beneath.
This altered the whole perspective; the impression was
no longer what the sculptor had aimed at ; and objections
were brought against one and another detail which were
tantamount to a refusal. It need hardly be said that
Monsieur Larroumet's opinion was different from that of
the committee ; and, as the sculptor was willing to submit
a new group, the Director of the Beaux Arts arranged
that the commission for the Pantheon should remain in
his hands. Then, to emphasise his own appreciation of
the original rough model, he, practically on his personal

259

The Life of Rodin

responsibility, invited Rodin to continue its execution, in
view of another site in the Luxembourg Gardens. So the
committee's action resulted in the master's being entrusted
with two monuments instead of one. The second commis-
sion was confirmed in October of the same year, Monsieur
Larroumet writing under that date as follows : " My first
care yesterday, on returning to Paris, was to regularise the
order for your 'Victor Hugo ' for the Luxembourg Gardens.
. . . You will have the official letter to-morrow or the day
after to-morrow." A few months later, Monsieur Larroumet
was replaced at the Fine Arts Department by Monsieur
Henri Roujon, so that officially he had nothing further to
do with the monuments ; it may be mentioned, however,
that publishing a book, in 1894, on Victor Hugo's residence
in Guernsey, he requested the sculptor's permission to put
in it, as a frontispiece, an engraving of the rejected first
model, of which he possessed a small terra-cotta that
Rodin had made specially for him. There, any one may
see it who is desirous of getting a more accurate idea than
summary description can supply.1

The poet was represented dressed and sitting, with his
right elbow bent and leaning against a background of
stone, which allowed the hand to be pressed against his
forehead. The position was one of reflection, the body
and head bowed slightly forward, and the left arm care-
lessly hanging. He wore a loose coat, and a rug was
draped over his knees and legs. In varied attitudes,
forming an arc that stretched from over his head down
the left side, were three muses. One was the muse of his
" Oriental " poems, languorously reclining, with a graceful
curve of the torso. The second was the muse of the
" Chastisements," open-mouthed, and crisped with anger.
The third was the muse of the Romantic Drama, lithe,
seductive, sublime.

1 A small bronze model also of this first conception is in the possession of
Monsieur Peytel.

260

VICTOR HUGO

To face page 261

The "Victor Hugo," etc.

A different destination being now assigned to this
group, Rodin decided to modify it, and, since it was to
be placed amid an expanse of lawn and trees, to give it
greater breadth. The second "Victor Hugo," of heroic
size, was represented half-sitting, half-recumbent, and
nude, with the exception of the right leg and a little of
the right side, on which the shawl or rug seems to have
fallen from the shoulders. The identity of the two
models is quite evident. Each detail in the change is
apparently the result of the greater inclination of the
body— the head turned rather more sideways, the right
hand drawn back to the ear to help it in listening, the
left leg stiffened, and the left hand raised in a com-
manding gesture. His couch is by the shore of his rocky
isle of banishment, and voices come to him from over
the sea, while he sits in mood like that which inspired
the lines : —

" O thou, whose billows ebb and flow
Around the rock where drooping low

I stayed my wing, yet hoping still.
Thou that canst speed or sink the bark,
Why dost thou call me in the dark ?

O sombre sea ! what is thy will ? "

The voices were now personified by two muses instead of
three. One of them is kneeling on the rock behind and
above, and stoops over the poet's head with a pose of the
arms that makes an arc to the line of his shoulders. This
was the muse of history, bearing with her the cries of
earth, the complaints of oppressed humanity, and rousing
the hero to wrath and the exercise of his powers of satire.
The second stands behind on the ground, bending and
turning at the same time, in a pose of supplicating
timidity, the hands lifted and half-hiding the face. This
was meant for the muse of the idyll, the muse of tender-
ness, breathing sweet words and inspiring gentler feelings.
Impassible, yet attractive, the strong man sits, a world

261

The Life of Rodin

of concentrated thought within him, reflected and made
manifest through his outer swelling muscles and the
energy of his frame. It has been already said that the
plaster group of this Luxembourg monument was first
seen in public at the New Salon of 1897. Four years
later the figure of the poet in marble was exhibited there.
At present, the two voices are being fashioned also in
marble — one can be remarked in the studio of the Rue
de 1'Universite, — and, in a year or two's time, it may be
hoped, if not earlier, visitors to the Luxembourg Gardens
will be able to enjoy a piece of statuary that posterity
will certainly class among its most precious treasures.

The rough model of the second monument for the
Pantheon was presented to the Sub-Committee for Works
of Art in December 1892, and was forthwith approved.
The many important commissions with which the
sculptor was entrusted during the ensuing years, and
the fact of his having the other " Victor Hugo " on hand,
prevented much progress being made with this until
quite recently. The small plaster group which exists
in the museum at Meudon, shows the hero nude and
standing under a cliff by the same sea-shore. His feet
are entangled in briars and brambles as he walks, and,
with his right arm bent in front and his left reaching
down and outwards, he endeavours to advance. A
winged female figure has swept down from the empyrean,
and comes to a hovering poise, with her head near to his,
by grasping her right foot with one hand while the other
hand and foot are extended. Rodin has succeeded here
in placing before us the sudden swoop and whirr of
descending flight in a singularly vivid manner. It is Iris,
the messenger of the gods, that he represents, swift with
the swiftness attributed to her in the " Iliad," but without
the tunic, her nudity sufficiently mantled by the spreading
pinions. She brings the interpretation of the riddle the
poet has been painfully seeking, the guiding light in ways

262

The "Victor Hugo," etc.

of doubt, and is the countervailing influence to the three
sirens of the sea that half emerge from the waves beneath
him and that lure him — two with faces upwards to his
and the third looking in the waters — murmuring remin-
iscences of joys and sorrows, invitations to oblivion.

The figure of the poet is the only portion of the
monument which has been executed in its definite size.
The plaster is now finished, and its translation into
marble may be shortly expected. A torso of Iris has
been for some time in existence in bronze at the Rue
de 1'Universite, but of somewhat smaller dimensions than
it will ultimately be given. These are the only data for
guessing when the whole group will be ready for the
Pantheon. Three years is not an unlikely estimate.

Since 1900, foreign interest in the sculptor's work has
enormously increased. It would be almost tedious to
enumerate the demands for specimens of his sculpture
in museums l abroad, the invitations to participate in art
exhibitions held during the last few years in various parts
of Europe. Glasgow, Turin, Prague, Berlin, Venice,
Diisseldorf have accorded in turn a place of honour to
selected plaster copies of his statuary, as to the drawings
that aided in their production. This wider diffusion of
his masterpieces has furnished him with an excuse for
indulging in more frequent journeys to other countries
than his own. Italy, Austria and Germany have each
had him within their frontiers.2 " My wish now," says
the master, "would be to go to Greece. In fact, I have
had the desire all my life, without ever finding an oppor-
tunity to realise it. I know what the country contains, at

1 Stockholm, which refused in 1897, has since asked for a bust of Victor
Hugo and a reduction of the " Bourgeois de Calais."

2 The University of Jena, in the last-mentioned country, where several
exhibitions of the sculptor's works have been held during the last few years,
notably at Berlin and Diisseldorf, conferred on Rodin, in 1905, the degree
of Doctor causA honoris. As an acknowledgment, a bust of Minerva has
been presented to the University.

263

The Life of Rodin

my fingers' ends, having studied everything in books and
museums. I think at present I should be prepared to
see it."

At the Venice Exhibition of 1901, and not for the first
time in Italy, there arose a similar clash of controversy
to that so often heard in France. The Venetian public
had been able to judge of Rodin's style in a previous
international art exhibition four years before. Five
plaster statuettes then represented him ; and there was
the "Age d'Airain" besides, which the city possessed
permanently. But no great attention was paid until the
specially arranged room with its nineteen pieces, some of
them being copies of his most interesting and character-
istic groups, on this occasion created an impression of
surprise and wonder mingled with a good deal of dis-
favour. Hostile critics hastened to formulate the old
accusations of errors in proportion and absence of plastic
quality, or else of lack in the finish. Those who made
this last charge would have done well to meditate on an
observation of one of their own writers, Signer Corrado
Ricci, who, in his monograph on Michael Angelo and
speaking of a masterpiece of the great Florentine, says :
"We cannot leave this statue, without repeating once
more that we are convinced Michael Angelo intention-
ally kept part of it unfinished, and did so by artistic
judgment." This disdain among professional art critics
had been almost, if not quite, as marked in Rome. Its
duration, however, was short. A more accurate know-
ledge of the differences noticed in the sculptor's produc-
tions altered people's ideas, and the pretended defects
were found to be virtues. At Turin there would appear
to have been a just estimate of Rodin's sculptural
expression, as soon as the town had an occasion of
studying it. The banquet offered him there in 1901, and
the exhibition of the year after, made no great stir ; but
the cordiality and sincerity that reigned throughout the

264

The "Victor Hugo," etc.

proceedings were an agreeable contrast to some of the
master's other experiences.

Perhaps the most demonstrative welcome he has
received on the Continent whilst travelling was at
Prague in 1902. It was the Victor Hugo centenary
celebration which brought about the visit, and, indeed,
the sending of his statuary there. Among the foreign
delegates who came to Paris in the month of February
of that year to be present at the unveiling of the poet's
monument, were some members of the Prague Czech
Society, "Manes," who, after inspecting the various busts of
the hero by sculptors of name — and no name — inquired
where was the one that Rodin had modelled. " Ah ! you
must go to Meudon, if you wish to be satisfied," was the
reply. As a matter of fact, the master had been invited
to furnish a bust for erection in the Place Royale by the
Sub-Committee of the Town Council, deputed to arrange
this part of the day's doings ; and he had promised his
help, asking only two thousand five hundred francs to
cover material expenses. After sending in his photo-
graph of the bust, he was informed that another sculptor
had made a more advantageous offer, which the Sub-
Committee had accepted in preference to his. When this
more advantageous sculptor sent in his bill, it amounted
to twenty-five thousand francs.

The Prague delegates went to Meudon, beheld all the
wonders of the museum, and returned home with such a
glowing account that the master forthwith had proposals
made him, the upshot of which was the Prague mani-
festation— a veritable Roman triumph. An inhabitant
of that city, Karel B. Madl, writing about it in the
French monthly review, Les Maitres Artistes, says:
" The Rodin Exhibition was an unexpected and sudden
invasion, not an invasion of destructive barbarism in old
culture, but an invasion of something strange, unheard of,
victorious. Auguste Rodin appeared in Prague, wearing

265

The Life of Rodin

on his brows the golden crown of the conqueror, receiving
homage as if he had been riding in a chariot along the
Sacred Way. The enthusiasts in front drew after them
the multitudes of the curious, who thronged about him
with noisy acclamations. But in the first ranks, as in the
last, there were men who remained abashed, taciturn,
distrustful of their senses, because it seemed singular to
them, something they could not take in all at once.
They felt the strange grandeur of the phenomenon, and
perceived it but obscurely." The journey was prolonged,
and the Austrian capital visited. Here, too, the recep-
tion was cordial, but its effect was somewhat lessened by
the festivities at Prague.

