the great singers Mara and Catalani, and Dragonetti, the greatest of double-bass players. Dragonetti was a most eccentric man, and of him Moscheles says: "In his _salon_ in Liecester Square he has collected a large number of various kinds of dolls, among them a negress. When visitors are announced, he politely receives them, and says that this or that young lady will make room for them; he also asks his intimate acquaintances whether his favorite dolls look better or worse since their last visit, and similar absurdities. He is a terrible snuff-taker, helping himself out of a gigantic snuff-box, and he has an immense and varied collection of snuff-boxes. The most curious part of him is his language, a regular jargon, in which there is a mixture of his native Bergamese, bad French, and still worse English." During the several months of this first English visit Moscheles made many acquaintances which were destined to ripen into solid friendships, and gave many concerts in which the most distinguished artists, vocal and instrumental, participated. Altogether, he appears to have been delighted with the London art and social world little less than he had been with that of Paris. He returned, however, to the latter city in August, and again became a prominent figure in the most fashionable and admired concerts. During this visit to Paris he writes in his diary: "Young Erard took me to-day to his piano-forte factory to try the new invention of his uncle Sebastian. This quicker action of the hammer seems to me so important that I prophesy a new era in the manufacture of piano-fortes. I still complain of some heaviness in the touch, and, therefore, prefer to play on Pape's and Petzold's instruments (Viennese pianos). I admired the Erards, but am not thoroughly satisfied, and urged him to make new improvements."