“Yes,” I replied, “but they cheat, in a way. For I suppose that you are talking of those old compositions which celebrate the entire history of a personage, representing him several times on the same panel in different situations. “At the Louvre, for example, a small Italian painting of the fifteenth century relates in this way the story of Europa. You first see the young princess playing in the flowery field with her companions, who help her to mount the bull, Jupiter, and further on the same heroine, terrified now, is carried off through the waves by the god.” “That is a very primitive method,” Rodin answered, “though it was practised even by great masters—for example, in the ducal palace at Venice this same fable of Europa has been treated in an identical manner by Veronese. But it is in spite of this defect that Caliari’s painting is admirable, and I did not refer to any such childish method: for, as you may imagine, I disapprove of it. To make myself understood, I must ask you first whether you can call to mind _The Embarkation for the Island of Cythera_ by Watteau.” “As plainly as if it was before my eyes,” I said. “Then I shall have no trouble in explaining myself. In this masterpiece the action, if you will notice, begins in the foreground to the right and ends in the background to the left. “What you first notice in the front of the picture, in the cool shade, near a sculptured bust of Cypris garlanded with roses, is a group composed of a young woman and her adorer. The man wears a cape embroidered with a pierced heart, gracious symbol of the voyage that he would undertake. [Illustration: THE MARSEILLAISE By Rude ] “Kneeling at her side, he ardently beseeches his lady to yield. But she meets his entreaties with an indifference perhaps feigned, and appears absorbed in the study of the decorations on her fan. Close to them is a little cupid, sitting halfnaked upon his quiver. He thinks that the young woman delays too long, and he pulls her skirt to induce her to be less hard-hearted. But still the pilgrim’s staff and the script of love lie upon the ground. This is the first scene. “Here is the second: To the left of the group of which I have spoken is another couple. The lady accepts the hand of her lover, who helps her to arise. She has her back to us, and has one of those blonde napes which Watteau painted with such voluptuous grace. “A little further is the third scene. The lover puts his arm around his mistress’s waist to draw her with him. She turns towards her companions, whose lingering confuses her, but she allows herself to be led passively away. “Now the lovers descend to the shore and all push laughing towards the barque; the men no longer need to entreat, the women cling to their arms.