Adams, Adeline: The spirit of American sculpture (New York: Nat. Sculpture Soc., 1923)

220
THE SPIRIT OF
ing is over, that this powerful influence
has wholly waned.
We have spoken of the uses of col-
laboration. But there are souls that
would perish rather than collaborate.
Some of these belong in the ranks of
genius, others are distinctly due else-
where. Of the former class was Ro-
din, never willing or able to subject
himself to any architectural tradition.
Even while writing of Rodin’s consist-
ent refusal of collaboration, I hear the
ironic voice of M. Anatole France, a
veteran in one art speaking of a
veteran in another: “Et surtout, avou-
ons-le, il collabore trop avec la catas-
trophe.” And he adds, with that
sparkle of malice veterans allow them-
selves but not others to use when
speaking of veterans, “Il abuse du
droit de casser ce qui, dans une oeuvre,
est mat venu.” According to M.
France, Rodin collaborates, and even
too much; not with architecture, as a
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INFLUENCES