His father’s lessons soon became useless, and Servetto, a musician of the theatre, at Genoa, became his teacher; but even he was not possessed of sufficient ability to be of benefit to this predestined artist. Paganini received his instructions for a short period only, and he was placed under Giacomo Costa, director of music, and principal violinist to the churches of Genoa, under whose care he progressed rapidly. He had now attained his eighth year, when he wrote his first sonata, which he unfortunately took no care of, and has been lost among many other of his productions. His countryman, Gnecco, a distinguished composer, encouraged the visits of the boy, and tendered counsel which doubtless aided him materially in his progress. Costa only gave him lessons for six months, during which period he obliged his pupil to play in the churches. But the master’s instructions were not at all satisfactory to the pupil, who had already conceived a method of fingering and bowing. Having reached his ninth year, the young _virtuoso_ appeared in public, for the first time, in a concert at the large theatre of his native town, given by the excellent soprano Marchesi, with the vocalist Albertinatti. These two artists sang subsequently at a concert for Paganini’s benefit, and in both these instances this extraordinary child played variations of his own composition on the French air, “la Carmagnole,” amid the frenzied acclamations of an enthusiastic audience. About this period of his life the father was advised, by judicious friends, to place the boy under good masters of the Violin and composition; and he shortly after took him to Parma, where Alexandro Rolla then resided, so celebrated for his performance, as conductor of the orchestra, and as a composer. Paganini was now twelve years of age. The following anecdote, related by M. Schottky, and which Paganini published in a Vienna journal, furnishes interesting details of the master’s first interview with the young artist:--“On arriving at Rolla’s house, he said, we found him ill, and in bed. His wife conducted us into a room adjoining the one where the sick man lay, in order to concert with her husband, who, it appeared, was not at all disposed to receive us. Perceiving upon the table of the chamber into which we were ushered a Violin, and the last concerto of Rolla, I took up the Violin and played the piece at first sight. Surprised at what he heard, the composer inquired the name of the _virtuoso_ he had just heard. When he heard it was only a mere lad, he would not give credence to the fact unless by ocular demonstration. Thus satisfied, he told me, that he could teach me nothing, and recommended me to take lessons in composition from Paër.” The evident desire evinced by Paganini to refute the supposition of his having received lessons from Rolla, is a singularity difficult to account for. Gervasoni, who knew him at Parma at this period, affirms[C] that he was the pupil of Rolla for several months.