6. “Le Streghe,” variations on a ballet air, with orchestral parts. 7. Variations upon “Non più mesta,” theme from “Cenerentola.” 8. Grand Sentimental Sonata. 9. Sonata, with variations. 10. “La Primavera,” (Spring), Sonata, without accompaniments. 11. “Varsovie,” Sonata. 12. La ci darem la mano. 13. “Le Carnaval de Venise.” 14. “Di tanti palpiti.” 15. “Marie Louise.” 16. Romance pour le chant. 17. Cantabile for Violin and Piano. 18. Polonaise, with variations. 19. Fantaisie Vocale. 20. Sonata, for Violin Solo. 21. Nine Quartetts, for Violin, Alto, Violoncello, and Guitar. 22. Cantabile and Waltz. 23. Three Duetts, for Violin and Violoncello. 24. Other Duetts and small Pieces for Violin and Guitar. Unfortunately many of these compositions are incomplete. The original scores, without omissions, which have been found, are the two concertos in E flat and in B minor (it is in this latter the celebrated rondo of “La Clochette” is found); the allegro of a sonata, entitled “Movimento perpetuo”; the famous variations “Le Streghe” (the Witches) with orchestral parts; the variations upon “God save the King,” with parts; variations upon “Di tanti palpiti,” with parts; variations upon “Non più mesta, accanto al fuoco,” with parts; the “Carnaval de Venise,” twenty-four variations upon a popular Venetian air; and sixty variations, in three series, with accompaniment for Piano or Guitar, upon the popular air known at Genoa under the name of “Barucaba.” The theme is very short; the variations are studies of various kind of difficulties. These were written by Paganini, at Genoa, in February, 1835, and were among his latest works; he dedicated them to his friend the advocate, M. L. G. Germi. By some singular circumstance these variations are not included in the list furnished by M. Conestabile. It will be seen the complete works of Paganini, which have been found, are only nine in number. It is to be deplored that among these high-class productions, the magnificent concerto that the great artist wrote for Paris, and which he played at his third concert at the opera, the 25th of March 1831, should be wanting; also the grand military sonata upon the fourth string in which he displayed such marvellous ability, in a compass of three octaves with harmonic sounds; and, finally, his variations upon “Nel cor più non mi sento.”