But in 1896, appeared the evidence of one whose testimony was unimpeachable. The late Sir Charles Hallé went to Paris in 1836, when a youth of seventeen. In 1838, he was introduced to Paganini, was invited to visit him, and often played to him; and, once, nearly heard Paganini play! An extract from Hallé's "Autobiography" will show what he thought of the great violinist: "From my earliest childhood I had heard of Paganini and his art as of something supernatural, and there I actually sat opposite to the man himself, but only looking at the hands that had created such wonders. On one never-to-be-forgotten occasion, after I had played and we had enjoyed a long silence, Paganini rose and approached his violin case. What then passed in me can hardly be imagined; I was all in a tremble, and my heart thumped as if it would burst my chest; in fact, no young swain going to the first rendezvous with his beloved could possible feel more violent emotions. Paganini opened the case, took the violin out, and began to tune it carefully with his fingers without using the bow; my agitation became almost intolerable. When he was satisfied, and I said to myself, with a lump in my throat, 'Now, now, he'll take the bow!' he carefully put the violin back and shut the case. And this is how I heard Paganini." Hallé also became acquainted with Berlioz and acquaintance ripened into a close friendship. He saw the change worked in Berlioz through the Paganini incident; how his courage was strengthened, and from a morose, he became a cheerful companion. Then he divulges what had been a life-secret: "Armand Bertin, the wealthy and distinguished proprietor of the _Journal des Débats_, had a high regard for Berlioz and knew of all his struggles, which he, Bertin, was anxious to lighten. He resolved therefore to make him a present of 20,000 fr., and in order to enhance the moral effect of this gift he persuaded Paganini to appear as the donor of the money. How well Bertin had judged was proved immediately; what would have been a simple _gracieuseté_ from a rich and powerful editor towards one of his staff became a significant tribute from one genius to another, and had a colossal _retentissement_. The secret was well kept and never divulged to Berlioz. It was known, I believe, to but two of Bertin's friends besides myself, one of whom is (Victor) Mottez, the celebrated painter; I learned it about seven years later when I had become an intimate friend of the house, and Madame Armand Bertin had been for years one of my best pupils."[41] This must be accepted as a true statement of the case, but it proves no more than that Paganini became a party to a benevolent conspiracy; he never boasted of the gift, nor claimed any credit for it. Even when Berlioz, relieved of his financial troubles, set to work with a light heart at the composition which was to be worthy of dedication to the illustrious artist to whom he owed so much (his own