Critical opinion in France has not changed radically since
Stendhal's day.
VI
The French sculptor may draw his inspiration from the sources of
originality itself, his audience will measure the result by conventions.
It is this fact undoubtedly that is largely responsible for the
over-carefulness for style already remarked. Hence the work of M.
Aime-Millet and of Professors Guillaume and Cavelier, and the fact that
they are professors. Hence also the election of M. Falguiere to succeed
to the chair of the Beaux-Arts left vacant by the death of Jouffroy some
years ago. All of these have done admirable work. Professor Guillaume's
Gracchi group at the Luxembourg is alone enough to atone for a mass of
productions of which the "Castalian Fount" of a recent Salon is the
cold and correct representative. Cavalier's "Gluck," destined for the
Opera, is spirited, even if a trifle galvanic. Millet's "Apollo," which
crowns the main gable of the Opera, stands out among its author's other
works as a miracle of grace and rhythmic movement. M.
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