It is not necessary to enter into details concerning all Paganini's tours. It appears to have been in 1810 that he wrote the "Napoleon Sonata," and he performed it in public at a concert given by him at Parma, August 18th, 1811. His fame was spreading beyond his own country, and Schilling states that from 1812 the German musical journals bestowed much attention upon him. He was at Milan in 1813, and his success there was greater than ever. For that city he appeared to have a predilection, for he was there, with the exception of a short stay at Genoa, until the autumn of 1814. At that time he was by no means a recluse. He visited the theatre, La Scala, and witnessed a performance of Vigano's ballet, "Il Noce di Benevento," to which Süssmayer wrote the music; and from a certain scene he took the theme of his variations known as "Le Streghe." At a theatre he was inspired to write one of his finest movements. He went to hear Demarini, Italy's greatest tragedian, and was so affected by one scene that he could not sleep, and his emotion ultimately found expression in music. This will be dealt with when noticing his compositions. In October, 1814, Paganini went to Bologna, and there met Rossini for the first time. Rossini, nine years the junior of Paganini, had already produced a dozen operas--two in Milan that year. By Court favour Rossini had just escaped the conscription, and had hastened away to Bologna. The meeting of these artists was of importance to both. Meyerbeer went to Italy in 1815, and was there for some years, producing several operas. Laphaléque tells a story to this effect: Meyerbeer was on the eve of leaving Florence to proceed to Naples to bring out one of his works. He did not yet know that place, and it offered a double attraction; he wanted to enjoy the beautiful blue sky as well as his artistic triumph. But he went to hear Paganini, and dreamt no more of Naples, nor of his opera. Paganini travelled all through Tuscany, and Meyerbeer followed; and not until he had heard Paganini eighteen times could he tear himself away from him. Within the period of five years, Paganini returned to Milan five times, making a long stay on each occasion, and giving a great number of concerts. He played at Verona, Padua--where the "prison" stories seem to have originated--returned to Milan early in 1816, when he met the French violinist, Charles Lafont, with whom he played and of whom more will be said. Then to Venice, Trieste, and back to Venice in time to hear Spohr (October 18th), on whom he called both before and after the concert. Spohr greatly desired to hear Paganini play, but the latter excused himself.