If my modelling is bad, if I make faults in anatomy, if I misinterpret movement, if I am ignorant of the science which animates marble, the critics are right a hundred times. But if my figures are correct and full of life, with what can they reproach me? What right have they to forbid me to add meaning to form? How can they complain if, over and above technique, I offer them ideas? — if I enrich those forms which please the eye with a definite significance? It is a strange mistake, this, to imagine that the true artist can be content to remain only a skilled workman and that he needs no intelligence.