to examine it.  “It had the appearance of a ghost [d’un ombre], and was more pale and worn than Chopin himself.”  Of a bust by Clesinger Madame Dubois remarks that it does not satisfy those who knew Chopin.  M. Marmontel writes in a letter to me that the portrait of Chopin by Delacroix in his possession is a powerful sketch painted in oil, “reproducing the great artist in the last period of his life, when he was about to succumb to his chest disease.  My dear friend Felix Barrias has been inspired, or, to be more exact, has reproduced this beautiful and poetic face in his picture of the dying Chopin asking the Countess Potocka to sing to him.”  Gutmann had in his possession two portraits of his master, both pencil drawings; the one by Franz Winterhalter, dated May 2, 1847, the other by Albert Graefle, dated October 19, 1849.  The former of these valuable portraits shows Chopin in his decline, the latter on his death-bed.  Both seem good likenesses, Graefle’s drawing having a strong resemblance with Bovy’s medallion.

[Footnote:  The authorship alone is sufficient to make a drawing by George Sand interesting.  Madame Dubois says (in a letter written to me) that the portrait, after a drawing of George Sand, contained in the French edition of Chopin’s posthumous works, published by Fontana, is not at all a good likeness.  Herr Herrmann Scholtz in Dresden has in his possession a faithful copy of a drawing by George Sand made by a nephew of the composer, a painter living at Warsaw.  Madame Barcinska, the sister of Chopin, in whose possession the original is, spoke of it as a very good likeness.  This picture, however, is not identical with that mentioned by Madame Dubois.]

The portrait by A. Regulski in Szulc’s book can only be regarded as a libel on Chopin, and ought perhaps also to be regarded as a libel on the artist.  Various portraits in circulation are curiosities rather than helps to a realisation of the outward appearance of Chopin.  Schlesinger, of Berlin, published a lithograph after a drawing by Maurir; and Schuberth, of Hamburg, an engraving on steel, and Hofmeister, of Leipzig, a lithograph, after I don’t know what original.  Several other portraits need not be mentioned, as they are not from life, but more or less fancy portraits based on one or more of the authentic delineations.  Bovy’s medallion graces Breitkopf and Hartel’s Gesammtausgabe and Thematic Catalogue of the master’s published works.  The portrait by Ary Scheffer may be seen lithographically reproduced by Waldow in the German edition of Chopin’s posthumous works, published by Fontana.  A wood-cut after the drawing by Graefle appeared in 1879 in the German journal Die Gartenlaube.  Prefixed to the first volume of the present biography the reader will find one of the portraits by Kwiatkowski, an etching after a charming pencil drawing in my possession, the reproduction of which the artist has kindly permitted.  M. Kwiatkowski has portrayed Chopin frequently, and in