Skin and Bones

Two Is One (Locked)

Locking Piece. Henry Moore. Tate Gallery, London.

Click for 4 reference photos.
http://www.bluffton.edu/~sullivanm/moorelondon/
moorelondon.html
(Photos at the linked site by Mary Ann Sullivan, Digital Art Imagining Project.)

1. Description. "Locking Piece" is cast bronze, about 6 ft. high / 6 ft. wide / 6 ft. deep. It is in two parts, an upper which is locked into a lower. The piece is cut by a central hollow. The bronze surface is bronze gold, with black patches. The piece is difficult to describe verbally; the clearest analogy is to see it as a portion of a hip/thigh socket/thigh, all twisted or formed into a double-U shape. Hence:

Illustration 1
Click image to enlarge.

2. Setting. The piece is mounted on a concrete pedestal about 7 ft. high, which is set in a fountain that sprays water from all sides onto the pedestal. The fountain itself is set into a terraced concrete plaza. Hence:

Illustration 2
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It is not clear that the setting was designed by Moore or its basic design even suggested by Moore.

The terrace fountain setting is in a small park beside the Thames, with a motorway on one side and the river retaining wall on the other.

The Moore piece is the focal point of the park design.

3. Structural Composition. The basic structure of the piece is composed around two U's, one on top of the other, with the upper U inverted, hinged on one leg so as to appear to provide a pivot, with the other inverted leg able to slide off the lower U.

Illustration 3
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This sliding motion is however prevented because the pivot is not a free pivot, much like a human joint whereby a leg can move in one direction but not out of the joint or in most directions.

The simple design is fundamentally tense - depending on which view of the sculpture one has. From one side (southwest), there is suggested tension; from the opposite, no tension. The lock is secure and doesn't intimate any possible of motion.

4. Surface technique. Reflective bronze (gold) with acid treatment to produce non-reflective black. Surface not smooth, but has plaster-carving tool marks on S.W. side and gouges on N.E. side.

5. Space. There is no duality of space (such as inner/outer, etc.); space is defined as open to action, for the piece has extended (although terminated) limbs which move outward. Space is a theatre, a setting for action, for tension.

6. Mass. The piece exhibits mass as forces working against gravity and inertia. The forces are internal, rather than external. Mass is therefore presented as the resistance to effort, as in a static equilibrium, as when holding a weight at arm's length. The mass is not perceived as an object separate from the arm or effort of holding up the object; mass is felt as effort and the continuum of effort.

The effect of gravity is exhibited in the swinging tension of the upper U. The free leg shares a diagonal or slipping surface with the lower bar of the U and is pulled off in a downward motion. Hence:

Illustration 4
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(It is this downward swivel that is resisted by the lock.)

7. Emotive quality. This piece is not emotional in the sense of enticing the viewer's empathy or sympathy. It is not emotionally thematic. At the same time, it is not unrelated to emotion, for it is intended to be felt - the form of the sculpture cannot be wholly perceived visually alone, but the tension must e felt also at the same time.

The derivation of the composition from the pelvic/leg-joint skeletal structure is not intended to evoke specially human references [e.g., sexual congress between man and woman involving locking legs]. Moore has carefully abstracted from the human structure. Rather, Moore is saying something basic about natural or organic composition in which every stationary design is movement, or force or effort toward movement, resisted by constraint. Similarly every conscious movement of recognition is arrested or locked movement.

The unity of design which allows Moore to call the sculpture "locking piece", rather than "locking pieces", is derived fro m the concept of unity of separates joined by contrary forces (a very Newtonian universe).

In this way, the unity of the human body is created - not especially by a unitary skin covering - but by the working together of parts that oppose one another.

[Later thought. Moore's lock reminds me of the locking key that a sculptor uses to register two halves of a mold. The sculptor sculpts a figure (say, a clay model of a female form). Then, he divides the figure into molding zones, by creating a thin fence of metal shims, that will divide different halves of the mold. The sections of the mold are given a perfect registration by creating a lock or key - simply a sharp V - in the metal shim fence. When the halves of the molds are later put together, they will slide into place with each other against the key. In this way, a figure is created by locking the sections of a mold together. This technique adds to the humanistic meaning of Moore's piece.]

8. Thematic composition. Not a thematic [narrative] sculpture.

9. Exhibition technique. The sculpture is well exhibited. The site allows for convenient viewing from all directions. The raised position provides a good view into the interior of the sculpture, a view that would be derived from a lower position because the grooves do not cut through to the top of the piece. All in all, the best qualities of the piece are exhibited.

