In one of those whims of puerile fatalism, from which great minds have not been exempt, Rodin said to himself: "I burn with impatience to open this letter.If I do not open it till half-past nine, the news will he favorable." To employ these minutes, Rodin took several turns up and down the room, and stood in admiring contemplation before two old prints, stained with damp and age, and fastened to the wall by rusty nails.The first of these works of art--the only ornaments with which Rodin had decorated this hole--was one of those coarse pictures, illuminated with red, yellow, green, and blue, such as are sold at fairs; an Italian inscription announced that this print had been manufactured at Rome.It represented a woman covered with rags, bearing a wallet, and having a little child upon her knees; a horrible hag of a fortune-teller held in her hands the hand of the little child, and seemed to read there his future fate, for these words in large blue letters issued from her mouth:
"Sara Papa" (he shall be Pope).
The second of these works of art, which appeared to inspire Rodin with deep meditations, was an excellent etching, whose careful finish and bold, correct drawing, contrasted singularly with the coarse coloring of the other picture.This rare and splendid engraving, which had cost Rodin six louis (an enormous expense for him), represented a young boy dressed in rags.The ugliness of his features was compensated by the intellectual expression of his strongly marked countenance.Seated on a stone, surrounded by a herd of swine, that he seemed employed in keeping, he was seen in front, with his elbow resting on his knee, and his chin in the palm of his hand.The pensive and reflective attitude of this young man, dressed as a beggar, the power expressed in his large forehead, the acuteness of his penetrating glance, and the firm lines of the mouth, seemed to reveal indomitable resolution, combined with superior intelligence and ready craft.Beneath this figure, the emblems of the papacy encircled a medallion, in the centre of which was the head of an old man, the lines of which, strongly marked, recalled in a striking manner, notwithstanding their look of advanced age, the features of the young swineherd.This engraving was entitled THE YOUTH of SIXTUS V.; the color print was entitled The Prediction.[22]
In contemplating these prints more and more nearly, with ardent and inquiring eye, as though he had asked for hopes or inspirations from them, Rodin had come so close that, still standing, with his right arm bent behind his head, he rested, as it were, against the wall, whilst, hiding his left hand in the pocket of his black trousers, he thus held back one of the flaps of his olive great-coat.For some minutes, he remained in this meditative attitude.
Rodin, as we have said, came seldom to this lodging; according to the rules of his Order, he had till now lived with Father d'Aigrigny, whom he was specially charged to watch.No member of the Society, particularly in the subaltern position which Rodin had hitherto held, could either shut himself in, or possess an article of furniture made to lock.By this means nothing interferes with the mutual spy-system, incessantly carried on, which forms one of the most powerful resources of the Company of Jesus.It was on account of certain combinations, purely personal to himself, though connected on some points with the interests of the Order, that Rodin, unknown to all, had taken these rooms in the Rue Clovis.And it was from the depths of this obscure den that the socius corresponded directly with the most eminent and influential personages of the sacred college.On one occasion, when Rodin wrote to Rome, that Father d'Aigrigny, having received orders to quit France without seeing his dying mother, had hesitated to set out, the socius had added, in form of postscriptum, at the bottom of the letter denouncing to the General of the Order the hesitation of Father d'Aigrigny:
"Tell the Prince Cardinal that he may rely upon me, but I hope for his active aid in return."
This familiar manner of corresponding with the most powerful dignitary of the Order, the almost patronizing tone of the recommendation that Rodin addressed to the Prince Cardinal, proved that the socius, notwithstanding his apparently subaltern position, was looked upon, at that epoch, as a very important personage, by many of the Princes of the Church, who wrote to him at Paris under a false name, making use of a cipher and other customary precautions.After some moments passed in contemplation, before the portrait of Sixtus V., Rodin returned slowly to the table, on which lay the letter, which, by a sort of superstitious delay, he had deferred opening, notwithstanding his extreme curiosity.As it still wanted some minutes of half-past nine, Rodin, in order not to lose time, set about making preparations for his frugal breakfast.He placed on the table, by the side of an inkstand, furnished with pens, the slice of bread and the radish; then seating himself on his stool, with the stove, as it were, between his legs, he drew a horn-handled knife from his pocket, and cutting alternately a morsel of bread and a morsel of radish, with a sharp, well-worn blade, he began his temperate repast with a vigorous appetite, keeping his eye fixed on the hand of his watch.When it reached the momentous hour, he unsealed the envelope with a trembling hand.
