In the paper entitled The Echoes of La Cathedrale Engloutie (The Sunk Cathedral) the observed similarities between this piano Prelude by Claude Debussy and the piano "suite" The Echoes by the contemporary Serbian composer Vasilije Mokranjac are examined. Analysed in the spirit of the typology of possible ways of addressing to the musical past, which, according to Mirjana Veselinović-Hofman, can be depicted as three basic procedures – sample pattern and model – the observed similarities have opened the possibilities to interpret The Echoes as some sort of a "derivate" of La Cathedrale Engloutie. In that sense, it has been pointed out to the possibility that the inspiration for composition of The Echoes might not have only been the total impressionists inheritance and its basic principles, but that Mokranjac also addressed one specific work, La Cathedrale Engloutie. Regarded in relation to the three quoted basic ways of interpreting the musical "basis", The Echoes could be interpreted as a product of the treatment of musical inheritance on the principle of pattern. The relations between the two compositions were analysed on the level of their non-musical contents,as well as on the level of compositional procedures and popularity of the musical materials.