derives from identity and returns to it, so that everything is reduced to a fundamental geometry which perhaps is but the effect of a single cellular generation. In this respect the laws of art and of science are the same, even as among all the arts there is a synthesis of common laws, an identity where we seem to behold a difference. Recent work in science, by establishing the existence of states of radiation (Crookes, Röntgen, Hertz) is busy undermining our old conception of matter, showing us the identity of it with the immaterial, and thereby abolishing our preconceptions about the idea and the fact, music and sculpture, considered as different manifestations. I remember that I one day kept Rodin's curiosity excited for a long time by explaining the details of this theory to him; he was not acquainted with it, and listened to me as to a writer in love with general ideas. But it was clear that in his mere province as a sculptor he knew far better and had penetrated far more deeply into this enthralling problem of identity. His is a luminous mind, of the same kind as the electric rays; it rather penetrates than surrounds what is obscure to it. On that day he was disturbed, and I was irritated by certain declamations which had been written about his "philosophy," and of which the author had assuredly not comprehended the logical consequences; and we came to the conclusion that it would be much better for Rodin's peace of mind to keep silent upon these points, for his "philosophy" could only be made comprehensible to those who could understand the method of his sculpture.