The Burghers ought, according to Rodin's idea, to be placed in front of the old Hotel de Ville of Calais, facing the sea; and he wished the group to be placed on a very high pedestal, so that the figures should stand out against the open sky, or else, on the other hand, almost on the level, so that everyone could walk round them, live with them, almost elbow them. A bad site has been chosen and a pedestal of moderate height and ordinary appearance. The Burghers are very fine all the same, and are certainly the most powerful piece of sculpture of the epoch. I have promised to be sober in my praises of Rodin, but I do not see why in speaking of such a work as this I should hide my convictions. Those who have seen it cannot fail to consider it, as I do, the work of a thinker and of an artist of genius.
[1] It Is curious to recollect that the very fine equestrian statue of General Lynch and the monument to President Vicunha, sent to America by Rodin, were never paid for, and that, owing to revolutions, they actually disappeared, so that these works may be considered lost. Only the spoiled rough models and some photographs remain.
[2] These Shades are a symbolic representation of men who are just dead, and who are bending down with folded hands in misery and terror gazing at the hellish crowd into which they are about to fall.
[3] The final version of this group has been treated by Rodin separately, and is known by the name of The Kiss. The marble group is in the Museum of the Luxembourg.
[4] A statue of Eustace de St. Pierre had been asked for. Rodin sent the six effigies of burghers, and this gave rise to fresh difficulties with the authorities.
[III]
RODIN'S WORK FROM 1895 TO 1898—SMALL GROUPS—THE STATUE OF "BALZAC" —THE INCIDENT OF THE SOCIÉTÉ DES GENS DE LETTRES—THE "TECHNIQUE" OF THE "BALZAC"—RODIN'S IDEAS UPON MODELLING AND COMPOSITION—HIS OPINIONS ABOUT THE GREEKS, THE GOTHIC STYLE, CLASSICISM, AND MYTHOLOGICAL SUBJECTS—RODIN'S "ANTIQUE" PERIOD.