This is why, one immediately perceives in studying his works, Rodin's treatment, while exhausting every contributary detail to the end of complete expression, is never permitted to fritter away its energy either in the mystifications of optical illusion, or in the infantine idealization of what is essentially subordinate and ancillary. This is why he devotes three months to the study of a leg, for example--not to copy, but to "possess" it. Indeed, no sculptor of our time has made such a sincere and, in general, successful, effort to sink the sense of the material in the conception, the actual object in the artistic idea. One loses all sense of bronze or marble, as the case may be, not only because the artistic significance is so overmastering that one is exclusively occupied in apprehending it, but because there are none of those superficial graces, those felicities of surface modelling, which, however they may delight, infallibly distract as well. Such excellences have assuredly their place. When the motive is conventional or otherwise insipid, or even when its character is distinctly light without being trivial, they are legitimately enough agreeable. And because, in our day, sculptural motives have generally been of this order we have become accustomed to look for such excellences, and, very justly, to miss them when they are absent. Grace of pose, suavity of outline, pleasing disposition of mass, smooth, round deltoids and osseous articulations, and perpetually changing planes of flesh and free play of muscular movement, are excellences which, in the best of academic French sculpture, are sensuously delightful in a high degree. But they invariably rivet our attention on the successful way in which the sculptor has used his bronze or marble to decorative ends, and when they are accentuated so as to dominate the idea they invariably enfeeble its expression. With M. Rodin one does not think of his material at all; one does not reflect whether he used it well or ill, caused it to lose weight and immobility to the eye or not, because all his superficial modelling appears as an inevitable deduction from the way in which he has conceived his larger subject, and not as "handling" at all. In reality, of course, it is the acme of sensitive handling. The point is a nice one. His practice is a dangerous one. It would be fatal to a less strenuous temperament. To leave, in a manner and so far as obvious insistence on it goes, "handling" to take care of itself, is to incur the peril of careless, clumsy, and even brutal, modelling, which, so far from dissembling its existence behind the prominence of the idea, really emphasizes itself unduly because of its imperfect and undeveloped character. Detail that is neglected really acquires a greater prominence than detail that is carried too far, because it is sensuously disagreeable. But when an artist like M. Rodin conceives his spiritual subject so largely and with so much intensity that mere sensuous