The fountain calls for comment. The question is whether the water in the fountain is related to the sculpture. To the extent that the water invites repose, it probably contradicts the concept of the sculpture. To the extent that the water suggests the basic qualities of life [and female principles?], it is in harmony with the piece. If the piece is perceived in terms of a pelvic structure, and if the groves are thereby perceived in terms of the birth canal, then perhaps the water in the fountain relates to the birth water; in which case, the piece is to be interpreted as female. This, however, may be far-fetched.

Also, the fountain cleverly ties the sculpture to its site, which is a river park.

(The fountain has the incidental benefit of keeping viewers far enough away from the pedestal to prevent them from painting graffiti on it.)

The Natural Family

Family Group. 1949. Henry Moore. Tate Gallery, London.

Illustration 1. Reference Photograph. From National Gallery of Art, Washington, D.C.

Reference information

1. Literal description. A three-figure sculpture, with mother and father seated on a bench, feet resting on a base, and holding a child between them. Size is approx. 5 ft. high, base to head, by 4 ft. long by 3 ft. deep. Material is cast bronze. Mother figure is draped from waist down; father figure is undraped.

2. Structural composition. Three basic composition figures: a triangle at base, square, and canopy/inner triangle. Hence:

Illustration 2
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The triangle is formed by the inward sloping legs of the parents and the bent legs of the child. Hence:

Illustration 3
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The square is formed by the seat of the bench, the outside lines of the mother and father figures, and the top line of the shoulders. The heads of the parents are above the square figure. The square is modified inwards at its base. This modification ties together with the canopy as to be explained below. Hence:

Illustration 4
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This can also be seen as a heart shape, if imagination is applied:

Illustration 5
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However, no point at bottom of heart.



There is the possible suggestion of a third, small triangle, formed partially by the inwardly inclined inside lines of the heads; hence:

Illustration 6
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The canopy is visible only from a side view. It is formed by the arched backs and shoulders of the parental figures. This canopy curves over the child and around the child, sheltering. It rests on a square form:

Illustration 7
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The canopy integrates with the inward modification of the square to suggest another triangle. Hence:

Illustration 8
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All of these figures interlock at the child. Indeed, the hands of the parents, holding the child, are not individually indistinguishable, but merge into the child to become part of the child.

3. Surface technique. The surface color is a black toned green, created by acid treatment of the bronze. The outside knees of the parents have been treated to a yellow bronze hue to suggest that the bronze is worn from rubbing. Occasionally, the bronze has been given reddish and yellowish patches. Chromatic highlights are the shoulders and arms and the things. Chromatic shadows are emphasized in the interior of the faces, the chest, and deepening into the bellies. The chromatic highlights are also the natural highlights. If place outdoors in direct sunlight, the canopy would reflect off light and shadow the interior-chest, bellies.

The surface is also smooth, having been worked with regular fine tools. Mold lines are completely worked off the bronze.

The drapery on the mother is broadly sketched with no special attention to light, except to form a solid mass or shield across the legs.

At all points, the chromatic and light techniques reinforce the structural composition. The upper highlights/inner shadows reinforce the canopy and further suggest the envelopment suggested by the structure.

4. Definition of space. Space has been defined by Moore in this sculpture into two forms - inner and outer. The inner space is created by the canopy and thighs and has a suggested shape of a triangle formed by the canopy and thighs. Hence:

Illustration 9
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All other space is outer and is excluded from the composition by the shell created by the figures. There is no attempt to define outer space by extensions (such as outstretched arms) of the figures.

5. Definition of mass (gravity). Mass is defined not by the massiveness of the figures or their physical solidity, but, rather, by the structural composition. The widest breadth of the piece is at the base, a natural position suggesting a strong gravitational pull. Resting inertia is obviously suggested by the triangles and the seated composition. The forward thrust of the parental figures is a strong posture, that is, strong equilibrium, to resist outside forces. The figures, although geometrically complex in design, are so completely integrated as to form a unity. Because the inner space is defined as excluding exterior space, it adds to the solidity of the mass of the piece, as a whole, even though, of course, the space is "empty".

6. Expressive/emotive qualities. The figures are not demonstrative, and Moore depends on the structural composition and surface technique to convey the emotional quality of the piece.

