strings as you would whip with a walking switch; tearing from the creature the most horrid as well as delightful tones. He has long legs and arms, and his hands, in his playing, often assume the attitude of prayer, with the fingers pointed upwards. The highest notes (contrary to every thing we have learnt) are produced as the hand recedes from the bridge; overturning all our previous notions of the art. During these effects, a book caught fire upon one of the desks, which burned for some time unobserved by the musicians, who could neither see nor hear (though repeatedly called to by the audience) any thing but the feats of this wonderful performer. Some few pieces were played by the orchestra, that gave repose to the admiring audience. He then entered upon his celebrated performance of the single string, introducing the air of _Nel cor più_ (_Hope told a flattering tale_), to which he imparted a tone so ‘plaintive and desolate that the heart was torn by it;’ in the midst of this he was so _outré_—so comic—as to occasion the loudest bursts of laughter! This feat was uproariously encored. He then retired to put on three other strings, and ended this miraculous performance with the richest _arpeggios_ and echoes, intermingled with new effects that no language can describe! Though he retired amidst a confusion of huzzas and bravos that completely drowned the full orchestra, yet he was called for to receive the homage of the audience. There was no trick in his playing; it was all fair, scientific execution, opening to us a new order of sounds, the highest of which ascended two octaves above C in alt.” Our next demonstration is from the able pen that gave life and eloquence to the new “Tatler:”—