Elsewhere the respective positions of the poet and painter (or sculptor) in the representation of ugliness are dealt with, but it may be added that in the case of La Vieille Heaulmière, Rodin does not render in sculpture the poem of Villion, but only a part of it, for of course he could not show the progression in the life of the courtesan, indicated by the poet, which progression puts an entirely different complexion upon the ugly figure of the poet compared with that of the sculptor. Clearly Rodin was misled when he said that people of taste have given their approbation to his appalling figure, for it has been condemned among all classes, while its few defenders have failed to support their opinions by reason or experience. We may note that at another time Rodin reflected upon the character of the ancient Greek sculpture for the very reason upon which he bases his claim for public approval of La Vieille Heaulmière. He says[d]: That was the fault of the Hellenic ideal. The beauty conceived by the Greeks was the order dreamed of by intelligence, but it only appealed to the cultivated mind, disdaining the humble. Here also is a confusion of ideas, for the intelligence cannot dream of a special kind of beauty which would not be recognized by the humble, unless it were so feeble as to be altogether below Greek conceptions. The aim of the Greek sculptors was to appeal to all classes, and in this they were eminently successful. [a] At the Luxembourg. [b] Gsell's _Art, by Auguste Rodin_. [c] _Greek Sculpture and Modern Art_, 1914. [d] Gsell's _Art, by Auguste Rodin_. [Illustration: PLATE 27 (See page 254) Diana and Nymphs, by Rubens (_Prado, Madrid_)] NOTE 38. PAGE 92 Ruskin considered the figure of Christ, known as Le Bon Dieu d'Amiens, at Amiens Cathedral, the noblest ideal of Christ in existence,[a] and Dean Farrar wrote of it: "Christ is represented as standing at the central point of all history, and of all Revelation."[b] It is true that the sculpture is a noble representation of Christ, but this is not because it is a Christian ideal. In type it is purely Greek of the late fourth or early third century B.C. The expression is general, exhibiting the calm repose that the Greeks gave to a great philosopher. [a] _The Bible of Amiens._ See Plate 2. [b] _The Life of Christ as Represented in Art._ NOTE 39. PAGE 97