The expressive qualities are: emotional warmth, emotional interdependence, self-containedness, strength, basic values, such as the family as a primal unity. The warmth derives from the color, which is basic and warm. And from the little hint given by the yellow knees, which invite touching. Warm (as distinguished from hot and cold) objects invite touching. The interlocking figures convey an emotional interdependence that does not need theatrical facial expressions to convey the effect. The primal essence of the family unit and its strength are conveyed by the use of the basic geometrical figure of strength - the triangle, in which outside pressure on any one point is resisted by the opposite points. This is a "down to earth" piece, and from its composition one can envision it only placed solidly on the earth itself. The emotional assurance of the self-sufficiency of these values is conveyed by the sheer refusal of the piece (i.e., of Moore's conception of it) to refer to, hint at, or suggest anything other than itself.

7. Exhibition technique. The Tate has poorly placed the sculpture. It is placed for frontal viewing only, thereby depriving the view of one fundamental figure in the composition - the canopy with internal triangle. The sculpture is raised onto a platform, rather than resting on the floor where it belongs. The monumentality of the piece is not created by raising the eye-level of the figures above the eye-level of the ordinary viewer. Monumentality is created by the composition which places basic shape onto basic shape.

Illustration 10
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I suggest pulling the Moore piece out into the gallery by some ten feet and putting paintings on the walls "behind" it to draw views behind it so that they can see the side figure in the composition.

8. Other comments. A masterpiece of composition; elemental and basic. Forceful in producing its effect because Moore has refused to be distracted from his essential conception. I find it moving - the mythological and religious significance of the "Three" [Trinity] theme reinforced by the structural composition.

Mother of the Sea

Two Piece Reclining Figure, No. 2. 1960. Henry Moore. Tate Gallery, London.

Illustration 1. Reference Photograph.






This is "Reclining Figure (2 Piece), 1960" at the Scottish National Gallery of Modern Art. I have not verified that it is a cast of the same sculpture of this name that I studied at the Tate.

Linked Illustration. Notice Moore's similar two-dimensional treatment of an architectural theme, "Tunnel Arch and Window 1971".

1. Basic description. Two pieces of cast bronze, pieces separated by about 12 inches and physically free standing, i.e., not connected by a base (lintel or plinth). One piece is a head figure/torso with a 3 holed tunnel through the middle; the other piece is a bridge form. The head-piece is perhaps 4 1/2 feet high by 3 feet radius; the bridge-piece is ca. 4 feet long by 3 feet wide. The color is dark brown, nearly burnt umber, with occasional green patches and muddy-red patches.

Illustration 2
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2. Setting. The sculpture is set in the main foyer, just beyond the entrance foyer, of the Tate, beneath a dome of glass. The sculpture is at the center of the foyer; light falls from directly above; there is no artificial illumination in the daytime.

3. Structural composition. The head-piece is basically a solid form, although it has a small tunnel through the middle. It is basically cubical in form, with strong horizontal lines. There are some diagonal lines, but these are softened and weak. Hence:

Illustration 3
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The horizontal lines are carved out of the cubical block, suggesting a figure reclining on one elbow.

The second piece has the structure of a table with four legs, or two inverted U's connected by a tunnel (classical arches, classical barrel vault). The inverted U's are also basically cubic forms that have been carved out.

The two pieces have been oriented toward one another along a broken axis. Hence:

Illustration 4
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The head on the head-piece oriented inwardly. Hence:

Illustration 5


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The two pieces are integrated by sharing the same plane on their top surfaces, which is soft outward curving and sloped down. The two pieces are further integrated by the downward and inward slope of their top lines. Hence:

Illustration 6


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4. Surface technique. The surface texture is rough with tool marks (but without mold marks). Everywhere the gouges and striations of the adz and rasps are evidence. Some surfaces appear to have been built up with rapidly-hardening plaster and worked by broad wood tools. The effect has been to provide a light absorbing surface with broad deep shadows. This effect is reinforced by the light source - natural, soft light falls from above to produce deep, dark cavities. This effect was certainly intended by Moore, since even with an artificial horizontal light, the tunnels would produce these dark caves, from some angle of viewing. The surface technique is further reinforced by the chromatic qualities; the bronze is non reflective, dark, and in shadows easily appears black.

Besides providing interest to the surface, the green and brownish/red patches suggest shadows formed genuine cavities.

5. Definition space. Moore is defining a real space in which some dimensions are apparent from any one perspective, but not all (as contrasted to a cubist sculptural space where all dimensions are presented). Space is not a theatre for action by masses, but is basically defined by the presence of masses. Our minds are not led by Moore's piece to seek space beyond the boundaries of the masses themselves.

