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Updated: July 16, 2025
As to the story of the Orpheus and its inventor, both girls hung upon it. Falloden had tracked Auguste Chaumart to his garret in Montmartre, and had found in him one of those marvellous French workmen, inheritors of the finest technical tradition in the world, who are the true sons of the men who built and furnished and carved Versailles, and thereby revolutionised the minor arts of Europe.
Meanwhile Connie very rarely saw Falloden except in connection either with Otto's health, or with the "Orpheus," as to which Falloden was in constant communication with the inventor, one Auguste Chaumart, living in a garret on the heights of Montmartre; while Constance herself was carrying on an eager correspondence with friends of her own or her parents, in Paris, with regard to the "records" which were to make the repertory of the Orpheus.
The Polish colony in Paris, a survival from the tragic days of Poland's exodus under the revolutionary skies of the thirties and the sixties, had been appealed to, and both Polish and French musicians were already in communication with Chaumart, and producing records under his direction.
Falloden reproduced the scene, as described to him by the chief actor in it, when the inventor announced to his family that the thing was accomplished, the mechanism perfect, and how that very night they should hear Chopin's great Fantasia, Op. 49, played by its invisible hands. The moment came. Wife and children gathered, breathless. Chaumart turned on the current, released the machinery.
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