4. “Tre gran Quartetti a Violino, Viola, Chitarra e Violoncello, dedicati alle amatrici.” Op. 4, Idem. Op. 5, Ibid. Paganini said of this work to Mr. Harrys, that it was not his, but was formed from some of his themes badly arranged. These are the only positive productions of Paganini published up to the present day (June, 1851); all that has appeared since must be considered as commercial trickeries, as extracts from the preceding works, or simply as fugitive recollections of some artists. Such are the following:-- “Variazioni di bravura per Violino sopra un tema originale, con accompagnamento di Chitarra o Piano.” These variations are those which form the twenty-fourth capriccio (in A minor) of the first work. “Trois airs variés pour le Violon, pour être exécutés sur la quatrième corde seulement, avec accompagnement de Piano, par Gustave Carulli.” These are recollections arranged by the author of the accompaniment. “Introduzione e variazioni in sol sul tema, ‘Nel cor più non mi sento’ per Violino solo.” This piece, published in the work of Guhr, upon the art of Paganini[P] is noted nearly from memory. “Merveille de Paganini, ou duo pour le Violon seul en ut.” This is also from Guhr. Ghys published at Paris and at Berlin the “Carnaval de Venise, tel que le jouait Paganini.” Ernst and Sivori have also given, as exact traditions of this musical pleasantry, versions differing more or less, which gave rise to discussions in the newspapers. The publication of the veritable “Carnaval de Venise” of the illustrious violinist will remove all uncertainty in this respect. Paganini was aware that the interest which his concerts created would diminish materially, if he published the compositions he performed. He resolved therefore upon not publishing them until after he had ceased to travel, and had retired from his career of executive artist. He only carried with him the orchestral parts of those pieces he habitually played; and no one ever saw the Violin solo parts of these compositions, for he dreaded the indiscretion of all who sought to gain access to him. He seldom spoke of his works, even to his most intimate friends, consequently an indistinct notion of the nature and number of these works could alone exist. M. Conestabile, who made every effort to acquire the truth of all that concerned the person, the talent, and the success of Paganini, has published in his book the catalogue which was sent to him of all the manuscript and original works of Paganini preserved by his son. The titles of the works are as follows:-- 1. Four Concertos for the Violin, with accompaniments. 2. Four other concertos, the orchestral parts unwritten. The last was written a short time prior to his death, at Nice. 3. Variations upon a comic theme continued for the orchestra. 4. Sonata for the large Viol, with orchestral parts. 5. “God save the King,” varied for the Violin, with orchestral parts.