one of these subjects for himself, as Rubens and many others did not forbid themselves to do. It is time, therefore, to have done with this question in regard to the great French sculptor. I do not know for whom he intends these recent drawings, a whole framed collection of which occupies one of the storerooms of his country house. Perhaps he will have them destroyed; in any case, they are but studies of movements and masses, and in no way direct representations of life. Rodin's drawings are "rough drafts" to be compared with those of a writer. Some are very impressive, and all constitute precious evidence of his psychological preoccupations and of his desire for simplification. But they remain on the margin of his work, and neither the public nor the critics have those rights over them that belong to biographers and friends. That is a point to be plainly specified, and I desire to repeat that that is the reason this book contains none of them. [1] This word may mean either a certain sort of dance, or the "round" of a patrol.--TRANS. [2] Album of 142 sketches, reproduced in heliogravure by M. Manzi and published by Goupil, 1897. These sketches in wash or colour have been selected according to the advice of M. Fenaille, their owner, who lent them, from the most imaginative of Rodin's drawings in his second manner. V. RODIN'S PRIVATE LIFE--HIS PERSON, STUDIO, AND HOME--HIS INFLUENCE; SCULPTORS INSPIRED BY HIS IDEAS--RODIN'S PLACE IN THE FRENCH SCHOOL--HIS PRESENT POSITION IN RESPECT TO ACADEMIC SCULPTURE