The immediate interest which we felt in the movements of the parties to which the life of Prince Felix Lichnowsky was bound, was broken by his death:  the death of Chopin has robbed us of all the consolations of an intelligent and comprehensive friendship.  The affectionate sympathy with our feelings, with our manner of understanding art, of which this exclusive artist has given us so many proofs, would have softened the disappointment and weariness which yet await us, and have strengthened is in our earliest tendencies, confirmed us in our first essays.

Since it has fallen to our lot to survive them, we wish at least to express the sincere regret we feel for their loss.  We deem ourselves bound to offer the homage of our deep and respectful sorrow upon the grave of the remarkable musician who has just passed from among us.  Music is at present receiving such great and general development, that it reminds us of that which took place in painting in the fourteenth and fifteenth centuries.  Even the artists who limited the productions of their genius to the margins of parchments, painted their miniatures with an inspiration so happy, that having broken through the Byzantine stiffness, they left the most exquisite types, which the Francias, the Peruginos, and the Raphaels to come were to transport to their frescos, and introduce upon their canvas.

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There have been people among whom, in order to preserve the memory of their great men or the signal events of their history, it was the custom to form pyramids composed of the stones which each passer-by was expected to bring to the pile, which gradually increased to an unlooked-for height from the anonymous contributions of all.  Monuments are still in our days erected by an analogous proceeding, but in place of building only a rude and unformed hillock, in consequence of a fortunate combination the contribution of all concurs in the creation of some work of art, which is not only destined to perpetuate the mute remembrance which they wish to honor, but which may have the power to awaken in future ages the feelings which gave birth to such creation, the emotions of the contemporaries which called it into being.  The subscriptions which are opened to raise statues and noble memorials to those who have rendered their epoch or country illustrious, originate in this design.  Immediately after the death of Chopin, M. Camille Pleyel conceived a project of this kind.  He commenced a subscription, (which conformably to the general expectation rapidly amounted to a considerable sum,) to have the monument modeled by M. Clesinger, executed in marble and placed in the Pere La-Chaise.  In thinking over our long friendship with Chopin; on the exceptional admiration which we have always felt for him ever since his appearance in the musical world; remembering that, artist like himself, we have been the frequent interpreter of his inspirations, an interpreter, we may safely venture