It would appear that young Paganini studied with Giacomo Costa for a period of six months only. He must then have continued to work by himself, for it was not until about 1795 that his father took him to Parma, to place him under the "Pride of Italy," Alessandro Rolla, to whom the boy had been recommended by Costa. There was an affecting farewell between Nicolo and his mother, for they were tenderly attached to each other. Paganini has himself related the story of his interview with Rolla, which, for the sake of completeness, must be summarised here. When Nicolo with his father arrived at Rolla's house, the famous violinist was ill in bed. His wife showed the visitors into an apartment adjoining, and went to inform her husband of their arrival, but he was disinclined to receive the strangers. On a table in the room where they were waiting lay a violin, and a composition in manuscript--Rolla's latest concerto. Paganini, prompted by his father, took up the violin, and played the concerto through. Astonished at the performance, Rolla asked what _virtuoso_ was in the next room, and on being told it was only a boy he had heard, would not credit the statement without the evidence of his own eyes. To the father's entreaty Rolla replied that he could teach the boy nothing; it would waste his time to remain with him. He must go to Ferdinando Paer, who would teach him composition. There are several versions of this story, and much uncertainty respecting some points. Rolla was chamber _virtuoso_, and director of the concerts at the Court of Parma. Paer, whose first opera was produced in 1789, was at this time in great request at Venice, where he brought out a succession of operas. In 1796 he may have been in Parma, for his "Griselda" was produced there that year. Paganini, at some time or other, doubtless did profit by Paer's friendly assistance; but his real teacher was Gasparo Ghiretti, chamber musician to Prince Ferdinand of Parma, and the master of Paer. Ghiretti was a violinist, as were nearly all the Italian composers of that period. Under Ghiretti, Paganini went through a systematic course of study in counterpoint and composition, devoting himself to the instrumental style. He must, about the same time, have received violin lessons from Rolla, though he afterwards refused to acknowledge that he had been his pupil. Fétis tells of discussions between Rolla and Paganini concerning the innovations the latter was attempting, for he was always striving after new effects. As he could but imperfectly execute what he aimed at, these eccentric flights did not commend themselves to Rolla, whose taste and style were of a more severe order. Of Paganini's work in composition little appears to be known. Anders states that Paer when in Parma devoted several hours daily to Paganini; and at the end of the fourth month entrusted him with a composition of a _duo_, in which Nicolo succeeded to the complete satisfaction of his master.