wards the end of
October, 1839, months passed before the latter got into the house which
Fontana had taken for her. This we learn from a letter written by her
to her friend Gustave Papet, and dated Paris, January, 1840, wherein we
read:--

At last I am installed in the Rue Pigalle, 16, only since the
last two days, after having fumed, raged, stormed, and sworn
at the upholsterers, locksmith, &c., &c. What a long,
horrible, unbearable business it is to lodge one's self here!

[FOOTNOTE: In the letter, dated Paris, October, 1839,
preceding, in the George Sand "Correspondance," the one from
which the above passage is extracted, occur the following
words: "Je suis enfin installee chez moi a Paris." Where this
chez moi was, I do not know.]

How greatly the interiors of George Sand's pavilions in the Rue
Pigalle differed from those of Senor Gomez's villa and the cells in the
monastery of Valdemosa, may be gathered from Gutmann's description of
two of the apartments.

[FOOTNOTE: I do not guarantee the correctness of all the following
details, although I found them in a sketch of Gutmann's life inspired by
himself ("Der Lieblings-schuler Chopin's", No. 3 of "Schone Geister,"
by Bernhard Stavenow, Bremen, 1879), and which he assured me was
trustworthy. The reasons of my scepticism are--1, Gutmann's imaginative
memory and tendency to show himself off to advantage; 2, Stavenow's love
of fine writing and a good story; 3, innumerable misstatements that can
be indisputably proved by documents.]

Regarding the small salon, he gives only the general information that it
was quaintly fitted up with antique furniture. But of George Sand's
own room, which made a deeper impression upon him, he mentions so many
particulars--the brown carpet covering the whole floor, the walls hung
with a dark-brown ribbed cloth (Ripsstoff), the fine paintings, the
carved furniture of dark oak, the brown velvet seats of the chairs, the
large square bed, rising but little above the floor, and covered with
a Persian rug (Teppich)--that it is easy to picture to ourselves the
tout-ensemble of its appearance. Gutmann tells us that he had an early
opportunity of making these observations, for Chopin visited his pupil
the very day after his arrival (?), and invited him at once to call on
George Sand in order to be introduced to her. When Gutmann presented
himself in the small salon above alluded to, he found George Sand seated
on an ottoman