The five following years were marked by various works which did not, however, interfere with the threefold parallel continuation of the _Victor Hugo, The Burghers of Calais,_ and _The Gate of Hell_, which were exhibited in various states in the Salon. Rodin considers it his duty, indeed, to submit to the public the phases of his work, rough attempts, clay, marbles, or bronzes, before the final completion; and understanding very well that his style is, or seems to be difficult, he thus explains himself to the public in the exhibitions, and allows people to follow the stages through which his thought passes. In addition to these works may be noted, for the year 1890, the bust of a young woman, in silver, _Brother and Sister_, bronze, and the _Torso_ of St. John the Baptist. In 1891, _The Caryatid_, a marble figure of a young woman with a stone upon her shoulder, the group of _The Young Mother_ (first bronze and then marble), and _A Nymph._ In 1892, the busts of _Rochefort_ and of _Puvis de Chavannes,_ which, with those of _Dalou, Jean Paul Laurens_, _Hugo_, and _Falguière,_ form an incomparable series from Rodin's hand of portraits that surpass all modern French sculpture, and are admirable alike in execution and expression. The _Puvis de Chavannes_ is perhaps the finest; it is a work that does not pall even beside Donatello himself. In 1892 the _Burghers_ and the _Claude Lorraine_ were completed. The _Burghers_ waited three years for their setting up, but the monument to Lorraine was inaugurated immediately, thanks to the devoted efforts of that great art-worker in glass, Émile Gallé, and of Roger Marx, who by his writings and his incessant activity has had a most noble effect upon modern French art. These two eminent men, both natives of Nancy, enforced the acceptance of the work. The monument consists of a statue of Lorraine, standing, palette in hand, his head raised eagerly towards the east, and of a pedestal from which Apollo and his rearing horses stand out in splendid high-relief. Thus did Rodin seek to pay homage to the master-painter who adored movement in light, by acclaiming both these in his turn. Fault has been found with the importance of the pedestal in comparison with the statue, the objectors failing to understand that this allegory of Apollo incarnated the very soul of the great artist whose effigy towered over the whole work, and that this whole could not be dissevered. The idea animating this composition was criticised by the authorities. Here, once more, Rodin with his symbolic vision, his tendency to bold simplifications of the general, synthetic idea, was found disturbing. He was asked for the _sculptured portrait_ of a man, and he preferred to give prominence to a symbol that expressed the dream and the essential genius of that man, the sun-painter--an idea which was logical, but which ran counter to the received prejudice as to portrait statues. The propagandist