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Updated: May 14, 2025
I do not know what was Rodin's method of appreciating Prague, but can easily imagine him looking out over the city from the terrace of his choice, looking out over Prague and recalling memories of Rome as seen from the Pincio. There are certain obvious points of resemblance.
Morally speaking, it is mainly not altogether, but mainly rhetorical, whereas M. Rodin's is distinctly poetic. It is delightful rhetoric and it has many poetic strains such as the charm of penetrating distinction I have mentioned. But with the passions in their simplest and last analysis he hardly occupies himself at all.
I mean only to indicate that the resemblance to Michael Angelo, found by so many persons in such works as the Dante doors, is only of the loosest kind as one might, through their common lusciousness, compare peaches with pomegranates and that to the discerning eye, or the eye at all experienced in observing sculpture, M. Rodin's sculpture is far more closely related to that of Donatello and the Greeks.
Rodin's famous group of the citizens of Calais is an example of the expression of one particular idea by a special technical treatment. The producer who tells a kindred story to that of the siege of Calais, and the final going of these humble men to their doom, will have a hero-tale indeed. It will be not only sculpture-in-action, but a great Crowd Picture.
Michael Angelo so turns the body on itself that he reduces the four to two big planes, one facing, the other swept round to the side of the block." That is, he gets geometrical enveloping lines for his design. And, in fact, there is no sculpture which is more wonderful in design than Rodin's. I quote Mr. MacColl again.
But the shock had been succeeded by a violent fever, which placed Rodin's life in the utmost peril. This increased danger had caused the greatest alarm to Father d'Aigrigny, who felt, in spite of his rivalry and jealousy, that Rodin was the master-spirit of the plot in which they were engaged, and could alone conduct it to a successful issue.
Luckily, his superiors at Charlestown have received the strictest orders not to endanger, on any account, so precious a life. They are to send him to Paris, at least a month or two before February 13th." Rodin's master again interrupted him, and said: "Read the letter from Charlestown, and see what it tells you in order to complete the information upon this point also."
When he had conquered the involuntary emotion which the name or remembrance of General Simon had occasioned, Rodin's master said to the secretary: "Do not yet open the letters from Leipsic, Charlestown, and Batavia; the information they contain will doubtless find its place presently. It will save our going over the same ground twice." The secretary looked inquiringly at his master.
"Now read the letter from Batavia, and complete the information respecting Djalma." Rodin read, and then observed: "Good news again. His son, Djalma, deprived of the paternal throne, is provisionally detained as a prisoner of state in an Indian fortress." "We are at the end of October," said Rodin's master.
Now while the last is undoubtedly true, I believe that the first is not only not true, but that it is proved to be so by Rodin's own procedure and utterances, and that, if we understand his case aright, it is for beauty alone that he lives. He has related his search for the secret of Michael Angelo's design, and how he found it in the rhythm of two planes rather than four, the Greek composition.
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