In 1903, the master received from the French Govern-
ment the rank of Commander in the Legion of Honour.
He had been created a Knight in 1888, as was said in
Chapter V., and an officer of the same Order a few years
later. His third promotion was further proof that, how-
ever banned and plotted against by coteries artistic or
otherwise, the State and its ministerial representatives
continued to esteem him. Some of his pupils and
disciples in sculpture conceived the happy idea of cele-
brating the event in a novel fashion. They got up a
picnic for the last day in June at Velizy, near Chaville ;
and quite a pleasant party assembled to meet the sculptor
and his wife. Besnard, Fritz Thaulow, Mirbeau and
other friends were there ; and lunch was served out of
doors in a convenient glade on a greensward, where a
column had been erected, surmounted by a well-known
torso from the Meudon Museum. After the repast, three
toasts were drunk, each proposed by a sculptor who had
worked for Rodin — Jean Baffler, Emile Bourdelle and
Lucien Schneeg, whose eulogiums and confessions bore
eloquent witness to what they had learnt from him. For
the text of these speeches, too long to be inserted here,
but highly interesting, the reader is referred to the July

266

THE SOUL AND THE BODY

{see page 269)

Tojacepage 266

The "Victor Hugo," etc.

number of the Plume in 1903. One or two paragraphs
of Baffler's will give the keynote : —

"All the companions that surround you," he said,
"have thought that this modest banquet ought to be
especially a corporative feast, because your glory sheds
lustre on our handicraft, and it is of a superior interest
for us to have you as a leader. Your benevolence is
proverbial ; and, whenever we happen to miss what we
aim at in our works, you have always a kind word which
comforts us and encourages us to further effort. Always
compassionate to the humble and ready to serve them,
you awaken in us a noble emulation by your deliberate
and lofty critical sense. It is therefore the great French
sculptor we are honouring to-day, the President also of
our group ; and, above all, it is the venerated friend, the
admirable master whose incontestable authority soars
above the petty interests of party."

A sentence of Bourdelle is most significant : —

" The influence of your art is so deep, so extensive, so
inevitable, that none of us (if he has understood you)
would wish to conceive himself, would wish to conceive
his own science bereaved of yours."

Gathering round the column, the picnic party were
photographed ; then Fritz Thaulow, whose skill on the
violin was taken advantage of, played an air with three
accompanists ; and Miss Isidora Duncan, an American
lady, known in Paris by her rhythmic interpretations of
Beethoven's music, rose and danced on the greensward,
resuscitating as far as might be the terpsichorean art of
old. The scene was one altogether suited to the master's
tastes ; and his enjoyment, apart from the homage done
him, was very keen.

The frequent articles that have appeared in reviews
and newspapers during the last three or four years have
kept the reading public fairly well informed of Rodin's
recent work. Part of it still consists in enlargements of

267

The Life of Rodin

groups already existing, such as " Francesca and Paolo,"
" Ugolino and his children," and the " Thinker," the
last of which, as has been said in an earlier chapter,
has been presented to the town of Paris. Some again
runs parallel to work of twenty years ago with a ten-
dency to more complex grouping in the same simplicity
of planes.

As an example, may be mentioned the " Creation of
Woman," which represents Eve just issued from Adam's
side, with the creating hand above them, enveloped in
cloud. Although Eve is fully formed, there is an inter-
lacing of lines in the juxtaposition of the two bodies
which artistically translates the story and fits it.

A " Prometheus Bound " on his rock is strangely like
a martyr on his cross. In this and one or two other
subjects of like import, there is a return to figures in high
or low relief on the rough block. The accompaniment
of man's suffering by woman's consolation is character-
istic of these compositions and unites the sculptor's
two modes of expression, the one severer, the other
softer.

Perhaps too little attention has been paid to the
master's performance in the sculpture of children. The
other phases of his art have rather thrown it into the
background. In the autumn of his career, he gives a
reminder that his taste for it, as well as his talent, has
not been lost. On a couple of pediments, executed
for the Baron Vita, the friezes setting off the main
subject — an allegory of the four seasons — show a
merry troop of chubby little figures playing, quite in
Rodin's best and vigorous style. At Meudon also, there
exists what, for want of a name which has not been
given, might be called the " Babes in the Wood." There
is a wee three-year-old boy nursing and embracing a
tinier two-year-old girl. Its sentiment, ceteris paribus,
may be compared to that of the " Baiser."

268

The "Victor Hugo," etc.

A last example of parallel work is the " Athlete," as
yet only in its first reduced size of the clay model. The
pose is vaguely like that of the " Thinker," the position
of the arms and the slant of the body being different,
and the face being all visible. A young American sat
for it, a man of remarkable shoulder breadth and muscular
development in the chest and back.

Then, again, there is work which, in each succeeding
appearance of it, is the passing thought and feeling of
the sculptor materialised without any relation between
the pieces, except the master's mind. A small produc-
tion of this kind will be mentioned in the conclusion.
Another, not quite so new, is the " Soul and the
Body," which figured at the 1904 Weimar Exhibition in
Germany. Rodin would have liked to send more to this
old town with its Goethe associations. But the contribu-
tion made to the Dusseldorf Exhibition earlier in the same
year made a larger participation impossible, especially
as he had the fatigue of his journey to the former town.
The "Soul and the Body" is a variation on the theme
of the Greek centaur. By the fabled offspring of Ixion
and the Cloud, the Greeks must have wished to indicate,
at least, the gradation, if not the opposition of two forms
of life, one lower, one higher. In his centaur Rodin has
brought out the intensity of the cry, " O wretched man
that I am ! who shall deliver me from the body of this
death ? " On glancing first at this piece of statuary,
one is surprised at its length ; the human body of
slender proportions, standing outwards as well as up from
the body of the horse, and so different from the brawny
form of the Greek centaur. Then, as one continues to
look, the long straining of the soul is felt through the
symbol, and the modelling is seen to beautifully express
it. As Count Robert de Montesquiou remarks, both
subject and execution would be the appropriate adorn-
ment of a mausoleum. And similarly, the " Last

269

The Life of Rodin

Vision," a marble bas-relief, which shows the head of
a dying man almost over the bourn of existence, and,
above, the face of his beloved — wife or betrothed — beheld
at the supreme moment.

In the museum at Meudon stands a plaster model of a
monument to the memory of Puvis de Chavannes, which
Rodin undertook some years ago at the request of the
National Society of Fine Arts, and which, when finished,
will be erected in Paris. The monument consists of a
bust copied from the one already described in Chapter
VI., which is placed on a small altar, after the Greek
custom. On the left, stands a male figure, allegorically
representing Eternal Repose.1 The statue is a worthy
companion of the bust. Both posture and feature are
full of melancholy grace, but with avoidance of any
theatrical gesture. Rising from the ground behind the
altar is a tree that overshadows both bust and statue,
and serves as a grove of quiet contemplation. Rodin
confesses to have intentionally arranged all — the slender
trunk, the branches and leaves not too thick, so as to
obtain silhouettes capable of standing out against the
sky, and yet in a manner mingling with it. This was the
Greek idea.

With the exception of the " Thinker " on the Place du
Pantheon, no statuary from Rodin's hand adorns a great
public square in Paris. It is quite time that this inadequate
representation should be complemented. If the " Balzac "
is not to receive, in the sculptor's life-time, the honour due
to it, there is that fine masterpiece, "The Bourgeois de
Calais," which, as it commemorates an event interesting
the whole nation, might with propriety be erected in
the "Jardin du Carrousel." Such a scheme would
appeal to all Frenchmen ; and England and America,
who were historically connected with the real drama,
could, in another spirit, share in its sculptural representa-

1 This was in the 1900 Pavilion.
270

To face fage 270

The "Victor Hugo," etc.

tion, giving it an international sanction and approval.
The preference of the writer, as was hinted in the chapter
on the " Magnum Opus," would be to see the " Tower of
Labour " find its home in Paris. There is a conception
of universality in it that commends it to every mind,
and its execution by international subscription would
be one way of acknowledging the influence of art — and
of Rodin's art in particular — in drawing men and nations
closer together. For Rodin may claim to have given of
his best, both in teaching and in sculpture, without
respect of persons or frontiers. As the object of his
study is nature, so the object of his sympathies is
humanity. " There will have to be a united Europe ;
its various countries must come together, if they are to
continue to live and flourish," is one of his utterances,
which is equivalent to saying — with the master's intention
— that there must be a morally united world ; since, with
a united Europe, the question of universal peace would be
settled. While it is evident that so great issues are not
within the grasp of any one man, it is equally plain that
each great man helps to forge the links of a larger
fraternity. This, in truth, is the sculptor's unfinished
task, which he will have to confide to others, but with
the consciousness of having done his part.

271

CHAPTER XVIII

MEUDON, AND THE RODIN OF THE PRESENT

IT is no labour to write about the Rodin of the present,
since the documents are ready to hand — the man himself,
his studios, his home and museum. One thing is charac-
teristic of all, simplicity, extreme simplicity. In the
sculptor, it is the outward, visible signs of a sincere,
strong mind, ennobled by its dominating passion, and
serene in the presence of all and everyone. It has
enabled him to behave in each of the critical events of
his career with an unruffled dignity that has compelled
the respect of his bitterest opponents ; and it gives him
perfect manners and a gentle courtesy towards high and
low. An example of this last trait was furnished to the
present writer, as he was one Sunday morning sitting in
conversation with the sculptor in the latter's house. The
old servant suddenly intruded, bringing in a little girl
of the peasant class, who was shyly holding some small
object wrapped up in a handkerchief, and who managed to
articulate, " Please, sir, father has sent you this, thinking
that perhaps you might like to have it." Interrupt-
ing his chat, and carefully unfolding the handkerchief,
Rodin found inside a small fragment of ornamental spa,
which the man had no doubt dug up somewhere and
imagined to have some value, but which was quite worth-
less. Examining the object with a kindly smile, Rodin
wrapped it up once more, told the child to thank her
father for letting him see it, returned it to her, but without
any gesture or word of refusal, and ordered his servant to
give the little visitor some cake and an orange.

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RODIN IN HIS GARDEN AT MEUDON

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The Rodin of the Present

Age has brought about in the sculptor's frame and
appearance more than one change since the time when
his portrait was painted in the 'eighties. The hair,
which he wears shorter, has turned grey ; so has the wavy
beard, which is still long, and has the same twists as in
the likenesses of Sargent and Carriere, but is somewhat
more pruned. The body has become thicker, without
being positively stout, and the cheeks fuller and ruddier.
The cast of the face is, as always, massive — the furrows
of the forehead being ploughed deeper, however, and the
expression more varied than of old ; to watch the transi-
tions is most interesting for anyone that cares for the
study of physiognomy ; there is much philosophy hidden
under the eyelids, much dry and sly humour lurking round
the mouth, much latent force in his slow speech, yet not
laboured, and much, much illumination in flashes when
his ideas lead him up to heights of intuitional perception.

A short, thick-set man, Rodin walks with a slight roll
in his gait, somewhat as a sea captain.1 In his dress, he
prefers the comfortable to the elegant. Except when in
black frock coat and suit for visits, he prefers for home
and studio a short tweed jacket and suit to match, over
which, in the cold weather, he dons a long, loose garment,
with a cap ; and he not unfrequently at Meudon puts on
wooden shoes. As he is nearly always about among the
clay and plaster, it is not uncommon to see his clothes
streaked with white, a detail of which he is quite
oblivious. The only sign of forethought in matters of
toilet is the daily visit of the barber who comes to
trim his hair and beard ; but even this would seem to be
tolerated rather than desired ; for sometimes, if there is

1 Curiously enough, this peculiarity, which no one else seems to have
noticed, was confirmed by a story which the sculptor related to the present
writer on the latter's mentioning his impression. " I remember," said
Rodin, "that one day, in a seaport town, I was followed by a drunken sailor
who persistently abused me. I found out after that he had mistaken me for
his former captain, against whom he had a grudge."

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The Life of Rodin

anything occupying his attention, the hairdresser gets his
dismissal by means of an intimation that he can content
himself with attending to Madame.

