LA PIETÀ. By Michael Angelo 222 ORPHEUS AND EURYDICE. By Rodin 226 LA FRANCE. By Rodin 228 THE BROKEN LILY. By Rodin 230 CERES. By Rodin 234 THE TORN GLOVE. By Titian 236 VICTOR HUGO OFFERING HIS LYRE TO THE CITY OF PARIS. By Puvis de Chavannes 238 MOTHER AND BABE. By Rodin 240 SISTER AND BROTHER. By Rodin 242 BUST OF MR. THOMAS FORTUNE RYAN. By Rodin 244 CHAPTER I REALISM IN ART At the end of the long rue de l’Université, close to the Champ-de-Mars, in a corner, so deserted and monastic that you might think yourself in the provinces, is the Dépôt des Marbres. Here in a great grass-grown court sleep heavy grayish blocks, presenting in places fresh breaks of frosted whiteness. These are the marbles reserved by the State for the sculptors whom she honors with her orders. Along one side of this courtyard is a row of a dozen ateliers which have been granted to different sculptors. A little artist city, marvellously tranquil, it seems the fraternity house of a new order. Rodin occupies two of these cells; in one he houses the plaster cast of his Gate of Hell, astonishing even in its unfinished state, and in the other he works. More than once I have been to see him here towards evening, when his day of toil drew to its close, and taking a chair, I have waited for the moment when the night would oblige him to stop, and I have studied him at his work. The desire to profit by the last rays of daylight threw him into a fever. I see him now, rapidly shaping his little figures from the clay. It is a game which he enjoys in the intervals of the more patient care which he gives to his big figures. These sketches flung off on the instant delight him, because they permit him to seize the fleeting beauty of a gesture whose fugitive truth would escape deeper and longer study. His method of work is singular. In his atelier several nude models walk about or rest. [Illustration: PLASTER CASTS OF THE GATE OF HELL By Rodin ]