The Richmond Virginian. (Richmond, Va.) 1910-1920, 1913-01-04

Gate of Hell and the Burghers Of
Calais. At the time Of the universal
exhibition of 1889 he was already
wei known. His fame was further
assured by that of 1900. At the inn
mense Worlds Fair. that great ex~
hibition which closed the nineteenth
century or ushered In the twentieth.
a special pavilion on the banks Of
the Seine sheltered all the works of
/ the master
Twelve years have passed since this
official recognition, If the fame ut
the national French sculptor and
during these twelve years Rodln has
never ceased TO produce marveIs.
! Sometimes they are finished works.
sometimes they are merely roughed
out. 1t is perhaps then that they
are most impressive. His produce
tiveness Is immense, and none of his
work is without value; some OF lr
at first sight Is Of disconcerting orig
inality. such is his famous natzac,
a species of phantom enveloped in
a winding sheet. a distorted appari
ton, which the municipality OF Paris
did not dare erect in public pace,
and TO which It preferred Falguieres
more conventional statue. But in
spite of this with the Thinker
which stands before the Pantheon.
and above all the numerous works
in the Luxembourg Gallery, a very
good idea OF the genius OF this great
sculptor may be formed even by the
casual passerby in Paris It i~ In
the Luxembourg that the most varied
and most striking specimens OF his
art are to be found; the Bronze Age.
so exquisltely youthful: the st. John
the baptist of such dominating
power: the torso Of the ancient he'll
metmaker. miserabiy wrinkied.
shrivelled old woman, and the
nanaide, the most delicious crouch
Ing back of young girl that orr
can imagine: the bust of Puvia de
Chavanne In vigorous relief: the bust
of Madame de v. With the reduced
models OF Spring and the Kiss which
are always exhibited in Barbedisnne'
windows, and the casts of the Gate
of Hell and the Burghers OF Calais
which may also be seen In Paris u
sufficient knowledge of the works Of
the master may he obtained.
Robin explained his work In n corr
versation which NJ. Gseii. the well
known critic has preserved Il must
whole life between the two great ten~
denotes of sculpture. between the con-
eeption Of Phidias ana that OF Mich
ael Angelo. began by following tha
classic ideal, but when went 10 Italy
, I was suddenly captivated Ivy the
great Florertine master. and my work
certainly showed signs ot this passion.
Since then especially OF late years I
have returned to tho classic" I: is
the case that Robins ssork toward
the middle Of his fife shows the in-
fiuence or Michael Angelo very mark
s-3lp meta l4ss 4A.4- ~ e,ss+a
where we lind tho same @atnfui eGoIe
rs in the Captives of the Louvres;
Just as the Thinker of tho Place da
Pantheon, though more agonixed sng-
gests Penseroso of the tomb OF the
Medicis.
The master II conscious of his
genius and sometimes Partisan taste
which is so subtly discreet, SO meas
nred. SO tniulicsl TO anything the
least out of place in a salon, has re-
preached him with so great love or
advertisement, and seN~esteem al
most embarrassing to he mundane
vanities of those with whom he comes
in contact. Rodin is simple minded
and wise. Compare me 10 Rem
brandt" said he one day TO friend.
What sacrilegel How can you think
of such a thing. my friend? Before
Rembrandt we must PROSTATE our
selves. Let us set no one beside
! him"