many of the moderns; they have been carried away by a passion for sheer bulk. Luckily Maillol's work is not limited to this type.
It is fitting that Maillol should have been given the commission for the memorial to Cézanne. For while it is true that Constantin Meunier was the pioneer in modern sculpture, as Cézanne was in painting, it may be said that Maillol has followed the lead of Meunier and has perfected that technique more intelligently than any other sculptor. He has never received proper recognition. But we need not wonder at that. His temperament is too equable, his technique too unspectacular, his synthesis seemingly too simple, to put him in tune with our times. But it may be that he is doing that sort of work, luminous and serene, which Rodin predicted would be the art of the days to come.
