The year 1831 found Paganini in Paris, in which excitable capital he produced a sensation not inferior to that created by the visit of Rossini. Even this renowned composer was so carried away, either by the actual genius of the violinist or by the current of popular enthusiasm, that he is said to have wept on hearing Paganini for the first time. He arrived in England in 1831, and immediately announced a concert at the Italian Opera House, at a price which, if acceded to, would have yielded £3,391 per night; but the attempt was too audacious, and he was compelled to abate his demands, though he succeeded in drawing audiences fifteen nights in that season at the ordinary high prices of the King's Theatre. He also gave concerts in other parts of London, and performed at benefits, always taking at these a large proportion of the proceeds. He visited most of the great towns, where his good fortune still attended him. He was asked to play at the Commemoration Festival at Oxford, in 1834, and demanded 1,000 guineas for his assistance at three concerts. His terms were of course rejected. Paganini died at Nice, in 1840, of a diseased larynx ("phthisie laryngée"). By his will, dated 1837, he gave his two sisters legacies of 60,000 and 70,000 francs; his mother a pension of 1,200; the mother of his son Achillino (a Jewess of Milan) a similar pension; and the rest of his fortune, amounting to 4,000,000 francs, devolved on his son. These and other facts before related, we give on the authority of the "Biographie Universelle." Paganini certainly was a man of genius and a great performer, but sacrificed his art to his avarice. His mastery over the violin was almost marvellous, though he made an ignoble use of his power by employing it to captivate the mob of pretended amateurs by feats little better than sleight-of-hand. His performance on a single string, and the perfection of his harmonics, were very extraordinary; but why, as was asked at the time, be confined to one string when there are four at command that would answer every musical purpose so much better? His tone was pure, though not strong, his strings having been of smaller diameter than usual, to enable him to strain them at pleasure; for he tuned his instrument most capriciously. He could be a very expressive player; we have heard him produce effects deeply pathetic. His arpeggios evinced his knowledge of harmony, and some of his compositions exhibit many original and beautiful traits. [Illustration: Paganini in Prison.] MENDELSSOHN By C. E. BOURNE (1809-1847)