His father now resolved to place him under the tuition of the well-known
composer, Rolla, and for that purpose took him along with him to Parma.
The particulars of their interview afford a striking proof of the
proficiency which he had by this time acquired. As Rolla happened to be
ill and lying in bed, the party were shown into the ante-chamber, when,
observing upon the table one of the composer's newest concertos, the
father beckoned to his son to take up his violin and play it, which he
did at sight, in such a way that the sick man immediately started up,
demanded who it was, and could scarcely be prevailed upon to believe
that the sounds had proceeded from a little boy, and his intended pupil;
but as soon as he had satisfied himself that that was really the case,
he declined to receive him. "For God's sake," said he, "go to Paer, your
time would be lost with me, I can do nothing for you."

To Paer accordingly they went, who received him kindly, and referred
him to his own teacher, the old and experienced "Maestro di Capella"
Giretti, from Naples, who gave him instructions for six months, three
times a-week in counterpoint. During this period he wrote twenty-four
Fugues for four hands, with pen, ink, and paper alone, and without any
instrument, which his master did not allow him, and, assisted by his own
inclination, made rapid progress. The great Paer also took much interest
in him, giving him compositions to work out, which he himself revised:
an interest for which Paganini ever afterwards showed himself deeply
grateful.

The time was now come when Nicolo was destined, like other youthful
prodigies, to be hawked about the country, to fill the pockets of his
mercenary father, who managed to speculate upon him with considerable
success in Milan, Bologna, Florence, Pisa, Leghorn, and most of the
upper and central towns of Italy, where his concerts were always well