However, it was not Paër, then in Germany, who taught Paganini harmony and counterpoint, but Ghiretti, who had directed the studies of Paër himself. During six months this precocious artist received three lessons weekly, and specially applied himself to the study of instrumentation. Even now Paganini was occupied in discovering new effects on his instrument. Frequent discussions took place between him and Rolla on the innovations which the young artist contemplated, and which he could, at this period, only execute imperfectly, whilst the severe taste of his master deprecated these bold attempts, except for the sake of occasional effects. It was, however, only after his return to Genoa, that Paganini wrote his first compositions for the Violin. This music was so difficult that he was obliged to study it himself with increasing perseverance, and to make constant efforts to solve problems unknown to all other violinists. He was seen to have tried the same passage in a thousand different ways during ten or twelve hours, and to be completely overwhelmed with fatigue at the end of the day. It is by this unexampled perseverance that he overcame difficulties which were considered insurmountable by contemporary artists, when he published a specimen in the shape of a collection of studies. Quitting Parma, at the commencement of 1797, Paganini made his first professional tour with his father through all the principal towns in Lombardy, and commenced a reputation which increased daily from that period. On his return to Genoa, and after having, in solitude, made the efforts necessary for the development of his talent, he began to feel the weight of the chain by which he was held by his father, and determined to release himself from the ill-treatment to which he was still subjected under the paternal roof. His artistic soul revolted at this degrading slavery, and felt that some respect was due to him. A favourable opportunity alone was required to execute his design. This soon presented itself. The fête of St. Martin was celebrated annually at Lucca by a musical festival, to which persons flocked from every part of Italy. As this period approached, Paganini entreated his father to permit him to attend it, accompanied by his elder brother. His demand was at first met with a peremptory refusal; but the solicitations of the son, and the prayers of the mother, finally prevailed, and the heart of the young artist, at liberty for the first time, bounded with joy and he set out agitated by dreams of success and happiness. At Lucca he was received with enthusiasm. Encouraged by this propitious débût, he visited Pisa, and some other towns, in all of which his success was unequivocal. The year 1799 had just commenced, and Paganini had not attained his fifteenth year. This is not the age of prudence. His moral education had been grossly neglected, and the severity which assailed his more youthful years, was not calculated to