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On December 15, 1838, then, the Sand party took possession of their quarters in the monastery of Valdemosa, and thence the next letters are dated. Chopin to Fontana; "Palma, December 28, 1838, or rather Valdemosa, a few miles distant from Palma":
It was in the year 1592 that an architect named Fontana, in cutting an aqueduct which was to convey the waters of the Sarno to Torre dell' Annunziata, discovered the foundations of the Temple of Isis, which stood near the walls on the inner or land side of the ancient city.
On Chopin's death Liszt sprang into print with a rhapsody which led Fontana to defer his work. At his death in 1869 he left it unfinished, bequeathing his documents to his son, who permitted Hoesick the use of them. Hoesick blames Chopin's notable melancholy to early experiences of love requited, indeed, but not united in marriage. His love was as rathe as his music.
Then, on another evening Pierre told Benedetta and Dario of his admiration for the Roman fountains, for in no other city of the world does water flow so abundantly and magnificently in fountains of bronze and marble, from the boat-shaped Fontana della Barcaccia on the Piazza di Spagna, the Triton on the Piazza Barberini, and the Tortoises which give their name to the Piazza delle Tartarughe, to the three fountains of the Piazza Navona where Bernini's vast central composition of rock and river-gods rises so triumphantly, and to the colossal and pompous fountain of Trevi, where King Neptune stands on high attended by lofty figures of Health and Fruitfulness.
"For this undertaking, Fontana was created a knight of the Golden Spur, and a Roman nobleman; he had a pension of 2000 crowns, transferable to his heirs, ten knighthoods, 5000 crowns of gold in ready money, and every description of material used in the work, which was valued at more than 20,000 crowns.
All that has since been added is barbarous, and first, the two chapels of Sixtus V. and Paul V., with their paintings by Guido, Josepin, and Cigoli, and the sculptures of Bernini, and the architecture of Fontana and Flaminio.
ZUPUS. A formation about 12 miles in diameter with a dark floor, situated in the hilly region N.E. of Mersenius. FONTANA. A noteworthy ring-plain, about 20 miles in diameter, E.N.E. of Zupus, with a bright border, exhibiting a narrow gap on the S. and two large contiguous craters on the N.W. The faint central mountain stands on a dusky interior.
Powers were just on the opposite side of the street, I went to it, but found him too much engrossed to see me at the moment; so I returned to the vettura, and we told Gaetano to carry us to a hotel. He established us at the Albergo della Fontana, a good and comfortable house. . . . . Mr.
In addition there is a nocturne written in 1828 and published by Fontana, with the opus number 72, No. 2, and the lately discovered one in C sharp minor, written when Chopin was young and published in 1895. This completes the nocturne list, but following Niecks' system of formal grouping I include the Berceuse and Barcarolle as full fledged specimens of nocturnes.
Taking, then, Vasari's statement in conjunction with the silence of Fontana, Poleni, and other early writers, and duly observing the care with which the proportions of the dome have been preserved, I think we may safely conclude that Michelangelo himself abandoned the third or semi-spherical vault, and that the cupola, as it exists, ought to be ascribed entirely to his conception.
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