delivery of the manuscript. These letters show, on the other
hand, that when Chopin was in Majorca he owed to Leo 1,000
francs, which very likely he borrowed from him to defray part of
the expenses of his sojourn in the south.

[FOOTNOTE: August Leo, a Paris banker, "the friend and patron of
many artists," as he is called by Moscheles, who was related to
him through his wife Charlotte Embden, of Hamburg. The name of
Leo occurs often in the letters and conversations of musicians,
especially German musicians, who visited Paris or lived there in
the second quarter of this century. Leo kept house together with
his brother-in-law Valentin. (See Vol. I., p. 254.)]

Chopin kept his intention of going with Madame Sand to Majorca
secret from all but a privileged few. According to Franchomme, he
did not speak of it even to his friends. There seem to have been
only three exceptions--Fontana, Matuszynski, and Grzymala, and in
his letters to the first he repeatedly entreats his friend not to
talk about him. Nor does he seem to have been much more
communicative after his return, for none of Chopin's
acquaintances whom I questioned was able to tell me whether the
composer looked back on this migration with satisfaction or with
regret; still less did they remember any remark made by him that
would throw a more searching light on this period of his life.

Until recently the only sources of information bearing on
Chopin's stay in Majorca were George Sand's "Un Hiver a Majorque"
and "Histoire de ma Vie." But now we have also Chopin's letters
to Fontana (in the Polish edition of Karasowski's "Chopin") and
George Sand's "Correspondance," which supplement and correct the