Eustache de Saint Pierre by Rodin in the Brooklyn Museum, August 2007

The Burghers of Calais (Les Bourgeois de Calais) is one of the most famous sculptures by Auguste Rodin, completed in 1888. It serves as a monument to an occurrence in 1347 during the Hundred Years' War, when Calais, an important French port on the English Channel, was under siege by the English for over a year.

The story goes that England's Edward III, after a victory in the Battle of Crécy, laid siege to Calais and Philip VI of France ordered the city to hold out at all costs. Philip failed to lift the siege and starvation eventually forced the city to parlay for surrender. Edward offered to spare the people of the city if any six of its top leaders would surrender themselves to him, presumably to be executed. Edward demanded that they walk out almost naked and wearing nooses around their necks and be carrying the keys to the city and castle. One of the wealthiest of the town leaders, Eustache de Saint Pierre, volunteered first and five other burghers soon followed suit and they stripped down to their breeches. Saint Pierre led this envoy of emaciated volunteers to the city gates and it is this moment and this poignant mix of defeat, heroic self-sacrifice and the facing of imminent mortality that Rodin captures in these figures, which are scaled somewhat larger than life.

In history, though the burghers expected to be executed, their lives were spared by the intervention of England's Queen, Philippa of Hainault.

The monument was proposed by the mayor of Calais for the town's square in 1880. This was an unusual move, because normally only monuments to Victory were constructed, but France had suffered devastating losses in its defeat in the Franco-Prussian War and it longed to recognize the sacrifice that its young men had made. Rodin's design was controversial, as it did not present the burghers in a heroic manner, rather they appeared sullen and worn. The monument was innovative in that it presented the burghers at the same level as the viewers, rather than on a traditional pedestal, although until 1924 the city council of Calais, against Rodin's wishes, displayed the statue on an elevated base.

Some installations have the figures tightly grouped with contiguous bases, while others have the figures separated. Some installations are elevated on pedestals, others are placed at ground level, and at least one is slightly sunken, so that the tops of the bases of the figures are level with the ground.

While the original statue still stands in Calais, other versions stand in

Victoria Tower Gardens in the shadow of the Houses of Parliament in London
t
he gardens of the Musée Rodin in Paris

at Glyptoteket in Copenhagen

the Israel Museum in Jerusalem

the Rodin Gallery in Seoul This is the 12th and final cast in the edition. This gallery also houses the 7th (out of 8) cast of the Gates of Hell. There is currently no 8th cast.

the National Museum of Western Art in Tokyo

the sculpture garden of the National Gallery of Australia, Canberra

Stanford University's Iris & B. Gerald Cantor Center for Visual Arts has several smaller studies of this work (as well as a number of other Rodin pieces). Stanford's installation has the six figures sunk slightly into the ground, concealing the bottom few inches of the bases of each sculpture, and the figures are spaced such that viewers can walk between them and view them from several sides. The museum claims that this is how Rodin wished them to be displayed.

the Norton Simon Museum in Pasadena, California

the sculpture garden of the Smithsonian Hirshhorn Museum in Washington, D.C.

the Rodin Museum in Philadelphia

the Metropolitan Museum of Art in New York City. Figures grouped together.

the Brooklyn Museum in New York City

Kunstmuseum (Art Museum) Basel.

Text from: en.wikipedia.org/wiki/The_Burghers_of_Calais