These words corrected my first impression and I could unreservedly admire the fine symbolism of the figure. I now understood that this woman was the emblem of human intelligence assailed by problems that it cannot solve, haunted by an ideal that it cannot realize, obsessed by the infinite which it can never grasp. The straining of this body marked the travail of thought and its glorious, but vain determination to penetrate those questions which it cannot answer; and the mutilation of its members indicated the insurmountable disgust which contemplative souls feel for actual life. Nevertheless, this figure recalled a criticism which is often heard on Rodin’s works, and, though without agreeing with it, I submitted it to the Master to find out how he would answer it. “Literary people,” I said, “always praise the essential truths expressed in your sculptures. But certain of your censors blame you precisely for having an inspiration which is more literary than plastic. They pretend that you easily win the approbation of writers by providing them with subjects which offer an opening for all their rhetoric. And they declare that art is not the place for so much philosophic ambition.” “If my modelling is bad,” Rodin replied sharply, “if I make faults in anatomy, if I misinterpret movement, if I am ignorant of the science which animates marble, the critics are right a hundred times. But if my figures are correct and full of life, with what can they reproach me? What right have they to forbid me to add meaning to form? How can they complain if, over and above technique, I offer them ideas?—if I enrich those forms which please the eye with a definite significance? It is a strange mistake, this, to imagine that the true artist can be content to remain only a skilled workman and that he needs no intelligence. On the contrary, intelligence is indispensable to him for painting and for carving even those figures which seem most lacking in spiritual pretensions and which are only meant to charm the eye. When a good sculptor models a statue, whatever it is, he must first clearly conceive the general idea; then, until his task is ended, he must keep this idea of the whole in his mind in order to subordinate and ally to it every smallest detail of his work. And this is not accomplished without an intense effort of mind and concentration of thought. “What has doubtless led to the common idea that artists have little intelligence is that it seems lacking in many of them in private life. The biographies of painters and sculptors abound in anecdotes of the simplicity of certain masters. It must be admitted that great men who think ceaselessly of their work are frequently absent-minded in daily life. Above all, it must be granted that many very intelligent artists seem narrow because they have not that facility of speech and repartee which, to superficial observers, is the only sign of cleverness.” [Illustration: THE STATUE OF VICTOR HUGO By Rodin ]