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 inter