day, any of them compares with that remarkable man.

Some of his studies have been adapted to the pianoforte by Schumann and
by Liszt, and of the collection arranged by Liszt, consisting of five
numbers from the Caprices, Schumann says: "It must be highly interesting
to find the compositions of the greatest violin virtuoso of this
century in regard to bold bravura--Paganini--illustrated by the boldest
of modern pianoforte virtuosi--Liszt." This collection is probably the
most difficult ever written for the pianoforte, as its original is the
most difficult work that exists for the violin. Paganini knew this well,
and expressed it in his short dedication, "Agli Artisti," that is to
say, "I am only accessible to artists."

It is doubtful whether any violinist ever lived concerning whom more
fantastic stories were told. His gruesome aspect, his frequent
disappearances from public life, his peculiar habits, all tended to make
him an object of interest,--and interest is sometimes shown in eagerness
to hear anything at all about the subject.

He enjoyed conversation when he was in the company of a small circle of
friends. He was cheerful at evening parties,--if music was not
mentioned. He had an excellent memory for features and names of persons
whom he had met, but it is said that he never remembered the names of
towns at which he had given concerts. He was very severe with
orchestras, and any mistakes made by them would bring forth a tempest of
rage, though satisfactory work would be rewarded with expressions of
approval. When he came to a pause for the introduction of a cadenza, at
rehearsal, the musicians would frequently rise, eager to watch his
performance, but Paganini would merely play a few notes, and then
stopping suddenly would smile and say, "Et cetera, messieurs!" and