6. Definition of mass (including inertia and gravity). Moore emphasizes resting inertia and the pull of gravity in this sculpture. No possible action is intimated to resist or overcome gravity or inertia. No inner tension inside the piece is suggested. In this sculpture, mass - matter under the influence of gravity and embodying inertia - is primary.

The gravitational effect is demonstrated by several features: the heavier and broader parts of the sculpture being at the bottom and the enlargement of the "limbs". Hence, in the "Bridge" piece:

Illustration 7
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This kind of "settling" occurs in all solid masses (e.g., glass window panes) under the influence of gravity over a long time, e.g., centuries.

This feature of the mass is one indication that Moore has imbued the mass with the quality of being aged.

In this composition, mass is not defined by structural composition (as it is in Family Group) but by gravity and inertia. There is resistance to movement.

7. Emotive and qualitative themes. Moore's thematic treatment of the reclining human figure centers around the concept of the organic unity of the human form and nature. This concept appears in several ways. First, from many perspectives, the two pieces appear to be ocean-eroded buttes of land, as appear along any coast. The bridge-piece has had its arches worn away by the tides and surf that would swirl around it. So, too, the head-piece, where the plaster-buildup techniques was used, has an eroded look, like a cliff worked against by wind, tides, and rain wash. These erosions reintroduce the theme of agedness, which appears in the settling of the legs, or arches, due to gravity.

One can suggest an identity between the tides of blood (vascular and menstrual) that wash through the human being - washing out through the arch of the pelvis, in the instance of the female - and the ocean tides that wash the cliffs and buttes of land.

Is there even a pun between the piece with the head and "headland", meaning the continental shelf of land that is out furthest in the ocean?

Moore's attitude toward the concepts he is treating is ambiguous. Does he perceive (conceive) permanence or impermanence of natural form as the basic value?

Does the impermanence of natural form (I hesitate to say "decay", because that word conjures negative cultural undertones) imply anything about art?

8. Exhibition technique. The piece is exhibited on a raised platform about 4 feet high, with free space all around. It is well situated for viewing. Most visitors, however, do not discover, I am sure, that viewing the piece from the front | right perspective (as one enters the Tate) provides the clearest view of the reclining pose; the other perspectives are somewhat puzzling and from them the pose of reclining on the right elbow is not apparent.

9. Later thoughts. Motherland? Motherland/headland with lighthouse/head? Butte of coast line separated from headland. See mother? Lifelong Moore theme of mother/child, mother/separation/child. Psychological tensions caused by separation from motherland.

Regal Mystery

"[Two-Piece] Reclining Figure". 1961. Henry Moore. University of California, Los Angeles Sculpture Garden.

Reference information - Moore's Life.
Reference Photogragh 1.

Illustration 1. Reference photograph 2. Click to enlarge.

1. Literal description. Two pieces, bronze cast, acid treated; set on a slab platform in unshaded space. Figure upright torso, resting on an elbow; interlocked, but separate lower torso. Upper torso is about 4'9" tall; detached lower torso is about 3 feet high. Total length of two pieces is about six feet.

2. Situation. Placed 15 feet in front of screened building with room to walk around. Platform isolated by grass plot from plaza.

Axis of sculpture is north-south.

3. Structural composition. The upper torso is pyramidal in shape. The lower torso is a block on a leaning axis.

Illustration 2.

Top view. Click image to enlarge.

From the top the piece is a "V" with a hinge.

Illustration 3.


Back view. Click image to enlarge.

4. Definition of mass. The figure is at right angles to gravity. There are two effects relating to gravity. The upper portion of each torso is large; the middle stretched thin; the lower is settled; hence, for an arm:

Illustration 4.
Click image to enlarge.

In the lower torso (block) the effect of gravity is suggested by drapery hanging off the end.

Opposition to the effect of gravity is provided by the swelling of the upper torso, as if a deep breath is taken, as in pride.

Opposition to the effect of gravity in the lower torso is provided by the (reclining axis, in torque) skeleton, bones showing against skin and drapery.

5. Definition of space. Most space is positively defined by active occupancy of the figures. The upper torso does contain a hole, which suggests the open space between an arm on which the figure reclines and the body, as well as the hole inside a woman - womb; emotional potentiality.

The lower torso contains a closed channel, canal, which must be dark and mysterious. (See reference photo 1 for a better view of the channel.)

