aps to argue confidently from his impressive works the
potentiality of periodical renewal in an art over which the Institute
presides with still so little challenge of its title. But it is
different with M. Dalou. Extraordinary as his talent is, its
unquestioned and universal recognition is probably in great measure due
to the preparedness of the environment to appreciate extraordinary work
of the kind, to the high degree which French popular aesthetic education,
in a word, has reached. And one's last word about contemporary French
sculpture--even in closing a consideration of the works of such
protestants as Rodin and Dalou--must be a recognition of the immense
service of the Institute in education of this kind. Let some country
without an institute, around which what aesthetic feeling the age permits
may crystallize, however sharply, give us a Rodin and a Dalou!

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