last tender proof
of love and gratitude, the soul of the artist left its fragile clay. He
died as he had lived--in loving.

When the doors of the parlor were opened, his friends threw themselves
around the loved corpse, not able to suppress the gush of tears.

His love for flowers being well known, they were brought in such
quantities the next day, that the bed in which they had placed them, and
indeed the whole room, almost disappeared, hidden by their varied and
brilliant hues. He seemed to repose in a garden of roses. His face
regained its early beauty, its purity of expression, its long unwonted
serenity. Calmly--with his youthful loveliness, so long dimmed by bitter
suffering, restored by death, he slept among the flowers he loved, the
last long and dreamless sleep!

M. Clesinger reproduced the delicate traits, to which death had rendered
their early beauty, in a sketch which he immediately modeled, and which
he afterwards executed in marble for his tomb.

The respectful admiration which Chopin felt for the genius of Mozart,
had induced him to request that his Requiem should be performed at his
obsequies; this wish was complied with. The funeral ceremonies took
place in the Madeleine Church, the 30th of October, 1849. They had been
delayed until this date, in order that the execution of this great work
should be worthy of the master and his disciple. The principal artists
in Paris were anxious to take part in it. The FUNERAL MARCH of Chopin,
arranged for the instruments for this occasion by M. Reber, was
introduced at the Introit. At the Offertory, M. Lefebure Vely executed
his admirable PRELUDES in SI and MI MINOR upon the organ. The solos
of the REQUIEM were claimed by Madame Viardot and Madame Castellan.
Lablache, who had sung the TUBA MIRUM of this REQUIEM at the burial of
Beethoven in 1827, again sung it upon this occasion. M. Meyerbeer, with
Prince Adam Czartoryski, led the train of mourners. The pall was
borne by M. Delacroix, M. Franchomme, M. Gutman, and Prince Alexander
Czartorvski.--However insufficient these pages may be to speak of Chopin
as we would have desired, we hope that the attraction which so justly
surrounds his name, will compensate for much that may be wanting in
them. If to these lines, consecrated to the commemoration of his works
and to all that he held dear, which the sincere esteem, enthusiastic
regard, and intense sorrow for his loss, can alone gift with persuasive
and sympathetic