We have had always a profound admiration for Chopin’s talent [writes M. Marmontel], and, let us add, a lively sympathy for his person.  No artist, the intimate disciples not excepted, has more studied his compositions, and more caused them to be played, and yet our relations with this great musician have only been rare and transient.  Chopin was surrounded, fawned upon, closely watched by a small cenacle of enthusiastic friends, who guarded him against importunate visitors and admirers of the second order.  It was difficult to get access to him; and it was necessary, as he said himself to that other great artist whose name is Stephen Heller, to try several times before one succeeded in meeting him.  These trials ["essais”] being no more to my taste than to Heller’s, I could not belong to that little congregation of faithful ones whose cult verged on fanaticism.

As to Stephen Heller—­who himself told me that he would have liked to be more with Chopin, but was afraid of being regarded as intrusive—­Mr. Heller thinks that Chopin had an antipathy to him, which considering the amiable and truly gentlemanly character of this artist seems rather strange.

If the details of Karasowski’s account of Chopin’s and Schulhoff’s first meeting are correct, the Polish artist was in his aloofness sometimes even deficient in that common civility which good-breeding and consideration for the feelings of others demand.  Premising that Fetis in telling the story is less circumstantial and lays the scene of the incident in the pianoforte-saloon of Pleyel, I shall quote Karasowski’s version, as he may have had direct information from Schulhoff, who since 1855 has lived much of his time at Dresden, where Karasowski also resides:—­

Schulhoff came when quite a young man and as yet completely unknown to Paris.  There he learned that Chopin, who was then already very ailing and difficult of access, was coming to the pianoforte-manufactory of Mercier to inspect one of the newly- invented transposing pianofortes.  It was in the year 1844.  Schulhoff seized the opportunity to become personally acquainted with the master, and made his appearance among the small party which awaited Chopin.  The latter came with an old friend, a Russian Capellmeister [Soliva?].  Taking advantage of a propitious moment, Schulhoff got himself introduced by one of the ladies present.  On the latter begging Chopin to allow Schulhoff to play him something, the renowned master, who was much bothered by dilettante tormentors, signified, somewhat displeased, his consent by a slight nod of the head.  Schulhoff seated himself at the pianoforte, while Chopin, with his back turned to him, was leaning against it.  But already during the short prelude he turned his head attentively towards Schulhoff who now performed an Allegro brillant en forme de Senate (Op.  I), which he had lately composed.  With growing interest Chopin came nearer and nearer the keyboard and listened to the