His manner of living is quite in conformity with what
has been said of his character. Usually, an early riser,
he is mostly at work before half-past seven. A bowl of
milk generally serves him for breakfast, which, as often
as not, Madame Rodin takes to him in one of the studios ;
otherwise he would forget to come and drink it. If
lunch and dinner are more substantial, they are equally
plain. The lighter dessert makes a good half of the
meal, and the wine is plentifully mixed with water. On
Sunday in winter, he may remain in bed now and again
till half-past eight or nearly nine, but the extra nap is
rather a consequence of the fatigue caused by his
Saturday afternoon receptions, which are more numer-
ously attended in winter.

These receptions are held in the studio of the Rue
de 1'Universite, where he is accustomed to work in the
afternoon. There are, in reality, two rooms, so to speak,
lofty cells, and well lighted through immense glass
windows running across the whole front, but without
any pretensions to elegance. Other similar rooms be-
longing to painters and sculptors are in the same one-
storied row, and probably Rodin's are the least ornamental
of all, except for the precious statuary they contain. The
floors are of asphalt, the walls are white-washed, the
accessories, a few chairs and just the paraphernalia
necessary for the posing of models ; and for the rest, a
most primitive stove in each. The groups that assemble
are partly old friends, who never tire of returning to
contemplate the familiar forms in stone, marble, plaster
and bronze that have almost become part of the furni-
ture, and who are best capable of distinguishing that
which has grown into existence since their last visit ; there
are also strangers whom the sculptor's ever-increasing

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The Rodin of the Present

renown has attracted thither. These last belong to all
nations. One week, it is a group of Russians headed by
the Director of the Porcelain Manufactory of the Empire ;
another, it is Mr Carnegie, whose mundane preoccupa-
tions by no means prevent him from excursions into the
more ethereal regions of art. Among the visitors Rodin
walks about as happy as a child, dropping a few words
that give the summary of what he has done in this or
that piece of sculpture, and show, as far as may be, how
he did it. The lighting up of his face at these moments
is one of the most refreshing sights imaginable. There
is no vanity but the reflection of the artist's joy at having
seized and rendered permanent one of nature's evanescent
visions. Watching him, the line beginning Keats'
" Endymion " comes into one's mind : —

" A thing of beauty is a joy for ever."

Together with the visitor, he admires over again the
beauty of the thing or the thing of beauty he has pro-
duced ; and one feels it is the result rather than the handi-
work which is the object of his admiration. He forgets
his share and thinks of the joy. " Yes, it is pretty, the
arms, the little feet,"1 he says, his eyes caressing the
children in marble or stone, some of whom he always
has about him in the studio. " And this ' Death of
Alcestis,' it looks better in the box which frames it
and constitutes a sort of tomb." l The wife of Admetus
is sitting on her husband's knees. She is going to die
for him ; and hiding her face against his breast, she sobs
out her good-bye. " Mercury is waiting near them to
take her to Hades," the sculptor continues, " he is better
than the husband, and weeps. I tried to put a little of
Gliick's melody into my composition. I don't know
whether I have succeeded."1 A thought strikes him.
"It would be still more effective," he says, taking his

1 These words of conversation are related by Mile. Judith Cladel.

The Life of Rodin

handkerchief and spreading it over the knees of his
group, " if the knees were concealed. See, the eye had
too much to look at. Now that the lower portion is
draped, all the attention is concentrated on the faces and
the embrace. There are no longer too many planes of
vision. If I carry this rough sketch any further, it will
no doubt be like that." l

One of the penalties of greatness is to have one's time
encroached on, and Rodin's fame is no exception to the
rule. The master finds it more and more difficult to
keep his working hours free. Yet he meets interruptions
without fussiness. The inevitable ones he endures with
patience, the others he avoids when he can by innocent
ruses that offend no one. When supplementary duties
fall upon him, such, for instance, as the annual judging
in connection with his presidency of the section of
sculpture in the " Societe" Nationale des Beaux Arts," 2
he will be up and off to Paris at an hour when most
well-to-do people are asleep, so as to get through his
task and be able to perform the ordinary day's work into
the bargain.

To those who are able to appreciate his art, he is
peculiarly indulgent, and, if they are women, the indul-
gence is the greater. "In general," he says, "women
understand me better than men. They are more attentive.
Men listen too much to their friends; so that they are
spoilt while in the hands of the professor. Then I am
inclined to find them stupid, which is certainly a mistake ;
for I have one or two men pupils who are exceedingly
gifted. Perhaps I ought not to call them pupils since
they have natural genius."3 Tender to the foibles of
others, Rodin will sometimes carry the feeling to the
extent of organising a musical party at which the per-
formers are not always of the highest order. He will

1 These words of conversation are related by Mile. Judith Cladel.

2 National Society of Fine Arts. s Related by Mile. Judith Cladel.

276

The Rodin of the Present

listen with deference ; and, though of fine musical taste,
will find nothing to criticise. The pleasure he has given
to others makes the performance sufficient. This sort of
courtesy is his only concession to conventionalism ; and
in him, indeed, it is hardly conventional.

From Paris society he has consistently lived apart.
Even when resident in the city, he cared nothing for it ;
and, now that his dwelling is in the country, he regards
it as a stranger would. His disinclination to mingle in it
has nothing to do with false modesty or a consciousness
of inability to hold his own in its midst. On the contrary,
when forced to go among the great ones of the world, he
seems superior rather than inferior to them, no doubt
because his genius really makes him so ; but also because
his perception goes deeper than the veneer of clothes and
mannerism, and knows men and women for what they are
worth. His eloquence, however, — for eloquent he can be, —
is freer among those whose sympathy he feels to be more
than fashionable curiosity. If he is in a mood for con-
versation, the language is precise, terse and abundant,
though measured ; and, if the sober gestures are those of
the man from the north, there is the picturesqueness of
a lively, sensuous imagination. Fond as he is of talking
on his art, he neither dogmatises nor sermonises — he
persuades. His method — probably he would not call it
a method — is Socratean. He leads to the truth, without
seeking to confute an adversary's opinion by demolish-
ment While disclaiming the teacher's role, he is ever
willing to advise students that go to him for help. His
criticisms then are brief, but, as they infallibly and directly
discover the weak points, and as a touch of the thumb
or finger, a fillip here or there to the model submitted,
accompany the word spoken, the brevity contains the
soul of wit.

The present home of Rodin, the " Villa des Brillants,"
is situated on the heights of Meudon, overlooking the

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The Life of Rodin

Seine in the direction of Sevres and Saint Cloud, and is
about a couple of kilometres distant from the western
fortifications. No less than three railways now run
within a short distance of it, one on the heights and
crossing the valley by means of a lofty viaduct, the two
others in the valley itself. There are also three stations
of easy access, not to speak of tramways and the river.
Yet, in spite of these connecting links with the great
city, and the possibility of reaching it under the half
hour, the elevation of the site places the sculptor in a
region undisturbed by noise, and practically isolated from
the villages that lie around.

The house is of nondescript kind. Originally, it was a
single-fronted, red brick building in Louis XIII. style,
with two stories over the ground floor. The gable-end
forms the porch side, the roof is of steep slant, and the
topmost windows rise out of it with gables and roofs of
their own. Subsequently, a wing, in brick and plaster,
was added on the east side, in the shape of a vast
room as high as the second story of the original
structure, and having its whole length. The upper part
of its long outer wall is one series of large windows ;
the roof is partly of glass, the front is of wood and has
large doors. Evidently, it has served for a painter's studio.
In fact, the house was built by a lady artist, Madame
Durand de Coll, from whom Rodin bought it. The
kitchens are below stairs, and round the yard are out-
houses which might serve as stabling, but which are
used for keeping Madame Rodin's pet birds — pigeons
and canaries, and for containing the sculptor's archives.
Several dog-kennels in the yard have each an occupant ;
they are pets, but they have their utility in this lonely
abode surrounded by fields. As the visitor mounts the
porch steps, he notices on his left a small room, nearly
all in glass, that joins into the east wing. In it are
an old-fashioned sideboard, and an equally old-fashioned

278

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The Rodin of the Present

cupboard. A few miniature pieces of antique sculpture
make their appearance there now and again, with a trestle-
table, at which a workman will be sitting. It is a place
capable of being turned to more than one purpose.

Inside, the house is explained by the personality of its
owner. To people accustomed to modern luxury in
furniture, it must appear strange. Carpets there are
none — at any rate, on the ground floor. The oak floors
are clean and waxed, that is all. In the small sitting-
room on the right, there is a white centre-table, a
writing-desk, two or three white chairs, two small side-
tables, and nothing more except four pictures, two, at
least, being gifts from the friends who painted them,
Eugene Carriere and Claude Monet. The dining-room
opens into this by folding doors. It is a larger apartment,
long and narrow. An oblong trestle-table, painted white,
occupies almost the entire length of it, and white cane-
bottomed chairs stand round. The dinner cloth covers
the table as a rule, together with some of the service.
Over and on the mantel-piece at the further end of the
room is a large unframed picture presented to the
sculptor by Falguiere. The studio drawing-room comes
nearest to the modern type, but the transformation is
not yet achieved. A number of valuable pictures, both
large and small, stand on the floor against the walls.
On the side opposite the windows is a tester bedstead —
simply the wood-work — in ancient wood, so ancient that
it has turned black, and wonderfully carved ; and along
the side of the windows is a long narrow mahogany side-
board covered with rarities of antique art. In one corner
is a cupboard filled with tiny statuettes of Japanese or
other origin ; in a second corner a costly wardrobe ; along
the back end-wall a huge, lofty bookcase, with glass,
silk-lined doors, and containing a most miscellaneous
selection of books, many of them presents from celebrated
authors. Among the English ones are three from Henley,

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The Life of Rodin

the first bearing the inscription : " Poems, a Book of
Verses, London Voluntaries " ; and inside the dedication :
" W. E. Henley to his friend Rodin. 18-2-98." The two
others were given only the year before the donor's death.
One is " Views and Reviews," with " W. E. H. to Rodin.
5-5-02," on the inside cover, and the other, " Hawthorn and
Lavender." The dedication of this third, in French, like
the preceding ones, and dated " 13-2-1902," is as follows:
" To Auguste Rodin. I would to God, my dear friend,
that you could read what is in it. I believe you will find
in it both workmanship and feeling." One or two tables,
a suite of chairs, with a sofa and screen, complete the
contents of the room. In fine, the inspection of the
ground floor will convince any one who really knows
the sculptor that its Spartan severity and apparent
incongruity of arrangement are due — to-day, at any rate,
— not to material necessity, but to the fact that the
master's love of beauty is satisfied by the nature of the
fields abroad and his own plastic reconstitution of her
fair forms. He himself says : " It seems strange to some
that I keep my drawing-room so ; but it allows me to
have under my hand the things I have collected for my
pleasure. I like to take them up as I pass by, which
would be difficult if everything were in regulation order."

And, indeed, with such a landscape visible from all the
windows, the most luxurious furniture would lose its
charms. Down, down in the valley, one sees from the
porch the Seine flowing and curling towards the north,
through the Sevres bridge in the distance, until the heave
of the hills of St Cloud sweeps round in front of it and
forces it to turn eastwards. The valley itself bifurcates at
Meudon and runs inland, west by north, between Bellevue
on the Sevres side and Fleury towards Paris. It is a
lovely hollow — the Val they call it — with a wealth of
trees and vegetation climbing the heights that enclose
it. Hundreds of pretty residences, with red-tiled roofs

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The Rodin of the Present

and white or coloured walls, nestle everywhere from top
to bottom, giving just the contrasts of tints that satisfy
the eye. As one stands in the portico of the museum,
under an arcade that faces the river and supplies a frame,
there is a picture with all the requisites that an artist
could desire of sky, ground, water, perspective. In
certain lights the transfiguration is ethereal.

