He acknowledges the influence of no directed instruction on his art. In his young manhood he was a workman in the _atelier_ of Baryé, and the models of twisted cobras, lithe tigers, crouching panthers, maddened lions--their graceful contours and curves, the attitude of savage grace--may have impressed their images on the keen memory of the young journeyman. At all events, in his types of the animal triumphant in man, in the pose and gesture of _abandon_, there is much that suggests kinship between the human being and the uncivilised beast--the barbarous grace and beauty of both. But Rodin is not conscious of the effect of any school: in the _ateliers_ of both Baryé or Carrier-Belleuse he sold his skill for his daily bread. In 1864 he sent the head of “The Man with the Broken Nose” to the Salon. This mask, perfectly modelled, worthy the seal of antiquity, was refused “because of its originality.” The refusal was a bitter blow to Rodin; and whether or not the verdict appeared to him just, it had the effect of intimidating him, and he waited thirteen years before again appearing before his adverse jury. At this period (1864-70), on the edge of his own doorstep, as it were, with no power to franchise the threshold, he worked, a paid daily labourer, for Baryé, Carrier-Belleuse, and in 1871-77 for Van Rasbourg in Brussels. “During the long time,” he says, “when I gave what power I possessed to others, my thoughts were keen and alive toward my own creations. On Sunday I was free, and that day I afforded a model for myself and worked in my little room from the life. I [Illustration: LE DÉSESPOIR] [Illustration: LA PORTE DE L’ENFER] tried to make the most of every expression, every turn, of my varying model,--for the human being changes constantly, and my time was infinitely precious and infinitely short. I was never able to bring to satisfactory termination very much during these _séances_. It was in the paid week, it was during the days of others, that I really produced. I permitted myself then a careful mental study of what Sunday had suggested and had failed to achieve. As I thus meditated, fleeting thoughts and inspirations came to me, and I would hold them, force them to remain, until at the following _séance_ with my model I could mould their likeness in clay. I consider that this training of my memory was of inestimable advantage.” In 1877 “L’Age d’Airain” was sent to the Salon, and accepted. The extraordinary criticism it evoked is sufficient praise. It was said to be “too perfect,” and the sculptor was accused of having “cast the statue from life”! When these insulting suspicions had been disproved to the eminent jury’s satisfaction, Rodin’s statue--a strong, beautiful male form of Greek purity and classical simplicity of outline--received, in 1880, a third-class medal. This was bought by the State, and can be seen in the Luxembourg Gardens.