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If everybody were as generous as you, we could give a statue of Terpsichore in gold to Mademoiselle Legrand." "If you should ever want one of Carpeaux's groups for yourself, my child," said Molina, "you may go to the studio in a cab to look at it, and fetch it away with you in your own coupé."
They have not the witchery, the touch of Bohemian sprightliness that make such figures as Carpeaux's "Flora" so enchanting, but they are at once sweeter and more distinguished. The sense for the exquisite which this betrays excludes all dross from M. Dalou's rich magnificence.
But with Carpeaux's distinction Dalou has more poise. He is considerably farther away from the rococo. His ideal is equally to be summarized in the word Life, but he cares more for its essence, so to speak, than for its phenomena, or at all events manages to make it felt rather than seen.
In our own bodies sensations corresponding to these should be awakened by the visual image of the statue, yet should be fused with the latter, becoming for our perception its, not ours, in accordance with the mechanism of einfuhlung described in our fourth chapter. The light rhythmic motion of the figures in Carpeaux's "Dance" should thrill in our own limbs, yet seem to thrill in theirs.
Still the fantastic has not made much headway in the Institute, and it is so foreign to the French genius, which never tolerates it after it has ceased to be novel, that it probably never will. It is a great tribute to French "catholicity of mind and largeness of temper" that Carpeaux's "La Danse" remains in its position on the façade of the Grand Opéra.
His vivacity excludes the pathetic. Traces of Carpeaux's influence are plain in his way of conceiving such subjects as Carpeaux would have handled. No one could have come so closely into contact with that vigorous individuality without in some degree undergoing its impress, without learning to look for the alert and elegant aspects of his model, whatever it might be.
An even greater charm of sprite-like, fairy attractiveness, of caressing and bewitching fascination, a more penetrating and seductive engagingness plays about Carpeaux's "Flora," I think, than is characteristic even of Clodion's figures and reliefs.
Then, too, M. Dalou has a certain nobility which Carpeaux's vivacity is a shade too animated to reach. Motive and treatment blend in a larger sweep. The graver substance follows the planes and lines of a statelier if less brilliant style. It has, in a word, more style.
Meanwhile Montjoie was standing against an iron pillar, studying intently every detail of Louie's pose, both hands arched over his jeyes. 'Peste! did one ever see so many points combined? he threw back to a couple of men behind him. 'Too thin the arms might be better and the hands a little common. But for the ensemble mon Dieu! we should make Carpeaux's atelier look alive hein?
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