. Art in France. FIC. 0:>2. CARPKAIX. D \M K. (Kafadi of the Opera House, Paris.) 442 NATURALISM. FIG. 023. CARPEAUX AND FREMIET. THE FOUNTAIN OF THE OBSERVATORYPARIS. the individualities without add-ing to the latent force whichone divines beneath the swell-ings and depressions of themarble. Michelangelos giantscontain as much fiery energy asRodins figures, but they neverlose their supreme gestures show the languorof lassitude or the tension ofeffort. Rodins figures overstepthese limits. It is because theyexpress the paroxysms of humanpassion, from delight to torture,that th
. Art in France. FIC. 0:>2. CARPKAIX. D \M K. (Kafadi of the Opera House, Paris.) 442 NATURALISM. FIG. 023. CARPEAUX AND FREMIET. THE FOUNTAIN OF THE OBSERVATORYPARIS. the individualities without add-ing to the latent force whichone divines beneath the swell-ings and depressions of themarble. Michelangelos giantscontain as much fiery energy asRodins figures, but they neverlose their supreme gestures show the languorof lassitude or the tension ofeffort. Rodins figures overstepthese limits. It is because theyexpress the paroxysms of humanpassion, from delight to torture,that they seem unable to con-trol the twitching of their re-bellious muscles. The rugged,contorted, interlaced masses, which he twists and bends at will, suggest wills and sufferingsstronger than themselves. It is not absurd thus to submerge humanpersonality in a world of forms and lines which exceeds it; the physi-cal and moral harmony of an individual may be overwhelmed bythe stress of passion. The bronze limbs of the Citizens of Calaisseem rude and inert; their hands hang heavy as paving-stones at t
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