“There is another thing to notice. The upper part of the torso leans to the side of the leg which supports the body. The left shoulder is, thus, at a lower level than the other. But, as opposed to it, the left hip, which supports the whole pose, is raised and salient. So, on this side of the body the shoulder is nearer the hip, while on the other side the right shoulder, which is raised, is separated from the right hip, which is lowered. This recalls the movement of an accordion, which closes on one side and opens on the other.
“This double balance of the shoulders and of the hips contributes still more to the calm elegance of the whole.
“Now look at my statuette in profile.
“It is bent backwards; the back is hollowed and the chest slightly expanded. In a word, the figure is convex and has the form of the letter C.
“This form helps it to catch the light, which is distributed softly over the torso and limbs and so adds to the general charm. Now the different peculiarities which we see in this statuette may be noted in nearly all antiques. Without doubt, there are numerous variations, doubtless there are some derogations from these fundamental principles; but in the Greek works you will always find most of the characteristics which I have indicated.
“Now translate this technical system into spiritual terms; you will then recognize that antique art signifies contentment, calm, grace, balance, reason.” Rodin cast a glance at his figure. “I could carry it further,” he said, “but it would be only to amuse us, because, as it stands, it has sufficed me for my demonstration. The details, moreover, would add very little to it. And now, by the way, an important truth. When the planes of a figure are well placed, with decision and intelligence, all is done, so to speak; the whole effect is obtained; the refinements which come after might please the spectator, but they are almost superfluous. This science of planes is common to all great epochs; it is almost ignored to-day.”
Pushing aside the clay figure, he went on: “Now I will do you another after Michael Angelo.”
He did not proceed at all in the same way as for the first. He turned the two legs of the figure to the same side and the torso to the opposite side. He bent the body forward; he folded one arm close against the body and placed the other behind the head. The attitude thus evoked offered a strange appearance of effort and of torture. Rodin had fashioned this sketch as quickly as the preceding one, only crushing his balls of clay with more vigor and putting almost frenzy into the strokes of his thumb.
“There!” he cried. “What do you think of it?”
“I should take it for a copy of a Michael Angelo—or rather for a replica of one of his works. What vigor, what tension of the muscles!”