draw upon it whenever speech or action served her purpose or
fancy.] The one was a strict observer of the laws of propriety
and an almost exclusive frequenter of fashionable society; the
other, on the contrary, had an unmitigated scorn for the so-
called proprieties and so-called good society. Chopin's manners
exhibited a studied refinement, and no woman could be more
particular in the matter of dress than he was. It is
characteristic of the man that he was so discerning a judge of
the elegance and perfection of a female toilette as to be able to
tell at a glance whether a dress had been made in a first-class
establishment or in an inferior one. The great composer is said
to have had an unlimited admiration for a well-made and well-
carried (bien porte) dress. Now what a totally different picture
presents itself when we turn to George Sand, who says of herself,
in speaking of her girlhood, that although never boorish or
importunate, she was always brusque in her movements and natural
in her manners, and had a horror of gloves and profound bows. Her
fondness for male garments is as characteristic as Chopin's
connoisseurship of the female toilette; it did not end with her
student life, for she donned them again in 1836 when travelling
in Switzerland.

The whole of Chopin's person was harmonious. "His appearance,"
says Moscheles, who saw him in 1839, "is exactly like his music
[ist identificirt mit seiner Musik], both are tender and
schwarmerisch."

[FOOTNOTE: I shall not attempt to translate this word, but I will
give the reader a recipe. Take the notions "fanciful," "dreamy,"
and "enthusiastic" (in their poetic sense), mix them well, and