Riverwards and in front of the house, close to it but on
the eastern side, so as not to block the view, is the
great museum, the pavilion that served for the Exhibi-
tion of the Place de PAlma in 1900, re-erected in the
sculptor's own grounds, but abutting on what formerly
was a separate property, and which Rodin acquired at
a convenient moment for the purpose of adding to his
studios. The property, when bought, consisted of a fair-
sized piece of ground, with a cottage in the middle, a
low long summer-house skirting one side of the garden,
and a tiny outhouse. The museum, now that the division
has been removed, occupies the top end ; the cottage
immediately beyond it is used for occasional visitors ; the
summer-house has become a sanctum where the sculptor
keeps a few of his antiquities, and where he sometimes
retires to work alone or to chat with a friend ; and the
garden, over which a seated Buddha presides, remains
with its boundary wall, in the midst of the outer,
encircling grounds of the Villa des Brillants, laid out
for the growth of fruit trees, but the abode also of rose
trees, whose blossoms appear when the fruit blossoms
have fallen. Carriages that come to the villa must
approach by the Avenue Paul Bert. From the main
gate of the avenue, a primitive sort of drive, bordered
with trees, leads down to the backyard, which must be
entered in order to pass along the side of the villa and
arrive at the porch entrance. Still east of the principal
block and behind the museum, there is another building
— a workshop, for the rough hewing of statues, and

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The Life of Rodin

between it and the house stand two pretty little one-
storied, red-brick edifices used as repositories for the
conservation of the sculptor's numerous miniature models
that cannot be put elsewhere, and furnishing a nook to
which the master betakes himself — when he does not
want to be found anywhere else.

The great museum looks outwardly much the same as
when it adorned its original site. Inside, there are per-
manent fittings — the huge glass cases, cupboards, and
tables heaped and packed with statuary and fragments ;
but there are figures of all sizes draped in brown holland,
which are not always in the same place and are not
always the same statues. It is the changeable element ;
and, when a drapery is raised, one cannot feel sure of
beholding the statue seen there before. The number also
increases and diminishes, so that successive visits have
their little surprises ; the curiosity is continually whetted ;
one never knows with Rodin what he has in store. The
one thing certain is that in these pieces of sculpture, new
and old, there lies the history of a life for him who can
read it.

It is possible for the casual visitor to go a good many
times to Meudon and yet not discover the existence
of another museum — a more recent acquisition of the
sculptor — which is situated quite at the bottom of the
valley westwards from the villa, and almost a quarter of
a mile away. It is an old-fashioned, three-storied house
of decent size, plastered and whitewashed, with a strip
of garden belonging to it that comes up the hill to
within a short distance of the villa grounds ; there Rodin
is at present engaged in organising and arranging, on the
one hand, his collection of Gothic fragments, some
originals, some, indeed most, plaster casts,1 which he has

1 These casts have been taken by sculptors entrusted with the repairing or
replacing of some old parts of a cathedral ; first, a mould in clay was made of
the piece, and then the plaster cast poured into the mould.

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The Rodin of the Present

picked up in the course of his travels, or through the
medium of an obliging amateur, on the other, his
own fine series of pencil studies executed at various
periods for his sculpture. The latter having been noticed
in the chapter devoted to the drawings and dry-point
engravings, there is no need to add more than this
indication of their whereabouts. That they should be
found side by side in the same shrine as carvings executed
under the religious impulse is significant, and is an extra
confirmation of the remark made in the first chapter
anent the double source of Rodin's inspiration. To the
profane and careless glance, these mutilated fragments of
the ancient Gothic carvers may not have much to say;
but, in the master's presence, under his kindling eye, and
with his enthusiastic exposition, the hearer must be dull
who does not get an inkling of the artistic intention as
well as of the realisation. He is initiated into the mystery
of curves, the relation of each line to the spectator for
whom it was intended, into the genuine simplicity that
stamps the work, together with that science of durability
with which it was performed.

These museums are more peculiarly Rodin's " habitat."
They suit him and he suits them. It is there perhaps
that he is seen to the best advantage, where with a step
he can unveil an illustration and point a sentence with
visible fact. His is a complex character ; and, as with all
that are so, different phases of it are manifested to different
men. Some people believe that he cares little for any one
and anything outside his sculpture, that he loves only by
his art and in his art. If there are artists of this kind,
Rodin is not of the number. A loveless life at any period
would have had small value for him. An essential require-
ment of his soul is feminine affection, with the best that it
can give, steadfast sympathy. It was fortunate for him
that, so soon after the death of his sister, he met with a
woman capable of it ; it is fortunate for him that she has

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The Life of Rodin

been spared to keep up the supply. Concurrently with this,
he has always experienced the attraction of female beauty,
but less of the purely sensual than of that which is
accompanied and constituted by qualities of mind giv-
ing characteristic animation to the body. Whether he
acknowledges it or not — and some of his conversation
lends colour to an accusation that he is lacking in this
respect — he is haunted by ideals which he divines through
outward forms. Woman is the chief medium of the
vision.

Intimate, man's friendship of the David and Jonathan
kind, does not seem to have come into his life, be this
said without disparagement of the intercourse that has
existed between him and such men as Legros and Carriere
and others. And yet he would have welcomed it. Re-
served characters have often the keener desire for com-
munion. Failing it, he has continued to cultivate nature's
acquaintance, approaching her, however, not through the
'ologies, but through untiring contemplation. In a
tenacious will of the kind he possesses, there are defects
possible as well as virtues, together with large patience
and tenderness, a danger of falling into hardness and
prejudice. The corrective lies in the man's capacity for
growth and modification. Unlike the ordinary individual
who becomes hidebound often before arriving at middle
age, Rodin has gone on developing up to the present. His
mental and moral framework are larger than they were in
middle life, and the muscles that move it, stronger. The
risk run by most celebrities of being monopolised by
curiosity-mongers who load them with flattery in order
to rob them of their time, comes too late in his career to
do him much harm. If praise is sweet to him now, there
are no signs of his being puffed up by it ; and he is far
more ready to take up the cudgels in order to defend his
interpretation of nature than to quote eulogiums of him-
self. In fact, he abstains entirely from repeating them.

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Tojacefiage 284

The Rodin of the Present

A charge jestingly made, but perhaps seriously meant, is
that he is self-concentrated and secretive with a strain of
Norman wiliness and cunning. If the two latter terms
are understood in the sense of Scotch shrewdness, they
may stand as being near the mark. The self-concentra-
tion and secretiveness are in great measure caused by
the constant necessity of being on his guard against
threatened attacks. When a man is thus exposed, he
can hardly be blamed for caution that may sometimes
appear excessive.

What are Rodin's opinions? Is he Conservative or
Liberal, is he Monarchist or Republican, is he orthodox
or heterodox ? Since he does not parade his opinions or
wear his heart upon his sleeve for daws to peck at, it is
unsafe to say much on the point, and the matter has not
a great importance. Opinions are unstable, except in
people that cannot see far, and it is likely that the
master has more than once burned what formerly he
adored. The story goes that, of an evening, when he
takes the train to return to Meudon, he may be seen
regularly to buy an ultra-Conservative paper, seat himself
in the carriage, put on his spectacles, and deliberately
read it through from beginning to end. But then it is
also related that on one occasion, when travelling with a
famous painter from Paris to a distant town in France, he
got out and bought a fresh paper at each station. There
are some things he does without paying much attention !
From the government, or rather from the ministers who
have been at the Fine Arts Department, and have conse-
quently been in relations with him, he has always met
with support, and acknowledges it freely ; in fact, his
struggle with academic officialism would have been still
harder but for the wise helping hand held out at critical
moments by the minister then in power. Doubtless, he
respects the established constitution of his country be-
cause it commands the adhesion of the majority of his

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The Life of Rodin

fellow-citizens. For the rest, he has been long enough in
the world to realise that what is proper for one people
may not be so good for another. His temperament
makes him inclined to oppose revolutionary upheavals.
In Russia, he would find a word to say for autocracy, in
England for traditionalism, and in France he would fain
preserve some of the old amid the incoming of the new.
There is assuredly a touch of Ruskin in his mental atti-
tude towards the problems of the present ; and his solu-
tions, as far as they go, are referable more to individual
than to collective action. Some of his conversation on
the religious topic having been already recorded, enough
may be gathered from it to be convinced that his thought
is far from the materialism that has invaded a great deal
of modern art no less than of modern science. Spiritualist
in his conception of things, he is independent in his reflec-
tions. His philosophy may be less intellectual than that
of men whose training and opportunities have enabled
them to formulate everything in logical propositions, but
feeling and intuition compensate for its vagueness.

This, however, is not to assert that Rodin is wanting
in culture outside the limits in which he has specialised
himself. There are men who show all they know in an
hour, and others whose knowledge lies latent and will
continue to crop up unexpectedly for years. Rodin
belongs to the latter category. Quite recently he was
lamenting his ignorance of the English language, to
which a person present, whose age might excuse him
for forgetting his classics, replied that it was never too
late to learn, since Cicero began studying Greek letters
when he was over sixty. " Not Cicero," retorted the
sculptor quietly, "he was versed in Greek when quite
young." " I meant Cato," corrected the gentleman,
rather ashamed to have made the slip.

One source of the master's knowledge is his close
observation of things. Rightly cultivated in his case, it

286

The Rodin of the Present

has yielded immense profit He observes through every
sense and through all combined ; and, as he owns, he
often gains a valuable idea from the most superficial
remarks. Even in the nomenclature of his masterpieces,
he is not above adopting a name suggested by chance,
provided his judgment approves. As an example, may
be taken the group of two statues, composed of two
kneeling figures — a man and a woman, — the man on a
lower ground in a position signifying his subjugation by
his companion's loveliness. " Ah ! the eternal idol,"
commented a Member of Parliament,1 who with a party
of friends was visiting the studio. The remark was made
without reflection ; but the sculptor none the less noted
it, considered the name, and found that, better than
another title, it would suit the work.

Whatever one may learn from him about men and
things that have come into his life during his chequered
career — and a great deal may be learnt in an indirect
way — most noticeable is the habit he has of saying
nothing about individuals which might present them in
a really unfavourable light ; and to men that have
enjoyed his friendship he is invariably generous, even if
incidents have occurred — and such will occur in every
intercourse — to interrupt or change their mutual rela-
tions. Allusion was made in an earlier chapter to the
coolness that arose between him and Dalou at the end
of the 'eighties. There is no need to go further into details
as to the causes of the rupture ; but a word or two may
be added of a conversation in which the present writer
ventured to repeat to the sculptor what he had gleaned
elsewhere on the matter, and to ask how far these
accounts tallied with facts. Rodin replied in a tone
which breathed nothing but kindness. "We had been
so long friends," he said, "and whatever did occur of
an unpleasant nature could not wipe out the memory

1 Monsieur Rivet.
287

The Life of Rodin

of it or destroy the old feeling. I heard only when it
was too late that Dalou had expressed in his illness a
wish I should go and visit him. It pained me a good
deal that he died without our seeing each other again.
Had I been informed of his desire, I should have gone at
once."

