The excitement produced by the first public display of these powers in our metropolis was fully sustained on the subsequent occasions. It would fill a volume of itself, were I to treat, “avec circonstance,” of the successive concerts at theatres and other places, in which the Genoese genius electrified attending mortals “With heav’nly touch of instrumental sounds.” With no intention to be thus particular, I must beg permission, nevertheless, to extract a few more passages of contemporary notice. The celebrated _Capriccio_, in which he introduced the air from the _Carnaval de Venise_, merits a separate description:— “On reaching his position in the centre of the stage, he seemed at once to lose all consciousness of the presence of mortals, and to live and breathe for his violin alone. He touched its strings lightly and trippingly, as if to awaken it, and then, after having given it three or four of those sweeping, switching strokes, which almost justify the expression that he thinks to lash it into submission to his spirit, he threw off a most singular mutilation of the Venetian Air, “Oh! come to me!” in which, while he appeared to retain only the sad part of the original, he communicated to it an odd wailing character. On this subject he _capriccio’d_ some four or five variations, all in a consistent style, in which he introduced most of his peculiar movements of hand and bow. At the end, he was rapturously applauded, and he retired as he had entered. The applause, however, being continued, mixed with some cries of _encore_, he came forth again, but without his violin, and, making a most eloquent bow, retired once more. The plaudits were, however, now redoubled, and the wicked audience, having got the crotchet into their heads, pretty unanimously vociferated _encore_; when, after some delay, the good Signor absolutely did make his appearance with his second self—or his _pickaninney_—his violin; and did vouchsafe two little variations more, of the wizard strain:—the last was altogether performed by the hand which held the instrument, and without the aid of the bow. On the whole, so strange, so whimsical an outpouring of melancholy we never heard before, and probably never shall again:—one really did not know whether to laugh or cry at it. Nothing upon record, that we know of, comes near it, with the exception of _Corporal Trim’s_ pathos in the kitchen.” In the region of the harmonic notes, which was before (comparatively speaking) almost a “terra incognita,” Paganini may claim the undoubted merit of having made extensive discoveries:—