“The landscape painter, perhaps, goes even further. It is not only in living beings that he sees the reflection of the universal soul; it is in the trees, the bushes, the valleys, the hills. What to other men is only wood and earth appears to the great landscapist like the face of a great being. Corot saw kindness abroad in the trunks of the trees, in the grass of the fields, in the mirroring water of the lakes. But there Millet read suffering and resignation. “Everywhere the great artist hears spirit answer to his spirit. Where, then, can you find a more religious man? “Does not the sculptor perform his act of adoration when he perceives the majestic character of the forms that he studies?—when, from the midst of fleeting lines, he knows how to extricate the eternal type of each being?—when he seems to discern in the very breast of the divinity the immutable models on which all living creatures are moulded? Study, for example, the masterpieces of the Egyptian sculptors, either human or animal figures, and tell me if the accentuation of the essential lines does not produce the effect of a sacred hymn. Every artist who has the gift of generalizing forms, that is to say, of accenting their logic without depriving them of their living reality, provokes the same religious emotion; for he communicates to us the thrill he himself felt before the immortal verities.” “Something,” I said, “like the trembling of Faust when he visited that strange Kingdom of the Mothers, where he talked with the imperishable heroines of the great poets and beheld all the generative ideas of terrestrial realities.” “What a magnificent scene!” Rodin cried, “and what a breadth of vision Goethe had!” He continued: “Mystery is, moreover, like a kind of atmosphere which bathes the greatest works of the masters. “They express, indeed, all that genius feels in the presence of Nature; they represent Nature with all the clearness, with all the magnificence which a human being can discover in her; but they also fling themselves against that immense Unknown which everywhere envelops our little world of the known. For, after all, we only feel and conceive those things which are patent to us and which impress our minds and our senses. But all the rest is plunged in infinite obscurity. Even a thousand things which should be clear to us are hidden because we are not organized to seize them.” Rodin stopped, and I recalled the following lines of Victor Hugo, which I repeated: “Nous ne voyons jamais qu’un seul côté des choses; L’autre plonge en la nuit d’un mystère effrayant; L’homme subit l’effêt sans connaître les causes; Tout ce qu’il voit est court, inutile et fuyant.”[5] Footnote 5: See page 251.