The sculpture, The Kiss, was originally titled Francesca da Rimini, as it depicts the 13th-century Italian noblewoman immortalised in Dante's Inferno (Circle 2, Canto 5) who falls in love with her husband Giovanni Malatesta's younger brother Paolo.
Having fallen in love while reading the story of Lancelot and Guinevere, the couple are discovered and killed by Francesca's husband.
In the sculpture,  the book can be seen in Paolo's hand.
The lovers' lips do not actually touch in the sculpture, suggesting that they were interrupted and met their demise without their lips ever having touched.

When critics first saw the sculpture in 1887, they suggested the less specific title Le Baiser (The Kiss).

Rodin indicated that his approach to sculpting women was of homage to them and their bodies, not just submitting to men but as full partners in ardor.
The consequent eroticism in the sculpture made it controversial.
A bronze version of The Kiss (74 centimetres (29 in) high) was sent for display at the 1893 World's Columbian Exposition in Chicago.
The sculpture was considered unsuitable for general display and relegated to an inner chamber with admission only by personal application.
The sculpture, The Kiss, was originally titled Francesca da Rimini, as it depicts the 13th-century Italian noblewoman immortalised in Dante's Inferno (Circle 2, Canto 5) who falls in love with her husband Giovanni Malatesta's younger brother Paolo. Having fallen in love while reading the story of Lancelot and Guinevere, the couple are discovered and killed by Francesca's husband. In the sculpture,  the book can be seen in Paolo's hand. The lovers' lips do not actually touch in the sculpture, suggesting that they were interrupted and met their demise without their lips ever having touched.
When critics first saw the sculpture in 1887, they suggested the less specific title Le Baiser (The Kiss).
Rodin indicated that his approach to sculpting women was of homage to them and their bodies, not just submitting to men but as full partners in ardor. The consequent eroticism in the sculpture made it controversial. A bronze version of The Kiss (74 centimetres (29 in) high) was sent for display at the 1893 World's Columbian Exposition in Chicago. The sculpture was considered unsuitable for general display and relegated to an inner chamber with admission only by personal application.
The Kiss (Rodin sculpture)