'What the devil does he do here, under a false name?' said Jacques Dumoulin to himself.
'You know him?' said Rose-Pompon, with impatience. 'You are quite confused.'
'And this gentleman has two rooms in this house, and comes here mysteriously,' said Jacques Dumoulin, more and more surprised.
'Yes,' resumed Rose-Pompon; 'you can see his windows from Philemon's dove-cote.'
'Quick! quick! let me go into the passage, that I may not meet him,' said Dumoulin.
And, without having been perceived by Rodin, he glided from the shop into the passage, and thence mounted to the stairs, which led to the apartment occupied by Rose-Pompon.
'Good-morning, M. Charlemagne,' said Mother Arsene to Rodin, who made his appearance on the threshold. 'You come twice in a day; that is right, for your visits are extremely rare.'
'You are too polite, my good lady,' said Rodin, with a very courteous bow; and he entered the shop of the greengrocer.
(21) There are, really, ordinances, full of a touching interest for the canine race, which forbid the harnessing of dogs.
CHAPTER XXIX. THE DEN.
Rodin's countenance, when he entered Mother Arsene's shop, was expressive of the most simple candor. He leaned his hands on the knob of his umbrella, and said: 'I much regret, my good lady, that I roused you so early this morning.'
'You do not come often enough, my dear sir, for me to find fault with you.'
'How can I help it, my good lady? I live in the country, and only come hither from time to time to settle my little affairs.'
'Talking of that sir, the letter you expected yesterday has arrived this morning. It is large, and comes from far. Here it is,' said the greengrocer, drawing it from her pocket; 'it cost nothing for postage.'
'Thank you, my dear lady,' said Rodin, taking the letter with apparent indifference, and putting it into the side-pocket of his great-coat, which he carefully buttoned over.
'Are you going up to your rooms, sir?'
'Yes, my good, lady.'
'Then I will get ready your little provisions,' said Mother Arsene; 'as usual, I suppose, my dear sir?'
'Just as usual.'
'It shall be ready in the twinkling of an eye, sir.'
So saying, the greengrocer took down an old basket; after throwing into it three or four pieces of turf, a little bundle of wood, and some charcoal, she covered all this fuel with a cabbage leaf; then, going to the further end of the shop, she took from a chest a large round loaf, cut off a slice, and selecting a magnificent radish with the eye of a connoisseur, divided it in two, made a hole in it, which she filled with gray salt joined the two pieces together again, and placed it carefully by the side of the bread, on the cabbage leaf which separated the eatables from the combustibles. Finally, taking some embers from the stove, she put them into a little earthen pot, containing ashes, which she placed also in the basket.
Then, reascending to her top step, Mother Arsene said to Rodin: 'Here is your basket, sir.'
'A thousand thanks, my good lady,' answered Rodin, and plunging his hand into the pocket of his trousers, he drew forth eight sous, which he counted out only one by one to the greengrocer, and said to her, as he carried off his store: 'Presently, when I come down again, I will return your basket as usual.'
'Quite at your service, my dear sir, quite at your service,' said Mother Arsene.
Rodin tucked his umbrella under his left arm, took up the greengrocer's basket with his right hand, entered the dark passage, crossed the little court and mounted with light step to the second story of a dilapidated building; there, drawing a key from his pocket, he opened a door, which he locked carefully after him. The first of the two rooms which he occupied was completely unfurnished, as for the second, it is impossible to imagine a more gloomy and miserable den. Papering so much worn, torn and faded, that no one could recognize its primitive color, bedecked the walls. A wretched flock-bed, covered with a moth-fretted blanket; a stool, and a little table of worm- eaten wood; an earthenware stove, as cracked as old china; a trunk with a padlock, placed under the bed—such was the furniture of this desolate hole. A narrow window, with dirty panes, hardly gave any light to this room, which was almost deprived of air by the height of the building in front; two old cotton pocket handkerchiefs, fastened together with pins, and made to slide upon a string stretched across the window, served for curtains. The plaster of the roof, coming through the broken and disjointed tiles, showed the extreme neglect of the inhabitant of this abode. After locking his door, Rodin threw his hat and umbrella on the bed, placed his basket on the ground, set the radish and bread on the table, and kneeling down before his stove, stuffed it with fuel, and lighted it by blowing with vigorous lungs on the embers contained in his earthen pot.
When, to use the consecrated expression, the stove began to draw, Rodin spread out the handkerchiefs, which served him for curtains; then, thinking himself quite safe from every eye, he took from the side-pocket of his great-coat the letter that Mother Arsene had given him. In doing so, he brought out several papers and different articles; one of these papers, folded into a thick and rumpled packet, fell upon the table, and flew open. It contained a silver cross of the Legion of Honor, black with time. The red ribbon of this cross had almost entirely lost its original color. At sight of this cross, which he replaced in his pocket with the medal of which Faringhea had despoiled Djalma, Rodin shrugged his shoulders with a contemptuous and sardonic air; then, producing his large silver watch, he laid it on the table by the side of the letter from Rome. He looked at this letter with a singular mixture of suspicion and hope, of fear, and impatient curiosity. After a moment's reflection, he prepared to unseal the envelope; but suddenly he threw it down again upon the table, as if, by a strange caprice, he had wished to prolong for a few minutes that agony of uncertainty, as poignant and irritating as the emotion of the gambler.
Looking at his watch, Rodin resolved not to open the letter, until the hand should mark half-past nine, of which it still wanted seven minutes. 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 be 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
