How and why, people will perceive in proportion to their receptivity. Candor and intelligence will suffice to appreciate that the secret of M. Rodin's art is structural expression, and that it is this and not any superficial eccentricity of execution that definitely distinguishes him from the Institute. Just as his imagination, his temperament, his spiritual energy and ardor individualize the positive originality of his motive, so the expressiveness of his treatment sets him aside from all as well as from each of the Institute sculptors in what may be broadly called technical attitude. No sculptor has ever carried expression further. The sculpture of the present day has certainly not occupied itself much with it. The Institute is perhaps a little afraid of it. It abhors the _baroque_ rightly enough, but very likely it fails to see that the expression of such sculpture as M. Rodin's no more resembles the contortions of the Dresden Museum giants than it does the composure of M. Delaplanche. The _baroque_ is only violent instead of placid commonplace, and is as conventional as any professor of sculpture could desire. Expression means individual character completely exhibited rather than conventionally suggested. It is certainly not too much to say that in the sculpture of the present day the sense of individual character is conveyed mainly by convention. The physiognomy has usurped the place of the physique, the gesture of the form, the pose of the substance. And face, gesture, form are, when they are not brutally naturalistic and so not art at all, not individual and native, but typical and classic. Very much of the best modern sculpture might really have been treated like those antique figurines of which the bodies were made by wholesale, being supplied with individual heads when the time came for using them.