The monument to Puvis de Chavannes was entrusted to his friend Rodin, and is already finished. Rodin conceived it in an original and charming way. Instead of making the customary statue, he considered the purely Greek quality of Puvis' genius and chose to pay homage to him in a form reproduced from the antique. The bust of the great painter is placed on a plain table, as the ancients placed those of their dead upon little domestic altars. A fine tree loaded with fruit bends over and shades the head. Leaning on the table behind the bust is a beautiful naked youth, who sits dreaming in a well-chosen supple attitude. The whole design is intimate, gentle, and pure. Placed on the ground in a garden this votive monument would show how much delicacy and caressing lightness sometimes lies in Rodin's sombre and pathetic thoughts. Another important group is that of _Orpheus and Eurydice._ Orpheus has fallen on one knee and is lifting his great lyre towards the gods whom he has just implored. Above him, almost on his back, suspended in a way that would appear to contradict the laws of equilibrium and the material conditions of sculpture, soars Eurydice, compassionate and almost vaporous, truly an immaterial shade, with a smile of despair. I regret that the unfinished condition of this model does not allow me to publish a photograph of it, for nothing would give a clearer impression of Rodin's originality in the matter of contour and in the mutual relation of figures. The extreme freedom of his attitudes and his caprices of balance are, indeed, the newest features that he has brought into his art and are not to be found in anyone else in any country or time. In these is his true signature, and by them his work might be recognised among a hundred statues of all periods. As to the expressive beauty of the faces and bodies, that is supreme. No one has better comprehended than Rodin all that can be rendered by the naked human body and all the intellectual significations that it can hide. The nude is to Rodin a whole language.