r parts of
the island. The illustrations in the April number comprise a general
view of the monastery of Valdemosa, and views of one of its courts and
of the cloister in which is situated the cell occupied by George Sand
and Chopin in the winter of 1838-1839. The cloister has a groined vault,
on one side the cell doors, and on the other side, opening on the court,
doors and rectangular windows with separate circular windows above them.
The letters have been republished in book form (London: Bentley and
Sons).

APPENDIX VI.

On Tempo Rubato.

(VOL. II., p. 101.)

An earlier practiser of the tempo rubato than the lady mentioned by
Quanz (see Vol. II., p. 101 of this work) was Girolamo Frescobaldi, who
speaks of this manner of musical rendering in the preface to Il primo
libra di Capricci fatti sopra diversi sogetti et Arie in partitura
(1624). An extract from this preface is to be found in A. G. Ritter's
Zur Geschichte des Orgelspiels, Vol. I., p. 34. F. X. Haberl remarks
in the preface to his collection of pieces by Frescobaldi (Leipzig:
Breitkopf and Hartel): "A chief trait of Frescobaldi's genius is the
so-called tempo rubato, an absolute freedom in the employment of a
quicker and slower tempo."

APPENDIX VII.

CAROLINE HARTMANN.

(VOL. II., p. 171.)

On page 175 of this volume I made an allusion to Spohr in connection
with Chopin's pupil Caroline Hartmann. To save the curious reader
trouble, I had better point out that the information is to be found in
Spohr's autobiography under date Munster, near Colmar, March 26, 1816
(German edition, pp. 245-250; English edition, pp. 229-232). Jacques
Hartmann, the father of Caroline, was a cotton manufacturer and an
enthusiastic lover of music. He had an orchestra consisting of his
family and employes. Spohr calls the father a bassoon-virtuoso; what
he says of the daughter will be seen in the following sentences: "His
sister and his daughter play the pianoforte. The latter, a child eight
years old, is the star of the amateur orchestra. She plays with a
dexterity and exactness that are worthy of admiration. I was still
more astonished at her fine ear, with which (away from the piano) she
recognises the intervals of the most intricate and full dissonant chords
which one strikes, and names the notes of which they consist in their
sequence. If the child is well guided, she is sure to become one day an
excellent artist."

APPENDIX VIII.

MADAME PERU