The quality just illustrated is more than discretion or
prudence. Consistently manifested, and unostentatiously
withal, it argues a nature's gentleman. If further testi-
mony were needed to prove the sterling goodness of his
heart, it is supplied by those who have been or are still
in his employ. The men of greater fame are proud to
speak of their having served him, and those of less are
content to remain with him. "Why should I change,"
says Monsieur Mathet, who does more for Rodin than
for any other sculptor. " I should lose rather than gain
by producing only for myself, and then it is so agreeable
to work for him."

As the man considered with reference to his art is
the principal subject of the rest of the book, an endeavour
has been made in this chapter to keep in the foreground
the man amid circumstances common to each and all.
But, above every other standard of estimation, the Rodin
of the present stands out as the incomparable artist, pro-
digious in what he is doing no less than in what he has
done. The greatest compliment one can pay him, the
sincerest wish one can make for him, is that it might be
possible for him in this last period of his life to withdraw
himself more and more from the noise of the world's
market, and, in his quiet retreat, to complete the realisa-
tion of his sculptural ideals.

288

Toj<icepai>e 28

CHAPTER XIX

CONCLUSION

COMPLETING the remarks which were made when be-
ginning the preceding sketch of Rodin's life and labour,
and which were intended to show the sculptor's relation
to the past, an opinion at least may be offered, in conclu-
sion and in summing up, as to the place he will be likely
to occupy in the future of his art.

Notwithstanding the general recognition of his great-
ness, a recognition virtually accorded by his most adverse
critics, his name might sink into oblivion with the lapse
of years, unless in what he has done there is something
that the future can utilise as well as the present. Men
that aim only at immediate success and profits get no
more than their deserts if posterity refuses to remember
them.

Even a cursory perusal of the foregoing chapters must
convince the candid reader that Rodin has never courted
popular applause, that his productions have not been
designed for the express purpose of gaining the greatest
amount of praise and pelf in the shortest possible time.
From his apprentice days he possessed a facility and
elegance in modelling, a chic the French would say, which
would have enabled him to speedily become a favourite
among sculptors, had he laid himself out for it. But he
cared little for this. The pleasure he sought was the
pure pleasure of the artist in creating, or, as he prefers
to say, in representing. If he could bring others to share
in this pleasure, his own was doubtless increased, but that
was not thought of until his principal object was attained,
x 289

The Life of Rodin

And this principal object was to give artistic materiali-
sation to that which is eternally human, not to passions
and thoughts personified, but to men and women feeling,
suffering, moving, planning, dreaming, to plastically reveal
a fleeting moment of their existence with its tragic or
comic interest, just as the literary artist shows it through
the medium of language. Forty years have been spent
in such toil, and not in vain. Both in range and reality
of execution, Rodin is at present unsurpassed, if not
unsurpassable. Like Shakespeare's characters, his figures
are all individuals, and yet possess typical signification
that frees them from the narrow bounds of family or
nationality and makes them severally capable of ap-
pealing to men of every age and clime. That the master
has effected this through his own temperament and in
his own way, in no wise detracts from the quality of his
performance ; it simply requires that they should be
studied and comprehended.

When talking on his method, Rodin qualifies his
naturalism merely as a faithful observation and following
of nature and a reconstituting of her perfections in
plastic shapes. If this were the entire explanation of
his superiority over the academic style — and, as was
pointed out in the introduction, the " rule of three " sort
of beauty cannot support comparison with his bolder
interpretation of form — a good many naturalists in art
and literature that have no special merit might cover
themselves with his mantle. In truth, Rodin's naturalism
needs distinguishing by an epithet.

For any two men that look upon things outside them
will have only the image which their developed organ of
sight allows to each ; and neither will see or interpret
nature exactly in the same manner. This does not
imply that there is no common study of phenomena
which can bear a common name ; but it does mean
that the personal vision must be taken into account.

290

Conclusion

And Rodin's artistic perception of nature — which is the
resultant of his original faculty and its cultivation —
yields a naturalism which is something else than the
mere observation and following of nature, however
faithful. It is an active, imaginative selection of a very
high order, constantly at work amidst the outer, material
world, gliding everywhere between the atoms, discovering
their finest relations, and recognising them in all their
disguises on the three planes of visible life. Poetically
its power might be described by what Shelley says of his
Witch of Atlas : —

" She all those human figures breathing there

Beheld as living spirits — to her eyes
The naked beauty of the soul lay bare j

And often, through a rude and worn disguise,
She saw the inner form most bright and fair —

And then — she had a charm of strange device,
Which murmured on mute lips with tender tone,
Could make that spirit mingle with her own."

Characteristic of the man is the refusing to credit
himself with more than the assiduous training of his
eyes, ignoring for the nonce the mystery that lies behind
the using of the senses, and the tendency in them to
pass beyond their physical activities into others that are
unanalyzable. How natural his naturalism is appears in
the consistent striving after movement and structural
expression, how imaginative it is appears from the equally
consistent research of analogy between the rhythmic play
of the human body and other forms of creation. When
he carves his women like vases or like a flower, it is
because he sees them as a vase or a flower, and because,
too, he sees that the vase was and should be copied
from the woman's body, and that the flower is potentially
a human form. It is the presence of the imaginative
element which spiritualises his naturalism, and preserves
even its most sensuous representations from being gross

291

The Life of Rodin

and lowering. To those who have the terrified conviction
that the nude body is necessarily obscene, half of Rodin's
statues will seem gross, but the grossness is certainly
in the conception of the beholder, and not in the statue.
Whenever the sculptor has studied a movement of the
body, he has always sought the meaning and cause of
it as the best aids in representing it. Even the swelling
of a muscle he finds cannot be properly translated
plastically unless it is correlated to the intention.
Naturalism of the superficial order has never under-
stood this, and its presentment has consequently been
base and essentially untrue. It deals only in photo-
graphy of a poor and undiscriminating order, and its
details can never be more than fragments broken off
from nature in such a manner as to leave them power-
less to convey any true message to the mind. In
practising what, for want of a better term, must be called
spiritual naturalism in his sculpture, Rodin is once again
in touch with the highest traditions of his art. The
addition he has made to past acquisitions is the arduous
and loving poring over the nature of his own epoch, the
manifestation of old and familiar things in a new and
original light.

Three accusations currently brought against the master's
statuary are — that it lacks design, that it lacks ideal, that
there is in it a too great obtrusion of detail. If requested
to state what they understand by design and ideal, the
accusers would fall out over the definition ; and, what is
more, they would differ in replying if asked to specify
what rules or axioms the statuary violates. Rodin
claims that his designs are all found in nature. For
the objector, therefore, to prove his charge in this respect
he must demonstrate either that the sculptor's designs
are not found in nature, or that nature's designs are
defective. The latter task and the former alike have
so far remained unattempted. Instead, there is a large

292

To face page 292

Conclusion

use of adjectives, mainly indicative of the critic's incapacity
for more than strong language. If Rodin's principles
were fairly studied and his design judged after, not
before, such knowledge gained, the critic would perceive
that design in statuary is what harmony is in music;
he would recognise that Rodin has done in the one what
Wagner has done in the other, and he would stand a
chance of having quite a new domain of enjoyment
opened to him.

As regards the ideal, the sculptor may plead guilty of
being wanting in the kind that has no contact with human
experience. On the other hand, the ideal that deals with
the deep things of the soul is the inspiration of all his
work. To talk of his lacking ideal in presence of the
"St John," and the busts (not to insist on the love
ideals of the " Romeo and Juliet " and the " Eternal Prin-
temps "), is to utter nonsense.

The third accusation, when examples are quoted, seems
scarcely less frivolous. In the " St John " the sculptor
has been blamed for modelling feet deformed by boots ;
in the " Vieille Heaulmiere " it is the ravages of time
that he is condemned for representing with such exact-
ness ; in the " Penseur " the muscles are too bunchy.
Other examples are similar to these. Some of the
particular charges are altogether inexact statements of
fact, and all of them may be reduced to a debatable
question of taste. To those whom structural expression
pleases more than the style of sculpture in which the
body is represented pretty much as the pig's, when he is
scalded and scraped after killing, the presence of no
detail corresponding to the natural organisation of man
is an obtrusive sight. That which is really obtrusive is
the thought of the critic, giving undue prominence to the
details he complains of. This thought acts as a micro-
scope. It enables him to see one part in exaggerated
size, and by the same reason it shuts out the rest.

293

The Life of Rodin

It is convenient for those who decry Rodin's talent to
ignore the profound study he has made of every branch
of his art To explain what they esteem to be his errors,
they suggest that he allows himself to be guided by a
will-o'-the-wisp fantasy which leads him mostly astray.
The facts of his life disprove this entirely. They show
that his sculpture is based on inductive reasoning no less
than on his intuitive perception, that he has built up a
scientific theory through calculated experiments, and that
these experiments, or rather their results, are recorded in
his successive pieces of statuary. When, by collating
and comparing these pieces, a complete history of the
sculptor's development is obtained, it will be seen how
valuable an inheritance remains for the future. It will be
seen, too, that Rodin has never made a rash leap, a
reckless cast of the dice. Even his most daring essays
will appear to have been maturely meditated ; and those
who hastily proclaimed him mad will be forced to admit
that there was infinite method in his madness. Let it be
recollected that the " Man with the Broken Nose " is
slightly anterior to the " Alsatian Girl's Head," similarly
that the " St John" is a little before the "Hell Gate,"
that the "Bourgeois de Calais" and "Baiser" were in
the studio together, that the " Morla Vicuna " follows
the " Rochefort " bust with only a couple of years between,
and that the " Balzac " is prior to the bust of " Falguiere."
Such comparisons convince the careful student that all
through the sculptor's career there has been the same
balanced mind, the same bold search for higher perfec-
tion, and a rhythmic progress and order quite the
opposite of vagabond fantasy. If anything else is needed
to render this conclusion irrefutable, it is the number of
years spent over many of the works — a phenomenon in
itself worthy of attention. In so doing, and in his way
of doing it, Rodin is once more in agreement with nature,
whose grand evolutions happen only after long periods

294

Conclusion

of gestation. Those who know him well can testify to
there being neither vanity nor incapacity in his delays.
They are proportional to the originality contained in the
production, and are demands made upon his patience by
the necessity of satisfying his own intuitive conception
and his own criticism, in other words, his art and his
science.

The finality of his science is, of course, a moot ques-
tion. Indeed, he would be the last to claim infallibility
for it. The doctrine he teaches, however, has the present
merit of being elastic, even where it is most categoric.
In proclaiming nature as the only right model, it leaves
the artist perfectly free to represent what he sees himself,
whereas academic training binds him down to represent
what an artificial code says ought to be seen. And in
affirming as it does in its latest phase that structural
expression is superior to movement, it neither excludes
the latter nor closes the door to any other element that
may be discovered in the object. On the contrary, by
making the expression depend on individual choice, by
insisting that the artist is at every stage of his modelling,
and with each of his models, face to face with a new
problem, since the living body is essentially protean, and
its plastic representation must catch, of the transforma-
tions, the one that suits the particular purpose, the
master's doctrine is eminently favourable to growth in
the sculptor's art ; it creates no Rodinian school, but it
shows how to go to school, how to learn. This quality
in a doctrine gives it greatest vitality as well as greatest
application. If special schools and styles of statuary are
still to succeed one another in the future, they will none
the less be obliged to take something from Rodin. Like
Bacon, he has formulated a method ; and thus, entering
into what is produced, without his name being necessarily
attached to it, his influence is sure to live.

His art, which, however modified by his doctrine, yet

295

The Life of Rodin

dominates it, as emanating from his own soul, may be
summed up in two qualities abundantly exemplified in
the preceding pages of the book: (i) intense, character-
istic life, and (2) minute fluidity of form.

