Page: 
Source: 
p. 11, b. 179-198
p. 1, b. 1-20
p. 2, b. 21-42
p. 3, b. 43-60
p. 4, b. 61-75
p. 5, b. 76-90
p. 6, b. 91-105
p. 7, b. 106-126
p. 8, b. 127-147
p. 9, b. 148-163
p. 10, b. 164-178
p. 11, b. 179-198
p. 12, b. 199-224
p. 13, b. 225-240
p. 14, b. 241-255
p. 15, b. 256-271
p. 16, b. 272-293
p. 17, b. 294-315
p. 18, b. 316-332
Main text
Main text
A - Autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE2 - Revised impression of GE1
EE - English edition
EE1 - First English edition
EE2 - Corrected impression of EE1
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A - Autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE2 - Revised impression of GE1
EE - English edition
EE1 - First English edition
EE2 - Corrected impression of EE1
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  b. 180

 in 2nd half of bar in A (→GE

No marking in FE (→EE1)

mid-bar in EE2

 in first half of bar suggested by the editors

As in the case of the entire group of dynamic indications in bars 164-179,  was almost certainly added by Chopin to A (→GE) after [FC] had been finished. The composer placed it in the middle of the bar, which, according to us, is a particularly clear example of placing markings within and not at the beginning of their scope. Chopin would sometimes follow the former rule, although back then it was already the latter that was generally observed. Due to this, in the main text we move this  to the beginning of the motif.
This indication was also added by EE2, on the basis of GE1; however, it was placed earlier, before the 2nd triplet. 

Compare the passage in the sources»

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: EE revisions, Centrally placed marks, Inaccuracies in A

notation: Verbal indications

Missing markers on sources: A, FE1, FE2, FEJ, FES, GE1, GE2, EE1, EE2