The twenty variations upon the popular air “Oh, Mamma,” known as the “Carnaval de Venise,” which has been so frequently imitated, are remarkable for the distinct character given to each; all the bow and finger effects imagined by Paganini are concentrated in it. Good taste is sometimes departed from in a few of the variations, but it will not be denied that some extraordinary effects are produced in those strange freaks, to which the marvellous dexterity of the artist lent an irresistible charm. The last work to which I have to allude is the collection of sixty variations, in the form of studies, upon the popular air “Barucaba.” Paganini purposed in each of these studies to give every style of bowing, all the difficulties of fingering, and all the combinations of harmony, upon which his school is founded. By a singular notion, nearly all these variations are written in different keys. If the astonishing success of Paganini, the immense popularity of his name, and the influence he exercised over the talent of some of the violinists of the younger school, be considered, the high interest attached to the publication of the works with which the great artist astonished Europe, will be understood. At all events, these considerations will afford but a very imperfect idea of the importance of their long-withheld publication. Their value can only be understood after a long and close examination. For more than twenty years every violinist has looked forward to the production of these works with anxiety and curiosity, under the impression of being able, with them, to “do the Paganini,” and establish himself, if not in imitation, at least as a pupil of that illustrious man. But few imagined the great truths which would manifest themselves by the revelation of the secret of his music--none could foresee how much this great man would be elevated in their esteem when the prodigious difficulties he executed while playing, were placed before them. Some of his effects, the most easy of execution, were hastily copied, and the mystery of his talent was supposed to have been discovered. How much illusion will be dissipated by the examination and study of these anxiously expected works! I will not speak of the simply curious effects by which Paganini dazzled the million--of his pizzicato and bow feats--of the modifications in tuning the instrument, and of the thousand combinations, the merit of which consisted principally in perfect execution. These will only have an exceptional existence, and will never hold a place in serious music. Besides, the sagacity of Guhr, a skilful violinist, and the able conductor of the Frankfort Theatre, has penetrated, to a certain extent, the secret of these things, and has cleverly exposed the theory in a work especially devoted to this purpose.[Q] That which most struck me on reading the MSS. of Paganini, that which raised him immensely in my estimation, was the