Everywhere he played he was tremendously successful, whether in France, Germany, or playing duets with Moscheles or Cramer in London, or wandering over the continent of North America, and the islands near it. He had _terriblement voyagé_, as he himself said in the introduction to his most amusing book on his travels in America, _Mes voyages_. His technique was, of course, quite out of the ordinary; but so far as we may judge by his programs and by his compositions, he put it to no exalted purpose. It was the day of variations and of fantasias. Any time might serve for the former, and the virtuoso who was also a keen man of business, with an eye on the public before which he displayed himself and another on the publishers, generally made use of airs popular in whatever land he might chance to be making a present success. For example, among the publications of Henri Herz one finds variations on the favorite air, _Le petit tambour_, on the famous Irish air, ‘The Last Rose of Summer,’ on the Scotch air, ‘We’re a’ noddin’,’ on the old song beloved of our grandmothers in this country, ‘Gaily the Troubadour’; and _La Parisienne, marche nationale, avec variations charactéristiques_. He published an arrangement of the Marseillaise, an Austrian march, General Harrison’s quick-step, Empress Henrietta’s waltz, numerous sets of quadrilles and other dances. Perhaps we may never be sure how many of these publications he would have acknowledged. In _Mes voyages_ he recounted how he found upon a piano in a music shop a certain ‘Mlle. Sontag’s Waltz’ published as one of his compositions. This was in the United States. The dealer in the shop told Herz that this of all his compositions had made him famous in the new country. Herz was about to protest that the music was none of his, but was prevented by the counsel of his manager Ulmann, a man very nearly as wily as the immortal P. T. Barnum, of whom, perhaps at bottom a congenial soul, Herz had much to tell. Fantasias were usually constructed on airs from the favorite operas of the day. These, in the case of Herz, rarely amounted to more than a series of variations, preceded by an introduction, and concluded with a finale. Few showed much thought in structure, and indeed, such men as Herz, Thalberg, and Liszt, could, and were expected to, improvise such fantasias before the public.