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The closed eyes and soulful gesture of the model in The Age of Bronze is so ambiguous that it has been variously interpreted as expressing the agony of a wounded soldier, or the awakening of man to nature. Below, the whole surface of the gates undulates with figures of lovers and sinners, from Adam and Eve to the cannibal Ugolino, as well as damned souls hanging on by their fingers to the lintels of the doors or plunging over its sides.
Changes in scale are arbitrary and irrational, while the depth of field ranges from low relief to freestanding sculpture. Because it was impossible to keep the clay of so complex a surface damp while he worked, as Rodin finished each figure or group of figures he had them cut off and cast in plaster. This means that the gates as we see them now are, in effect, a collage made up of separate sculptural elements that, when removed from their original context, took on new life as independent bronzes, marbles and plasters.