Various works have been produced by Rodin since the _Balzac,_ in addition to the _Monument of President Sarmiento,_ which shows an admirable bas-relief of a radiant Apollo. These works are nearly all in marble, and small. It is almost impossible to describe and classify them; a much larger book would be required, and my main purpose here has been to give a general idea of Rodin's art and an explanation of principles. I have spoken about some of his poems of the flesh, especially that _Eternal Idol_, which will be the glory of thought in modern sculpture. Rodin's recent works in marble have the same inspiration. Some demand special notice: _The Hand of God,_ a gigantic hand, between the fingers of which, and amid a handful of clay, two beings are tenderly embracing; _Icarus,_ falling from the sky to be crushed on the earth amid his whirling wings; several groups of lovers, entwined, and breathing immeasurable tenderness, the most celebrated of which is _Spring_ or _Love and Psyche._ Another _Psyche,_ alone, is discovering Love asleep, with extraordinary restrained emotion; and there are several attempts at _Poets and Muses,_ embracing or consoling one another, as well as a splendid sketch of the _Magdalen wiping Christ's Body with her Hair._ Rodin has thus sometimes touched religious subjects, but with an undogmatic symbolism, philosophic and wide. We may also enumerate another version in marble of the _Nereids_ of the Hugo monument, a winged _Inspiration_ coming to breathe upon the sleeping poet, and holding back the tips of her wings with one hand lest she should make a sound in closing them; a faun drawing towards him a nymph, who struggles in silent, fierce resistance; two high-reliefs of _Summer_ and _Autumn_ in stone; tall women with children, intended for the town of Evian, where Baron Vitta is accumulating treasures of modern art; _Pygmalion_ beholding his statue come to life, who, as soon as she feels herself live, turns from him with a surprising movement of coquetry and aversion. Such works as these cannot be described in words. In them Rodin has excelled to an unparalleled degree in rendering the profoundest psychological complexities, refined intentions, and the hesitations of feeling. I will further note a sketch of _Sappho_, seated at rest, with her arms leaning upon two little naked women, which is a work inspired equally by the Greeks and by the eighteenth century; it bears witness to the artist's wish of avoiding the massive, and making as many holes as possible within the general block, so as to give lightness and to allow a circulation of light, as the Greeks did in works that were meant to stand against a background of sea or of sky. Many studies of men and women crouching, or squatting, in curious attitudes, recall the art of the Japanese bronzes, which Rodin immensely admires. We must further note some groups of _Women Damned,_ in which Rodin's art attains the highest point of voluptuous tension,