these things concurring towards the greater synthesis of the work's general thought. Rodin there shows himself an essentially French and northern artist, alien from all that the academies, hypnotised by the Italianism of the second Renascence, have chosen to invent as dogmas of beauty. _The Burghers of Calais_ is a work of the true French classic tradition--of the national classicality which has nothing in common with that classicality imported from Italy in 1550 by which our indigenous artists have so long been oppressed, thanks to the "École de Rome." Standing before such a creation we recognise this truth sharply--this truth which is the secret of Rodin's genius and of the enthusiasm that he aroused. Better than Rude, better than Barye, better even than Carpeaux, has he found the way to free himself, and to go back, by power of thought and mastery, to our true national lineage. [Illustration: A BURGHER OF CALAIS] [Illustration: A BURGHER OF CALAIS] [Illustration: A BURGHER OF CALAIS] The _Burghers_ ought, according to Rodin's idea, to be placed in front of the old Hotel de Ville of Calais, facing the sea; and he wished the group to be placed on a very high pedestal, so that the figures should stand out against the open sky, or else, on the other hand, almost on the level, so that everyone could walk round them, live with them, almost elbow them. A bad site has been chosen and a pedestal of moderate height and ordinary appearance. The _Burghers_ are very fine all the same, and are certainly the most powerful piece of sculpture of the epoch. I have promised to be sober in my praises of Rodin, but I do not see why in speaking of such a work as this I should hide my convictions. Those who have seen it cannot fail to consider it, as I do, the work of a thinker and of an artist of genius. [1] It Is curious to recollect that the very fine equestrian statue of General Lynch and the monument to President Vicunha, sent to America by Rodin, were never paid for, and that, owing to revolutions, they actually disappeared, so that these works may be considered lost. Only the spoiled rough models and some photographs remain. [2] These _Shades_ are a symbolic representation of men who are just dead, and who are bending down with folded hands in misery and terror gazing at the hellish crowd into which they are about to fall. [3] The final version of this group has been treated by Rodin separately, and is known by the name of _The Kiss_. The marble group is in the Museum of the Luxembourg. [4] A statue of Eustace de St. Pierre had been asked for. Rodin sent the six effigies of burghers, and this gave rise to fresh difficulties with the authorities. III