“Here is the second: To the left of the group of which I have spoken is another couple. The lady accepts the hand of her lover, who helps her to arise. She has her back to us, and has one of those blonde napes which Watteau painted with such voluptuous grace.
“A little further is the third scene. The lover puts his arm around his mistress’s waist to draw her with him. She turns towards her companions, whose lingering confuses her, but she allows herself to be led passively away.
“Now the lovers descend to the shore and all push laughing towards the barque; the men no longer need to entreat, the women cling to their arms.
“Finally the pilgrims help their sweethearts on board the little ship, which, decked with flowers and floating pennons of red silk, rocks like a golden dream upon the water. The sailors, leaning on their oars, are ready to row away. And already, borne by the breezes, little cupids fly ahead to guide the travellers towards that azure isle which lies upon the horizon.”
“I see, Master, that you love this picture, for you have remembered every detail,” I said.
“It is a delight that one cannot forget. But have you noted the development of this pantomime? Truly now, is it the stage? or is it painting? One does not know which to say. You see, then, that an artist can, when he pleases, represent not only fleeting gestures, but a long action, to employ a term of dramatic art.
“In order to succeed, he needs only to place his personages in such a manner that the spectator shall first see those who begin this action, then those who continue it, and finally those who complete it. Would you like an example in sculpture?”
The Burghers of Calais
By Rodin
Opening a book, he searched for a moment and drew out a photograph.