6. Surface. Acid treated bronze. Plaster tool marks remain.

7. Emotive qualities. The figure carries in the erection of the head and carriage great regal bearing and dignity. The inner security of the figure is revealed by the use of stable solid geometry figures - pyramidal and block. The emotional fertility of the figure - the Queen as bearer of fertility - is implicit in the openness of the upper torso hole (unfilled) and the mystery of the dark lower torso canal.

The regality of the figure is also suggested by the social space or distance of the figure; the head does not tilt in an inviting manner; the gaze is above the viewer.

Triumphal Arches

"Tripod." 1976. James Rosati. Riverside Civic Mall, Riverside, California. Funded by a grant from the National Endowment for the Humanities and contributions from citizens.

1. Literal description. Abstract, modernistic, geometric, architectural sculpture. Three bases reaching into interconnecting central column. About 20 ft. by 20 ft. by 20 ft. high. Cadmium orange painted steel.

2. Situation. In small urban space, closed on three sides at south end of Riverside civic mall, next to the new Riverside City Hall.

3. Structural composition. A stable union in tripod form of three columns.

Illustration 1
Click image to enlarge.

4. Definition. The sculpture is designed to define mass that is implied but not actually in the sculpture. That is, the sculpture is an open stable combination of architectural themes present in Riverside's new city hall - arches, columns, buttresses, overhanging walls. It is the mass of the building that the sculpture creates, unifies, in itself: dynamically opposing gravity.

The unity of these themes is provided in 2 ways. (1) By the stability of the composition itself; (2) by viewing the surrounding buildings through the sculpture so as to see their architectural styles mimicked in it. This view can best be obtained by walking into the sculpture and turning around, seeing the building move into and out of phase with the sculpture.

5. Themes. Most themes of the sculpture are expressed in the city hall: columns and arches, columns, Indian rain symbol, buttresses (architecturally an external half-arch for support of walls). Buttresses can be seen in Riverside's famous Mission Inn buttresses and in the city hall. The sculpture is intended to be walked into and viewed, just as the Spanish arcade at the Mission Inn is intended to be lived in and viewed.

Other Rosati sculptures:
"Loo Wit" 1980 Holiday Crowne Plaza Hotel in outside courtyard at Sixth Ave. and Seneca St., Seattle
"Tripodal" 197 0-72 Convention Center Wichita

"Ideogram" 1967 World Trade Center (destroyed on 9/11)

Cleaved in the Stream

"Knife-Edge, Two-Piece." Henry Moore. Opposite Victoria Tower Park and Houses of Parliament, behind Westminster Abbey. London.

Reference information.

Click image to enlarge.
Reference photograph.

1. Literal description. Two separate bronze pieces without bases, and sharing same black-polished marble stage. Approx. 11 feet long by 8 ft. high. Situated in a grassy plot of a road-side park, isolated from the pedestrian pathway. Gold bronze. Full light.

2. Structural composition. The two pieces are modified wedge-shapes; i.e., triangles. They are arranged (from above) thusly:

Click image to enlarge.

3. Definition of mass. Gravity and inertia are strongly implied in these pieces - mass is shaped massiveness, with no cleverness or tricks, like holes through the wedges. Gravity exists in the heavy bottom of the pieces - hence:

Click image to enlarge.

Inertia is implied by the external references of the wedge form. That is - the form of the wedges clearly comes from outside forces acting on them, rather than from inside forces expressing themselves outwardly; worn away from resisting blocks by steady continual forces such as a rock in a stream - thusly:

Click image to enlarge.

4. Definition of space. Space is implied by this sculpture as an external arena for action. There are no external boundaries for the space of the two pieces and the space between the two pieces is not defined as part of the space of the pieces themselves, but as part of the enveloping action-space.

5. Surface technique. Smooth-bald bronze, with minor tool marks, almost scratches, on the side surfaces, with dark acid treatment to accent hollowness or concave side surface.

6. Comments. The analysis of this sculpture as basically static and oriented, directionally, into a stream of action seems reasonable, with the possible qualification that the blunt or split end of one of the pieces makes a rather strange prow.

The upward sweeping lines of the piece, when viewed from the south against the background of the Houses of Parliament, goes well against the vertical lines of the Parliament building. These are clean, open verticals, ironically contrasted to the verticals of Parliament which are fettered with strong horizontals and busy with ornamentation. Within this setting and viewed from a middle distance, I find the piece interesting.

Generally, however, this piece strikes me as static and cold - cold in the sense of dead, lacking an inner energy and vitality, with form growing out of that energy. Rather, the piece is stalwart, not withstanding the upward motive of the side surfaces. The only energy is a mechanical tension existing between the downward pull of gravity on the wedges and the orientation of being pulled into a stream of water/air/space. This mechanical tension produces a torque effect which is experienced when one walks past the southern aspect of the piece.

