he was fortunate
enough to avoid personal enmities and vexatious accommodations.

Chopin had that reverential worship for art which characterized the
first masters of the middle ages, but in expression and bearing he was
more simple, modern, and less ecstatic. As for them, so art was for him,
a high and holy vocation. Like them he was proud of his election for it,
and honored it with devout piety. This feeling was revealed at the hour
of his death through an occurrence, the significance of which is more
fully explained by a knowledge of the manners prevalent in Poland. By a
custom which still exists, although it is now falling into disuse, the
Poles often chose the garments in which they wished to be buried,
and which were frequently prepared a long time in advance. [Footnote:
General K----, the author of Julie and Adolphe, a romance imitated from
the New Heloise which was much in vogue at the time of its publication,
and who was still living in Volhynia at the date of our visit to Poland,
though more than eighty years of age, in conformity with the custom
spoken of above, had caused his coffin to be made, and for more than
thirty years it had always stood at the door of his chamber.] Their
dearest wishes were thus expressed for the last time, their inmost
feelings were thus at the hour of death betrayed. Monastic robes were
frequently chosen by worldly men, the costumes of official charges
were selected or refused as the remembrances connected with them
were glorious or painful. Chopin, who, although among the first
of contemporary artists, had given the fewest concerts, wished,
notwithstanding, to be borne to the grave in the clothes which he had
worn on such occasions. A natural and profound feeling springing from
the inexhaustible sources of art, without doubt dictated this dying
request, when having scrupulously fulfilled the last duties of a
Christian, he left all of earth which he could not bear with him to
the skies. He had linked his love for art and his faith in it with
immortality long before the approach of death, and as he robed himself
for his long sleep in the grave, he gave, as was customary with him,
by a mute symbol, the last touching proof of the conviction he had
preserved intact during the whole course of his life. Faithful to
himself, he died adoring art in its mystic greatness, its highest
revelations.

In retiring from the turmoil of society, Chopin concentrated his
cares and affections upon t