favourite type of woman is the long, delicately made woman, with a small bust, largely curved hips, and a face full of will, the nervous, feline, voluptuous woman, of head rather than of heart, such as Baudelaire and Rops have imagined. The characteristic feature of Rodin's small groups is the seeking after new combinations of movement. I have said already that his essential idea was the production of _dynamic_ art; that is to say that, finding himself face to face with an academic school that had grown inert owing to its care for pseudo-harmony, he had determined to draw sculpture out of this blind alley and to show, before all things, how the expression of movement might lead to an entirely new conception of decorative outline. From this endeavour arose those little groups of lovers in which the attitudes are so infinitely varied, those curious presentments in which the arms and legs are placed as freely as in a painting. But the painting has the help of shadow, of backgrounds, and of values, which allow the light to be concentrated on a single point and the rest to be blurred. Rodin has attempted so to compose his most audacious movements that, in walking round, a new aspect of them is constantly presented, whereas ordinary sculpture, meant to be seen from a single point, does not allow the spectator to pass behind it. This difficulty and this main idea have led Rodin to treat modelling and composition in a way upon which I shall dwell more fully later on, and to invent a style of statuary which borrows some of the laws of painting.