instrument, and in later days he attributed his full tone on the violin
to the power which his 'cello practice gave to his bow arm.

Lipinski seems to have been an energetic and original man. He was in the
habit of appearing at concerts both as violinist and 'cellist. He was
unable to play the piano, so when he was conductor of the opera at
Lemberg he directed with the violin, and frequently had to play two
parts, which gave him great command over his double stops. When the fame
of Paganini reached him he set forth to Italy, that he might profit by
hearing the great virtuoso, and when the opportunity came at Piacenza,
he distinguished himself by being the only person in the audience to
applaud the first adagio. After the concert he was introduced to
Paganini, and he did not fail to improve the acquaintance, frequently
visiting Paganini and playing with him, sometimes even in his concerts.

Lipinski declined the honour of going on a concert tour with Paganini,
as he wished to return to his home. On stopping at Trieste he heard of
an old man, over ninety years of age, who had once been a pupil of
Tartini, and sought him out in order to "get some points" on Tartini's
style. The old man, Doctor Mazzurana, declared himself too old to play
the violin, but suggested that if Lipinski would play a Tartini sonata
he would tell him if his style reminded him of the great master. It did
not, but Doctor Mazzurana brought out of a cupboard a volume of
Tartini's sonatas having letter-press under the music, and this Lipinski
was ordered to read in a loud tone and with all possible expression.
Then he had to play the sonata, and after numerous attempts and
corrections, the old man began to applaud his efforts. Lipinski ever
afterwards profited by these lessons.

Later on he met Paganini again at Warsaw, where they were rivals, for