Let any one try to recall the features, the bearing, the
gesture of the generality of statues he has seen, and even
been in the habit of seeing ; and then, if he knows Rodin's
statues, let him do the same with regard to them. He
will be struck at once with the vagueness of image in the
former, and the clearness of image in the latter. The
reason is that in those the only illusion of life is in one
or two silhouettes, whereas in these it is everywhere. An
incident which came under the writer's notice will aptly
illustrate the argument. A gentleman who already
possessed a valuable piece of the sculptor's statuary,
returned to the Meudon Museum to see what others
were in process of execution. Suddenly, he noticed a
small plaster vase just modelled, with a satyr bending
over it and plunging his hand in to find something. The
attitude of the satyr was full of impatient curiosity, his
hairy legs and hoofs seemed quivering with excitement ;
and the visitor himself stirred and laughing at the vivacity
thus portrayed, could not help giving a kick out with
his own leg, so strong was the impression made upon
him.

That which is experienced with the small things which
the master models is equally experienced with the great,
if indeed there can be said to be small and great except
in physical size. Standing before any of his statues,
one begins to think at once, not of the sculpture — that
is thought of after — but of the personage, and to feel
similar influences repellent or attractive, to formulate
similar judgments, and to draw similar conclusions to
those one would in presence of flesh and blood and mind.
This is so whether the face is prominent or not. In the
case of the satyr just mentioned, the face is practically

296

SIREN ON THE I'lLLAR
(see f age 299)

To face page 296

Conclusion

hidden, but the character proper to the creature is revealed
in the rest of the body. Nor is there a falling off in
intensity where face and figure bear an allegorical name.
The presentment is still one that marks each with their
own attributes, the plain and ugly so-called having a
due place in the gallery and a due interpretation also.

If Rodin's quality of form is less appreciated than his
quality of life, it is because artistic perception is limited
more often to one point of view, this partly through lack
of education and partly through the indifference common
minds affect to what lies beyond the near horizon. And
yet in each of his works there is a marvel of lines repro-
ducing, if not with anatomic exactness, at least with a
subjective semblance of it, the undulating grace of that
which breathes and moves. The careless spectator may
turn from such fine art, accustomed as he is to have his
taste tickled with something more strange and less
natural ; the prejudiced one may turn away too, unable
to learn, since he begins by condemning ; on the other
hand, the unbiased student who will cultivate its acquaint-
ance cannot but gain in receptiveness. Like all art of
high order, it will open his eyes to beauties in nature he
had hitherto neglected.

And, definitively, in whatever way the master's work is
regarded, one is struck by its strength — strength of
sincerity, strength of elaboration, strength of sentiment.
One feels there is a cohesion, a purpose in it, and a finish
peculiar and proper to all its parts ; by these it must
survive. Moreover, out of the ferment of the present, a
renascence would seem to be preparing, more general and
more thorough than the one which followed the Middle
Ages. In this renascence, art should play a role as im-
portant as science, persuading a return to simplicity and
reinstating nature in the activity of life from which luxury
and unhealthy refinement have dislodged her; then
Rodin's sculpture would produce its full effect by what

297

The Life of Rodin

it can teach and inspire. But, before this and after, there
is a title posterity will not forget to acknowledge and
which will secure the master gratitude as long as his
statuary exists, namely, the constant preoccupation of
humanity in his figures, a constant sympathy with every
type, and a constant research of kinship in them all.

298

o &

To /ace page

SUPPLEMENTARY LIST OF SOME IMPORTANT PIECES

OF SCULPTURE NOT SPOKEN OF IN THE

PRECEDING PAGES

" Psyche." Nude figure hiding under a mantle and
peeping out as she stands.

" Echo." A nude female figure seated on a rock.

" The Mystery of the Spring." A naiad kneeling in a
fountain-basin.

" The Death of Athens." Prostrate figure of a woman
on some ruins.

"The Earth and the Moon." Two figures, the one
hovering above the other, and enveloped with cloud.

" Jesus in the Garden of Olives." Two figures in high
relief on a hollow background, an angel bringing con-
solation to Jesus.

" Cupid and the Maiden." The god of love suddenly
appears, to the astonishment of the girl.

" Siren on the Pillar." Kneeling figure at the summit
of an antique column.

"The Wave." A kneeling woman on the sea-shore,
with her hands behind her head, wrings out the briny
water from her heavy mass of hair.

" Girl confiding her secret to a Shade."

" Girl kissed by a Phantom."

" Girl between the Genii of Good and Evil."

" Pygmalion and Galatea."

"The Clouds." A group of two.

" Lost Illusions."

" The Poet's Dream."

" Bust of Miss Fairfax."

" Bust of Baron Constant d'Estournelles," etc., etc.

299

INDEX

ACADEMIC nude, 6

Academies (Palace of the), 34 ; tradi-
tion, 8

Accusations against Rodin, 292 andfol.

Adam and Eve, 54, 108, 230

Admetus, 275

Admiral Tromp's Wife, 135

Age d'Airain, see Primeval Man

Age of Bronze, see Primeval Man

Aicard (Jean), 125, 180

Aimard (Father), 23

Aix, 32

Alexandre (Arsene), 92, 223

Alsatian Girl's Head, 294

America, 60, 241, 270 ; (Relations of
Rodin with), 209 and fol., 240

American Architect, 219; women, 87

Amiens, 39 ; Museum, 91

Amsterdam, 135

Andromeda, 219

Androgynous, 7

Anecdotes about Rodin, 58, 59, 67,
68, 76, 120, 272, 286, 287, 296

Angelo (Michael), 7, 15, 39, 40, 42,
43> 94, "3. 166, 184, 203, 264

Angelus (The), 13

Annam (Prince of), 134

Antique (Rodin on the), 191 and fol.

Antiquity, 15

Antwerp, 35, 38

Apelles, 214

Appollo, 142 ; Belvedere, 34 ; the
Vanquisher, 217 ; and Hercules
Myths, 210

Arbalete (Rue de 1'), 9

Arc de Triomphe, 4, 189

Argentine Republic, 210 and fol.

Armitage, Mr, 246 and fol.

Arti et Amicitiae Club, 135

Artist (The), is the Seer, 158

Artistic perception of Rodin, 291

Art of Louis XIV. and Louis XVI. , 14

Art tradition, 8

Assistant ( Rodin as), 27 and fol.

Assyrians (The), 192

Atalanta, 241

Athlete (The), 269

Atmosphere (Effect of) on Sculpture,35

Aube, 58, 63

Aumale (Duke d'), 134

Austria, 263

Avenue Paul Bert, 281

Azay-le-Rideau, 74

BABES in the Wood, 268
Bacon, 295

Baden-Powell, 241, 243
Baffier (Jean), 63, 64, 266, 267
Baiser, see Kiss
Balzac, 120, 123, 125 and fol., 174

and fol., 205 and fol., 226, 235 and

fol., 250, 270, 294
Barnouvin, 65
Barrias, 54
Bartlett (T. H.), 219
Barye, 5, 18, 19, 30, 95
Bastien Lepage, 69, 72, 76 and fol.,

185, 250

Baudelaire, 104, 112
Bazire (Mons.), 77, 90, 124
Beaconsfield (Lord), 235
Beauvais, II

Beckett (Mr Ernest), M.P., 250, 256
Becque (Henri), 73, 88, 93, 100
Beethoven, 203, 267
Belgrano (General), 212
Belgium (Rodin in), 33 and fol.
Bellevue, 119, 280; House, 124
Bellona, 72, 87, 255
Bergerat (Emile), 103
Berlin, 263
Berlioz, 241
Berthelot, 130
Besnard, 7, 63, 223 and fol., 238,

242, 266 ; (Madame), 126
Beure (Rose), 24
Bibi, 37
Biblis Statuette, 241

300

Index

Bievre, 120

Billow, 72

Blanc, Collection of (Mons.), 132

Blanche (Jacques), 164, 165, 252

Boehm (Mr), 240

Boes (Karl), 233 and fol.

Boston, 219, 221; Common wealth, 1 27

Botticelli, 7

Boucher, 7

Boulevard Anspach, 35 ; d'ltalie,

1 20 ; Montparnasse, 242 ; de Vau-

girard, 62, 120 ; Pasteur, 62
Bourdelle (Emile), 188, 233, 266, 267
Bourgeois de Calais, see Citizens of
Bourget (Paul), 73
Bournemouth, 245
Bracquemond, 52, 53, 73
Brownell (W. E.), 219, 220
Browning (Robert), 241, 243, 256 ;

(Medallion of), 241 ; (Barrett, R.),

242, 243
Bruges, 38
Brussels, 33, 35, 37, 39, 40, 43, 59,

170, 1 88, 201
Buddha, 281
Buenos Ayres, 209, 214 ; National

Museum, 217
Burlington House, 254
Burton (Bust of Miss Adelaide), 241
Busts, 82 and fol.

CAFE Royal, 251, 252

Campo Vaccino at Rome, 139

Cane (Senor Miguel), 212 and fol.

Captier, 63

Carfax Gallery, 250

Carnegie (Mr), 275

Carnot (President), 142

Carpeaux, 5, 13, 95, 112

Carrier- Belleuse, 6, 27 and fol., 31

and fol., 49 and fol., 53, 55 and

and fol. , 92
Carriere (Eugene), 6, 63, 65 and fol.,

125, 194, 223 and fol., 273, 279
Caryatide, 126, 127
Castagnary, 62, 90
Cathedrals of France, 39
Cathedral of Chartres, 39
Cato, 286
Cavalier, 31
Cazin, 14, 239
Centaurs (Two), 98
Centennial Exhibition of Art, 234
Cercle Artistique, 47

Chamber of Deputies Bass-relief, 13

Champ de Mars, 61, 116, 183

Chanourdie (Senor Enrique), 217

Chantilly, 134

Chaplain, 49

Chapu, 176, 177, 179, 189.

Chapuis, 49

Charing Cross Hotel, 238

Charon, 114

Chastisements of Victor Hugo, 260

Chateaubriand, 170

Chatillon, 74

Chaucer, 69

Cheffer (Marie), 10

Chennevieres (Messieurs de), 96 ;

(Philippe de), 2
Chicago Exhibition, 219 ; Museum,

219 ; Sunday Herald, 219
Childhood of Rodin, 9 and fol.
Chile, 209 and fol.
Chiswick, 239
Christiania Museum, 131
Christie's Rooms, 238
Christ's College, 244
Cicero, 286
Cicognara, 2
Citizens of Calais, 69, 72, 73, 107,

123, 138 and fol., 182, 217, 219,

270, 294 ; (Criticism of), 149 ;

(Names of), 146, 147
Cladel (Mile.), vi. Pref., 15, 17, 39,

66, 132, 135, 136, 153, 276
Claudel (Mile.), 85, 86, 88
Claude Lorrain, 69, 107, 123, 138

fol., 182, 184
Clesinger, 5
Clodion, 7
Clos Payen, 125
Colbert, n

Collections of Rodin's Statuary, 132
Collin (Raphael), 217, 242
Coltat (Mons. H.), 24
Committee for Claude Lorrain Statue,

140

Commune, 33
Compagnie des Bronzes, 37
Complex character of Rodin, 283

and fol.