Introspection

"The Burghers of Calais." Auguste Rodin. Victoria Tower Park, behind (south) the Houses of Parliament, London.

Reference information
Reference photo

1. Literal description - Compact group of six figures, all men, on a raised platform. Figures are nearly life-size; if anything, slightly smaller than life-size. Black bronze. Raised platform about 2 1/2 feet high.

2. Situation - Bronze is situated in an open grass park, at the junction of four walkways, as the middle-distance focus for the riverside park itself.

3. Structural composition - The structure is directed as a solution to a problem raised by the theme of the sculpture, rather than to merely (or only) sculptural problems, such as mass, etc. The thematic problem (to discuss below in detail) is, briefly, that of how to unify into a group composition, six figures that are privately introspective.

The basic geometric structure of the composition is of a compact rectangle. The heads of the six figures are at a level; all the hands that are raised are uniformly raised to the head level: this creates the top horizontal. The end figures, as all the figures, are strongly vertical, with nearly none of the vertical lines broken by diagonals. These verticals are reinforced by the drapery - mostly robes - which hang straight down unmoved by wind or any other interruptions. At the base, all the feet are at the same level and share a common base stand on top of the concrete base of the sculpture.

The figures are closely placed, which draws together the rectangular figure-composition. Three inside figures are in physical contact, which, together with the broad mass of the robes, provides density to the rectangular form - it is thus basically a solid geometrical figure rather than an open figure.

Thus, the unity of the composition is provided sculpturally by relating the figures into a single, compact, solid geometrical form.

4. Definition of mass - The effect of gravity is strongly emphasized. The bottom of the composition is more closed, by the robes and by the disproportional form of the hands and feet, than the top, which is somewhat opened by the spaces between heads. Most of the standing men have a form like this

(Click image to enlarge)
Illustration





where the wider, deeper base fully indicates the downward pull of gravity (and all this has obvious thematic importance).

The statement about inertia in the composition is quite complex, owing to the thematic statement the sculpture makes. The lower half of the bronze presents inertia as resistance to movement - the feet and robes of most of the figures seem immobile and rooted, an impression reinforced by the effect of the robes, which is to grow out of the base like tree trunks. The upper half of the sculpture, however, shows considerable motion, although it is individual movements of heads. The heads are at different angles, are small and spaced apart and with different axes, providing melodrama to the composition.

5. Definition of space - Space is presented only in terms of what exists inside the geometrical composition. There is little geometric reference to an external space - of course, this reinforces the theme of private preoccupation with private fates and public fate. The one instance where an exterior space might be sculpturally implied is in the raised arm gesture of one figure - but this gesture is transformed from an outward to inward direction by the curve of the fingers, which is inward toward the head of the figure. The space with which Rodin wants the viewer to be concerned is inside the figures - literally inside the geometrical from of the closed rectangle and inside the minds of the six men.

6. Surface technique - The surface is strong, deeply etched, casting deep shadows and providing an impressionistic play of light. There is considerable movement in the surface, and it is from this, rather than the sculptural form, that the composition derives its sense of motion as a whole, the sense that theme, as a group, are going somewhere. The source of light for this composition would be at any angle, since the interior of the composition is complex enough, with fragmented planes falling off the powerful verticals of the robes and upright stande of the men, for the light and shadow to retain their effect.

7. Thematic composition - In order to save their city, Calais, from further seige, the six burghers offered themselves to the English besiegers as hostages. The thematic composition unites private grief and private and individual preparations for death and fate, with a common or united resolution (sacrifice).

Rodin's form has been carefully calculated to reinforce the theme - the rectangular composition and massive base represent the common purpose; the individuality of facial grief and separation and openness of the top half emphasize the individuality of death. Death is personal and individual although the condition for it - the sacrifice - might be public.

Rodin's major problem is to prevent the piece from being melodramatic or propagandistic. He has done this - though barely - by the severity of introspection in the six figures and the individuality of the head-bust poses. He has avoided the impression of caricature that one sees in Bolshevik and western military poster progaganda depictions of common resolve and purpose - i.e., the phalanx of happy worker-soldiers / citizen-minutemen-soldiers going off to meet death battling the enemy. Thus Rodin has made this a masterpiece of art, embodying universal themes. (Indeed - why not simply get rid of the title and call it "Six Figures" or something?)