Currently on View in H211.p4
With her outstretched, contorted limbs, The Martyr could well be the quintessential form of The Gates of Hell, signifying emotional as well as physical torment. As an independent figure, she appears here in a horizontal format. Within The Gates, Rodin assigned her an upright position in the lintel, situated just to the left of The Thinker.
B. Gerald Cantor [1916-1996], Los Angeles; given to the Indianapolis Museum of Art in 1968 (68.32).