[A] “Osservazzioni su due Violini esposti nelle sale dell’ I. R. Palazzo di Brera uno de’ quali di forma non commune.” Milan, 1832, in 8vo. [B] “Mémoire sur la construction des instruments à cordes et à archet, lu à l’Academie des Sciences le 31 Mai, 1819.” Paris: Déterville. One vol. in 8vo. [C] “Nuova Teoria di Musica,” &c. Parma, 1812. 1 vol., in 8vo (page 214). Gervasoni adds that no teacher could have conducted such an artist to the sublime height Paganini attained, and that nature alone could have directed him. [D] This circumstance in the life of Paganini made very little impression upon me when he related it to me, as I was only interested in his artistic career: later, this anecdote appeared important to establish the chronological order of his life, as will be hereafter seen. [E] Gervasoni, “Nuova Teoria di Musica,” page 103. [F] Gervasoni, “Nuova Teoria di Musica,” page 214. [G] “Vita di Paganini di Genova, scritta ed illustrata da Giancarlo Conestabile. Perugia, Tipografia di Vincenzo Bartilli, 1851.” 1 vol., in 8vo, 317 pages. [H] Loc. cit. [I] From the sentiments which induced the Grand Duchess to overlook his insubordination, and from certain innuendoes which have escaped the pen of M. Conestabile, inferences may be drawn, which delicacy dictates should not be mentioned unreservedly. [J] An artist of great merit, author of several operas, and who continued the Requiem of Mozart. [K] Who subsequently became principal Violin soloist at the Chapel of the King of Saxony. [L] Tre Capricci per il Violino, dedicati al esimio professore Nicolo Paganini, da Carlo Lipinski. Leipzig: Breitkopf und Härtel, 1827. [M] M. Conestabile places Paganini’s first visit to Naples and Sicily immediately after the concerts at Rome during the Carnival, but I have found no traces of his having done so in the musical journals, the Italian newspapers, and the almanacks, of that period (1818). It would be difficult to understand that, in a short time, Paganini could have given several concerts at the Theatre Fondo, others at San Carlo, at Naples, then at Palermo; and that he should have left Upper Italy, Piedmont, and Tuscany, to return to Naples and Sicily in 1819. I believe his first visit to Naples only took place in 1819. In the months of December, 1818, and January, 1819, he gave four concerts at the Theatre Carignano of Turin; in the February following he gave concerts at Florence, and in June and July some at Naples. [N] M. Fétis ought by this time to be aware that an artist suffers from any of these difficulties in a less degree in England than in any country of Europe; in no part of the world is the true merit or just talent of a musician sooner discerned, or more justly rewarded, than in England; yet, at the same time, it must be conceded that charlatanism, both native and foreign, has long been rampant and held a sway, as far as music is concerned, in this country, quite revolting to a true artist.--_Translator’s Note._