Comptoir de Cristal, 58
Conversation of Rodin, 155 and fol.
Copenhagen, 204
Copp£e (Francis), 130
Copying the Ancients, 3
Copyist (Rodin as a), 28
Corot, 249

301

Index

Corrado (Signer Ricci), 264

Correggio, 7, 200

Cortot, 4

Cosaque (Le bon), 72

Cottet, 252

Courbet, 223

Coutan, 253

Creation of Man, 17, 49, 60, 109,

234, 236, 253 ; Woman, 268
Credit Lyonnais, 21 1

Cupid and Psyche, 126, 220
Cupids spinning the Globe, 99
Czech Society, 265

DALOU, 13, 20, 51, 81, 88, 130, 131,

235, 251, 287, 288
Damvilliers, 77
Danaid, 72, 79, 112

Dante, 56, 105, 109, ill, 112, 113,

203, 205, 248

Daphnis and Lycenion, 229
Daubigny, 5

Daudet (Alphonse), 53, 73
Daumier, 6
David d'Angers, 4, 5, 27, 146, 178,

182, 185

Death and the Woodcutter, 64
Death of Alcestis, 275
Decamps, 10

Decennial Exhibition of Art, 234
Defence of Paris, 54
Deformation, 41
Degas, 7
Delacroix, 5
Delaistre, 4

Desbois (Jules), 64, 1 88
Deseine, 4
Description of Claude Lorrain Statue.

141

Despair, 112, 115
Detaille (Ed.), 130
Deux Boulonnaises (Les), 13
Devonshire (Duke of), 139
Dewavrin (Mons.), 154
Diana, 241
Dijon, 39

Dillens(JuL), 33, 34
Divine Comedy, 195
Doat (Taxile), 55
Dogmatism in Art, 4
Donatello, 40, 88, 203, 238
Doomsday Frescoes, 42
Dordrecht, 135, 136
Dore (Gustave), 27

Dorizon (Mons. L.), 223

Drawings and Dry-Point Engravings,

94 and fol. ; of 2nd Manner, 97 ;

of 3rd Manner, 101 ; Character of,

103

Dream, 126, 255
Dryad with Fawn, 228
Dry-Poinl and Etching (Differences

of), 98

Dubois (Paul), 49
Dumas, Alexandre, 170, 172
Duncan (Miss Isidore), 267
Dupaty, 4

Duquesnoy (Fra^ois), 34
Duran (Carolus), 80
Durand de Coll (Madame), 278
Durand-Rueil Gallery, 140
Diisseldorf, 64, 263 ; Exhibition,

269

ECOLE des Arts decoratifs, 12, 31
Ecole des Beaux Arts, see School

of Fine Arts
Edelfelt, 242

Edward III., 146; VII., 252
Egyptians (The), 192
Egyptian Hall, 238
Eiffel Tower, 200
England, 60, 77, 206, 238, 240, 241,

248, 249 ; (Rodin's Relations with),

63, 238 and fol.
English Criticism of Rodin, 92 ;

Homes (Rodin on), 256 ; Ladies

(Rodin on), 256
Enguerrande, 103
Escudier (Mons.), 223
Eternal Idol, 287
Eternal Repose, 270
Etoile Beige, 47
Etruscans (The), 192
j Eugene (Prince) of Sweden, 131
EustacheSt Pierre, 146, 150
Eve, 75, 109, 126, 268
Evil (Rodin on), 168
Excursions, 125, 126
Exhibition (Paris) of 1878, 50; of

1889, 71 ; of 1900, 222 and fol. ;

of Diisseldorf, 64 : Munich in

1893, 128 ; Stockholm, 131 ;

Venice in 1897 and 1901, 130 and

264

FAGKL, 64
Falguiere, 6, 49, 92, 93, 126, 140,

189, 279, 294

302

Index

Fall of Soul into Hades, 72

Fanieres (Mons.), 52

Fantin-Latour, 14

Father of Rodin, 10, 67

Fell (Dr), 187

Fenaille (Mons.), Collection of, 96,

125, 132
Figaro, 205
Figures of Rodin (Individuality of

the), 290

Figures on Hell Gate, 108
Figurist (Rodin as a), 27
Finality of Rodin's science, 295
Fine Arts Department, 49, 62, 259
Fleurs du Mai, 104
Florence, 40, 202
Flower Girl (The), 77
Flowers (Rodin on), 169
Fontenay-aux-Roses, 74
Fortnightly Review, 102
Fourquet, 32
Fragonard, 7
Fran9ais, 5, 140
Francesca and Paolo, 109 and fol.,

184, 219, 248, 268
Franck, 90

Franco-German War, 32
Free Drawing School, 12, 31
Fugit Amor, 113, 229

GAFFER Rodin, 214

Galatea, 72

Galerie des Beaux Arts, 80

Galle (Emile), 143

Gallimard (Mons. Paul), 104

Gambetta, 58, 72, 74

Gamier (M.), 37

Gautier (Theophile), 27, 170

Geffrey (Gustave). 114, 123, 124,

125, 218, 232

Gelee (Claude), see Claude Lorrain
Genius of War, 54, 55
Georges Petit Gallery, 71, 148, 151,

217

Gericault, 10
Germany, 204, 263, 269
Ger&me, 6

Germinie Lacerteux, 53
Gervex, 238, 242
Ghent, 38

Gilbert (Alfred), 251
Gladstone, 250
Glasgow, 263
Gliick, 275

Gobelins, 22
Goethe, 107
Goncourts (The), 53, 73, 74, 96, 128,

129, 134
Gothic architecture, 38 ; Carvers, 2,

158, 283; Fragments, 282; in

French Cathedrals, 201 ; Sculpture

(Principles of), 153
Gosse (Edmund), 252
Goujon (Jean), 2, 3, ^
Goupil (Messrs), 96
Grandeur of the Greeks, 161
Greau collection, 195
Greece, 263

Greek naturalism of Rodin, 17
Gros, 170

Grosvenor Gallery, 26
Guernsey and Jersey, 125, 260
Guillaume, 48
Guitry (Lucien), 188
Guizot, 10

HABITAT of Rodin, 283

Hale (Philip), 127

Hals (Franz), 184

Hand of God, 17, 230

Handy Man (The), 77

Harbour at Sunrise, 139 ; Sunset, 139

Harris (Frank), 233

Haviland (Messrs), 52

Hawthorn and Lavender, 280

Hay (The), 77

Heaulmiere (La vieille), 121, 126, 293

Hebe asleep, 27

Hecq (Georges), 62

Hell Gate, 6, 62, 96, 105, 112, 140,

229, 250, 294 ; (Rodin on), 161
Henley, 63, 88, 105, 206, 208, 238

and fol., 244, 248, 249, 251, 279,

280

Hercules, 242
Holbein, 158
Holland, 136
Home Life of Rodin, 36
Homme au Taureau, 97
Horoscope of Rodin, 130
Houdon, 2, 7
Huchard (Dr), 75
Hugo (Victor) vi. Pref., 10, 54, 64,

73, 82 and fol., 100, 123, 125 and

fol., 184, 206, 226, 235, 240, 258

and fol.
Hugo (Georges Mons.), 84

3°3

Index

IDRAC, 253

Idyll, 72

Illusion, 126, 127

II penseroso, 90

Imagination of Rodin, 291

Inferno, 109

Ingres, 109, 198, 223

Inner Voice, 131

International Exhibition of Artists

at Knightsbridge, 188
International Society of Sculptors,

Gravers and Painters, 252
Iris, 263
Italy, 263 ; (Rodin's visits to), 39,

76, 105
Ixelles, 36

JAPANESE Art, 171

Jardin des Supplices, 103 ; du Car-
rousel, 270

Javanese dancing women, 128

Jeanne Dare at Domremy, 176

Jena (University of), 263 ; (Rodin,
Doctor of the University of), 263

Jewish Betrothed, 135

Jodebreestraat, 135

Joshua, 49

Jourdain (Frantz), 129

KAHN (Mons. Albert), 223 ; Collec-
tion of), 132

Keats, 275

Kessler (Count), 128

Kiss (The), or Baiser, 17, 63, 74,
in, 126, 184, 218, 219, 268

LABOUR (Tower of), 116, 117, 271

Labourage Nivenais, 77

La Bruyere, 56

Lamartine (Description of Balzac by),

179

Lancelot, no

Landscapes (Rodin on), 169
Lanson, 253
Lanteri, 240, 251
Laplanche, 49
Larroumet, 259
Last Vision (The), 269, 270
Laurens (Jean Paul), 65, 88, 92,

223, 234
Lavery, 252

Lawrence (Sir Thomas), 255

Laws of sculpture, 40

Lecoq de Boisbaudran, 12, 14, 95

Ledoyen Restaurant, 80

Lefevre (Camille), 64, 1 88

Legend of the Centuries, 195

Legion of Honour (Rodin, Knight of

the), 63 ; (Commander of the), 266
Legros, 13, 24, 52, 65, 88 and fol.,

98, 238 and fol., 244.
Legrain, 50, 64
Leighton (Sir F.), 26
Lemaitre (Jules), 130
Leygues (Mons.), 223
Leo X., 105
Lhermite,i4
L'homme au nez casse, see Man

with the Broken Nose.
Linde (Herr), 128
Lines in sculpture, 41, 42, 167
Lion (The), 62
Liouville (Dr H.), 72
Loie Fuller, 199
London, 188, 214, 240, 244, 250 and

fol.

London Voluntaries, 280
Louis- Philippe (Sculpture of), 16
Louvre (The), 15, 30, 105, 133, 198
Love flies, 115, 229
Ludovici, 252
Luxembourg (The), 30, 49, 51, 77,

85, 87, 91, 121, 176, 184, 217,

260, 262

Lynch (Admiral), 69, 70
Lyons, 32

M. A. C. (bust), 51
MacColl (Mr D. S.), 236, 250
Maclaren (Miss Otille), 250
Madl (Karel), 265
Mael (Pierre), 125
Magazine of Art, 239, 249
Magnum Opus, 105 and fol., 271
Mahomet, 96
Maillard (Leon), vi. Pref., 47, 86,

no, 133, 216

Maitres Artistes (Les), 265
Mallarme (Stephane), 73, 233
Man and his Thought, 230
Man of the Woods, 45
Man with the Broken Nose, 25, 37,

51,52, 82, 93, 172, 234, 238,239,294
Man with the Bull, 97
Marat, 63

3°4

Inde

Marchal, 142

Marco del Pont, 209, 210

Marochelli, 5

Marx (Roger) vi. Pref., I, 62, 63,

77, 100, 107, 122, 140, 143, 185,

201, 202, 232
Master Ironworker, 63
Master (Rodin as), 44 and fol.
Mathet (Louis), 30, 288
Mauclair (Camille) vi. Pref., 7, 123,

124, 160, 184, 231 and fol.
Maupassant (Guy de), 73
Medici (Tombs of), 40
Meissonnier, 52, 80, 81
Mercury, 176, 275
Meredith (George), 256
Merimee (Prosper), 10
Metamorphosis (Ovid), 219
Method of Rodin Socratean, 277
Meudon, 70, 216, 236, 265, 268, 272

and fol.; (Bas), 119; (Museum

at), 26, 49, 120, 149, 154, 220,

262, 266

Meunier (Constantin), 64, 188
Middle Ages (Sculpture of), 161
Miles (Roger), 123
Milhomme, 4
Millet, 241
Milton, 90, 113
Minotaur (The), 134
Mirabeau, 179
Mirbeau (Octave), 74, 93, 102, 123,

and fol., 232, 233, 266
Mise au point, 29
Modelling by profiles, 163
Moitte, 4

Momark (Mr G.), 131
Monet (Claude), 7 1 , 223, 224, 244, 279
Montesquieu (Count Robert de), 134,

269

Montrozier (Chiteau de), 203
Moreau (Gustave), 52
Morla Vicuna (Senor), 70 ; (Madame),

see Vicuna

Mother and Baby, 229
Mother of Rodin, 10, 67
Municipal Council of Paris, 223, 265
Musee (Le), 191
Museum (Galliera), 84
Museum of Decorative Arts, 50, 106
Music (Rodin and), 17

Nation (The), 217
Nancy, 142

Naples, 40

Naples Museum, 195

National Society of Fine Arts, I, 79,

and fol., 100, 270
Natorp (G.), 163, 203, 241, 242, 243,

244
Nature (Rodin on), 156; (Rodin on

Geometry of), 157
Natural Genius of Rodin, 16
Nebuchadnezzar, 112
Neo-Greek, 3, 193, 194
New Gallery, 252, 255
New York, 221
Neyts (Auguste), 45, 48
Ney (Statue of Marshal), 14
Night Round (The), 135
Nimes, 32
Niobe, 230
Nittis (Mons. de), 242
North American Review, 201
North (Rodin a man of the), 38
Notre Dame (Cathedral of), 38

OBITER DICTA OF RODIN, 160
Orange (Prince of), 34
Oread, 30

Oriental Poems of Victor Hugo, 260
Ornamentist (The), 21
Orpheus and Eurydice, 112, 220
Orthodox Sculpture and Rodin, 3
Ossbahr (Mr), 131
O thou whose billows, 261
Oxford, 244

PALAIS DE L'INDUSTRIE, 80

Palais Royal, 176

Palmerston (Lord), 172

Pantheon (The), 9, 259, 262, 270

Panther (The), 73

Parthenon (The), 195

Pascal, 56

Paul (St Victor de), 30

Pavilion (The), 222, and fol. ; (Sculp-
ture of the), 227, and fol.

