Barrias, the French historical painter, who was in Paris when Chopin lived there, painted “The Death of Chopin.”  It shows Delphine singing to the dying man.  As Barrias had his reputation as a historical painter to sustain and as the likenesses of others on the canvas are correct, it is not improbable that he painted Delphine as he saw or remembered her.  If so, this is the only known portrait of Chopin’s faithful friend, the Countess Delphine Potocka.  Of course no one who undertakes to write about Chopin (or only to read about him for that matter) can escape the episode with Mme. Dudevant,—­George Sand,—­who used man after man as living “copy,” and when she had finished with him cast him aside for some new experience.  But the story has been admirably told by Huneker and others and its disagreeable details need not be repeated here.  It may have been love, even passion, while it lasted, but it ended in harsh discord; whereas Delphine, sweet and pure and tender, ever was like a strain of Chopin’s own exquisite music vibrating in a sympathetic heart.

The Schumanns:  Robert and Clara

Robert and Clara Schumann are names as closely linked in music as those of Robert and Elizabeth Barrett Browning in literature.  Robert Schumann was a great composer, Clara Schumann a great pianist.  In her dual role of wife and virtuosa she was the first to secure proper recognition for her husband’s genius.  Surviving him many years, she continued the foremost interpreter of his works, winning new laurels not only for herself but also for him.  He was in his grave—­yet she had but to press the keyboard and he lived in her.  Despite the fact that tastes underwent a change and Wagner became the musical giant of the nineteenth century, Clara, faithful to the ideal of her youth and her young womanhood, saw to it that the fame of him whose name she bore remained undimmed.  Hers was, indeed, a consecrated widowhood.

Robert was eighteen years old, Clara only nine, when they first met; but while he had not yet definitely decided on a profession, she, in the very year of their meeting, made her debut as a pianist, and thus began a career which lasted until 1896, a period of nearly seventy years!  When they first met, Schumann was studying law at the Leipsic University.  Born in Zwickau, Saxony, in 1810, he showed both as a boy and as a youth not only strong musical proclivities, but also decided literary predilections.  In the latter his father, a bookseller and publisher, who loved his trade, saw a reflection of his own tastes, and they were encouraged rather more sedulously than the boy’s musical bent.  It was in obedience to his father’s wishes that he matriculated at Leipsic, although he composed and played the piano, and his desire to make music his profession was beginning to get the upper hand.  His meeting with the nine-year-old girl decided him—­so early in her life did she begin to influence his career!