on can ever give them as they should be, for here
again the individual equation comes into play. Apart from certain
fundamental rules for managing the pedals, no pedagogic regulations
should ever be made for the more refined nuances.

The portraits of Chopin differ widely. There is the Ary Scheffer, the
Vigneron--praised by Mathias--the Bovy medallion, the Duval drawing,
and the head by Kwiatowski. Delacroix tried his powerful hand at
transfixing in oil the fleeting expressions of Chopin. Felix Barrias,
Franz Winterhalter, and Albert Graefle are others who tried with more
or less success. Anthony Kolberg painted Chopin in 1848-49. Kleczynski
reproduces it; it is mature in expression. The Clesinger head I have
seen at Pere la Chaise. It is mediocre and lifeless. Kwiatowski has
caught some of the Chopin spirit in the etching that may be found in
volume one of Niecks' biography. The Winterhalter portrait in Mr.
Hadow's volume is too Hebraic, and the Graefle is a trifle ghastly. It
is the dead Chopin, but the nose is that of a predaceous bird,
painfully aquiline. The "Echo Muzyczne" Warsaw, of October 1899--in
Polish "17 Pazdziernika"--printed a picture of the composer at the age
of seventeen. It is that of a thoughtful, poetic, but not handsome lad,
his hair waving over a fine forehead, a feminine mouth, large, aquiline
nose, the nostrils delicately cut, and about his slender neck a Byronic
collar. Altogether a novel likeness. Like the Chopin interpretation, a
satisfactory Chopin portrait is extremely rare.

As some difficulty was experienced in discovering the identity of
Countess Delphine Potocka, I applied in 1899 to Mr. Jaraslow de
Zielinski, a pianist of Buffalo, New York, for assistance; he is an
authority on Polish and Russian music and musicians. Here are the facts
he kindly transmitted: "In 1830 three beautiful Polish women came to
Nice to pass the winter. They were the daughters of Count Komar, the
business manager of the wealthy Count Potocki. They were singularly
accomplished; they spoke half the languages of Europe, drew well, and
sang to perfection. All they needed was money to make them queens of
society; this they soon obtained, and with it high rank. Their graceful
manners and loveliness won the hearts of three of the greatest of
noblemen. Marie married the Prince de Beauvau-Craon; Delphine became
Countess Potocka, and Nathalie, Marchioness Medici Spada. The last
named died young, a victim to the zeal in