Pellerin (Mons. Aug), 188

Pen and Ink Sketches, 56

Penseur (Le), 72, 107, 114, 221, 248,
251, 252, 255, 268, 269, 270, 293

Perseus, 72 ; and Medusa, 229, and
fol.

Perugini, 203

Petit Bicetre, 1 68

Petit (Jules), 37

3°5

Index

Peytel (Johanny), 223, 260; (col-
lection of), 132
Phidias, 253

Phillips (Mr Claude), 235
Philosophy of Rodin, 286
Pigalle, 122
Pilon (Germain), 2
Place de 1'Alma, 222, 281 ; Royale,

265

Planes (The), 164, and fol. 231
Plume (La), 232, 233, 267
Poet (The), 72
Polenta (Guido da), 109
Pontremoli Collection, 132
Poor Fisherman (The), 202
Porcelain Manufactory at Sevres, 55
Porte de 1'Enfer, see Hell Gate
Portrait of Rodin by Barnouvin, 65 ;

Carriere, 66 ; Laurens, 65 ; Legros,

65 ; Sargent, 65
Potter- Palmer (Mrs), 221
Pradier, 4, 5
Prague, 263, 265
Praticien (The), 28, 29
Primeval Man, 17, 45, 49 and fol., 58,

61, 63, 193, 217, 234, 238, 264
Printemps (L'Eternal), 17, in, 245,

248

Prodigal Son, 228
Progns Artistiqtie (Le), 202
Progres de I'Est (Le), 143
Progress (Rodin on his), 160
Prometheus bound, 268 ; and the

Oceanides, 98

Proust (Antonin),, 77, 88, 89, IOO
Prudence of Rodin, 294
Puget, 2, 3
Puvis de Chavannes, 91, 202, 217,

218, 234, 250, 270

QUALITIES of Rodin's Sculpture, 296

RAVISHMENT (The), 218, 229
Reading, 244
Realism of Rodin, I
Receptions of Rodin in his studio, 274
Re"gamey (Felix), 233 ; (Guillaume),

»4

Rembrandt, 7, 43, 135, 136, 157,

159, 184, 198
Renascence, 2
Renan, 27
Rene" Mauperin, 53

Renoir, 7

Repository of the State Marble, 6 1

Revista Tecnica, 215, 217

Revue Illustrte, 123

Rhadamanthus, 114

Rheims, 39

Richard III., 171

Richardson's " Pamela," 171

Richelieu, 259

Richepin, 73

Rimini (Lanciotto da), 109

Rivet (Mons), 287

Robin (Mons.), 68

Rochefort, 90, 91, 294

Rodez Family, 125

Rodin a Continuator of French
Tradition, 122 ; like a Sea-
captain, 273 ; of the Present
(The), 272 and fol. ; received in
London, 250 and fol. ; by King
Edward VII., 252; at Prague,
265, 266 ; (Physical Traits),

273

Rodin's Opinions in Politics, 285

Rodin (Madame), 24, 54, 59, 67, 68,
74, 75, 76, 87, 125, 134, 274, 278

Roll, 63, 238

Rome, 40, 139

Roman Statuary, 7

Romantic Drama (The), 260

Romeo and Juliet, 165, 293

Rond Point of Courbevoie (The), 54

Rosa Bonheur, 18, 77

Rothenstein (Mr), 250

Rotterdam, 135, 136

Roubaud (Mons.), 20

Rouen, 39

Roujon (Mons. Henri), 260

Rousseau (Mons. Jean), 34 ; Jean
Jacques, 45 ; (the painter), 5

Roux (Collection of Mons.), 132

Royal Academy (The), 240, 242

Rubens, 7, 30, 43 ; (Salle de), 30

Rude, 2, 4, 14

Rue de Bourgogne, 68 ; de la Reine
Blanche, 24; de l'Universit6, 61,
115, 183, 274 ; des Fourneaux, 52,
61 ; des Grands Augustins, 68 ; du
Bourgmestre, 36 ; du Faubourg St
Jacques, 53, 68 ; du Pont Neuf,
36 ; Gretry, 35 ; Sans-Souci, 34 ;
St Andre des Arts, 68 ; St Jacques,

53, 56
Ruskin, 286
Russell (Mrs), 235

306

Index

SAILOR'S Wife (The), 13

Salon of 1864, 25 ; of 1875, 37 ; of
1877, 48 and fol. ; of 1878, 50;
of 1879, 50; of 1880, 51 ; of 1881,
52, 60, 253 ; of 1882, 92 ; of 1885,
89 ; of 1889, 79 and fol. ; of 1890,
80, 81 ; of 1895, 93 ; of 1896, 9 ;
of 1899, 93 ; of 1903, 30; of 1904,
87 ; of Brussels, 37 ; of Champ de
Mars, 91 ; (International), 71 5
(New), 126, 249, 262

Salons (Minor), 100

Sambon (Mons.), 191

Sander Pierron (Mons.), 35, 37

Sargent (John), 65, 242, 251, 273

Sarmiento Statue, 123, 209 and fol.

Saturday Review, 236

Sayings of Rodin, 2, 3, 12, 15, 16,
17, 21, 39, 43, 47, 58, 59, 77, 84,
128, 136, 151, 155, 164, 167, 168,
172, 237, 275, 276, see also Con-
versations

Scheffer (Ary), 109

Schevenwgen, 135

Schiaffino (Senor), 214, 218

Schneeg (Lucien), 266

Scholl (Aurelien), 182

School of Fine Arts, 17, 18, 57;
Nature, 195

Scribe, 119; (Chemin), 119; (Villa),
1 20

Sculptor (The) and his Muse, 229

Sculptors that draw, 95

Sculpture (Ancient), 3

Sevres, 53, 55, 56, 57, 278, 280

Shakespeare, 171, 203, 241

Shelley, 291

Silence of the Tomb, 33

Simon (Constant), 22

Simpson (Mrs), 87

Sister and Brother, 229

Sister of Rodin (Clotilde), 23, 67

Sisyphus, 44

Sixtine Chapel, 42, 113

Sketch (The], 252

Slade School, 241, 251

Societ6 d'edition artistique, 223

Societe nationale des Beaux Arts,
see National Society of Fine Arts

Society of Fine Arts, 171

Society of French Artists (The Old |
Salon), 79

Society of Men of Letters (Socie^ des
Gens de Lettres), 125, 175, and fol.

Society of Portrait Painters, 249
South Kensington Museum, 13, 250,

251, 252

Spain (King of), 139
Spenser, 256
Song of Spring (The), 77
Sorbonne, 259
Soul and Body (The), 269
Spring (Dry Point), 99
St Cloud, 55, 278, 280
Ste Genevieve, 91
St George, 72
St James's Gazette, 1 30
St John Baptist, 17, 50, 51, 52, 54,

63, 72, 148, 217, 234, 238, 250,

and fol. 255, 293, 294
St Louis Exhibition, 30, 220
St Matthew, 73
St Victor (Paul de), 48
St Vincent de Paul (Church of), 30
Stevenson (Robert Louis), 63, 89, 207,

244, and fol.
Stoning of St Peter, 13
Strasburg, 31

Strength of Rodin's Sculpture, 297
Student (Rodin as a), 15, 20
Studies of Rodin, 24, 50, 61, 62, 262
Style of living of Rodin, 274
Suys, 33

Suzon and Dosia, 37
Symons (Mr Arthur), 102, 232, 250
Syndics, 135

Tadema (Sir Alma), 251

Tanagra, 200

Telegraph (Daily), 235, 236

Temperament of Rodin, 286

Temptation, 72

Temptation of St Antony, 230

Tennyson, 118

Thames, 244

Thaulow (Fritz), 125, 131, 252, 266,

267

Theuriel (Andr<§), 77
Thinker (The), see Penseur
Thiriar (Dr), 37
Thomas, 49

Thurat (Mons.), 74, 83, 84
Times (The), 245, 246, 252
Toudouze (Gustave), 125 ; (Mons.

Georges), 191
Touraine, 178
Triton and Siren, 230
Trocadero (Palace of the), 50, 64

3°7

Index

Tuileries, 112

Turin, 263, 264

Turquet (Edmond), 48, 61, 82, 105,

1 06
Tweed (John), 250, 151

Ubaldini (Roger of), in

Ugolino, 49, 72, 96, III, 112, 164,

268
United States (The), 219

Val Fleury, 124, 280

Valle (Sehor del), 209, 212, 217, 218

Vanquished Mother Country (The),

255

Van Rasbourg, 34, 35, 43, 53
Vanves, 74

Van Ysselstein (Mile.), 136
Vasa Order, 131
Vases ornamented by Rodin, 56
Vatican Library, 147
Velizy, 266
Venice, 40, 263
Venus and Adonis, 229
Verrochio, 88
Vever (Mons. Henri), 109
Victoria (Dead children of Queen), 13
Vicuna Mackenzie (Benj.), 69
Vicuna (Madame), 85, 294
Vienne, 32

Views and Reviews, 280
Villa des Brillants, 134, 277, and fol.
Village Festival, 139

Villon (Fran9ois), 121
Vinci (Leonardo da), 94
Vincotte, 91

Virtues (The Three), 228
Vita (Baron), 268
Vivier (Dr), 75
Voltaire Cafe, 233
Vulcan and Pandora, 229

Wagner, 293

Waldeck Rousseau (Madame), 72

Wales (Portrait of the Prince of), 77

Walkyrie, 72

Waltner (Mons.), 99

Walt Whitman, 256

Waterloo, 59

Watteau, 96

Weimar Exhibition, 269

Whistler, v. Pref., 6, 254

Windsor, 244

Winwood Reade, 117

Witch of Atlas, 291

Woman and Satyr, 229

Women (The Lost), 112, 228

Wordsworth, 45, 107, 169

Wyndham (Mr), 239, 251

Yerkes (Collection of Mr), 132, 219
Yriarte (Charles), 84

Zilcken (Philippe), 135
Zola, 176, 177, 180, 246, 247

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