In his latest spiritualised works there is something Correggio-like in the vibration of light upon the softened forms and amplified surfaces. They suggest the _Antiope,_ at once soft and muscular, and Rodin often speaks of "morbidezza" as a quality which he no longer distrusts, whereas he formerly banished it from his ascetic, sinewy, and dry figures. He gives his women the pulpy flesh of fruits. The lines of landscape seem to him to correspond to the planes of the body; he lately said to me that since he has lived at Meudon, opposite the flowing Seine, the wooded hills and the fields, he has found useful resemblances between the modelling of the body and that of a horizon. I have even once suggested to him the title of "The Hill" for the body of a young man reclining, the outline of which did in truth resemble the undulations of a hill, and he retained the name and the analogy, for he delights in everything that binds the human being to the earth, and, like a true metaphysician, conceives of nothing isolated or distinct in nature. I come now to Rodin's drawings, drawings which were not made to be shown, but which, having nevertheless become known, have surprised and puzzled people. Rodin's drawings, like some other drawings by sculptors, are not themselves works of art; they are thoughts noted down, and are not comprehensible unless they are seen with the statues of which they indicate the first idea, or some variation. Rodin has published some of his sketches; and has produced some dry-points (in particular the _Ronde_,[1] _Antonin Proust_, the three portraits of Henry Becque, full face and two profiles upon the same sheet, and two heads of Hugo), some drawings for books by M. Mirbeau and M. Bergerat, and a complete set of illustrations of the _Fleurs du Mal,_ in the form of marginal drawings for a unique copy belonging to M. Gallimard. Many drawings in black or colour have been published (by the clever lithographer Clot), and M. Fenaille has superintended an admirable _edition de luxe_ of 142 drawings by Rodin.[2] Notwithstanding this partial publicity, these works must be considered as _standing apart;_ and to consider them by themselves would actually be to injure Rodin with the public at large, since they form an integral part of his statues. For this reason I have not chosen to reproduce any of them here, studies so purely professional not seeming to fall within the scope of a work intended to give a general idea of an artist's work.