Birth and parentage—surmises and false rumours—his early education—his public début at Genoa—begins to travel on his own account—his father’s rapacity—youthful excesses—a bidding for his violin—renounces gaming—his favorite Guarnerius—enters the service of the Princess of Parma—origin of his performances on one and two strings—follows the Princess to Florence—his intense application—his “Studies”—revisits Leghorn—anecdote—visits Turin and Ferrara—attacked with disease—the story of his uniform—his friendship with Rossini—contends with Lafont—remarks of M. Fétis and others—Paganini’s tribute to the excellence of Louis Spohr—gives two concerts at Pavia—remarkable announcement—invited to Vienna in 1828, by Prince Metternich—the Pope confers on him the order of the Golden Fleece—Mayseder’s despair—absurd and injurious rumours—Paganini’s manifesto—his great popularity at Vienna—concert for the benefit of the poor—anecdotes—visits Prague, Dresden, Berlin, and Warsaw—opinions of the Berlin journalists—declines to compete with Praun—epigram—visits Frankfort—mimicked on the stage—goes to Paris—description of Paganini’s performance from La Globe, (with cuts)—attempts to explain his method—M. Guhr’s Treatise—manner of tuning the instrument—management of the bow—use of the left hand—harmonics—double effects—Paganini’s wonderful gains—his letter to the Révue Musicale—what occurred at Padua—the devil seen at his elbow—foundation of the rumours—comes to England—quotation from the “Athenæum”—stringing a gridiron—raising the prices of admission—the Claqueurs—his first English concert—Mr. Gardner’s description—quotations—Mori’s joke and Cramer’s thankfulness—harmonic notes and staccato runs—farewell concert—revisits Italy—purchases the Villa Gajona—proposes to publish—decorated by Maria Louisa—want of health—gambling speculation—serious illness—his last moments at Nice—his son Achilles—his burial refused—superstitious rumours—his will—bequeaths his favorite violin to the city of Genoa—his personal habits and peculiarities—his mode of travelling—his habits at home—his desire of repose—anecdote of an amateur—Paganini’s slender general knowledge—his projects—mistrust of friends—his visitors—invitations—habits in company—aversion to light—recollection of names—preparation for a concert—rehearsal—his physical conformation—his influence on the art—a “farewell”—his compositions—critical remarks of M. Fétis—conclusion.—pp. 110, et seq.

Italian and French Schools compared—state of instrumental performance at the present time—style of Kreutzer, Rode, Baillot, and Lafont—the Conservatoire de Musique—its origin and effects—epigram—Baltazarini (M. de Beaujoyeux)—Jean Baptiste de Lully—becomes scullion to Mdlle. de Montpensier—elevated to the rank of Court Musician—his career at Court—Louis the Fourteenth’s taste in music—the establishment of an Opera—Lulli’s Te Deum for the King’s recovery—an accident—his death—anecdote of his last score—his style—Jean Marie le Clair (Lecler)—born at Lyons—style deviating from the Italian school—appointed Symphonist to Louis XV—assassinated in the streets of Paris—Jean Baptiste Senaillé—goes to Italy—returns to Paris, 1719—his pupils—jean Pierre Guignon—his sonatas, duetts, trios, and concertos—instructs the Dauphin—dies at Versailles—Gabriel Guillemain—loses his faculties and destroys himself—Pierre Gaviniès—appointed Professor at the Conservatoire—his works—François Joseph Gossec—founds the Concert of Amateurs—his symphonies—Pagin—instructed by Tartini—jealousy of the French musicians—their revenge—Pierre Lahoussaye—plays at the Concert Spirituel when nine years old—Pagin undertakes his instruction—goes to Italy—hears Tartini at church—spends three years in London—appointed Professor of the first class at the Conservatoire—Paisible—makes a progress through several parts of Europe—dies by his own hand in 1781—Simon Leduc—his extant compositions—anecdote of the Chevalier St. George—F. Hippolite Barthélémon—serves as a midshipman—comes to England—engaged at Vauxhall—Mondonville, and others—Viotti’s influence on the French School—Castels De Labarre—premier violon at the Théâtre François—Vacher—pupil of Viotti—performs at the Vaudeville Theatre, &c.—Pierre Rode—shipwrecked on the English coast—obliged to quit England—appointed Professor of the Violin at the Conservatoire—travels—his death from paralysis in 1830— M. Fétis on his style—Rodolphe Kreutzer—his mode of instruction—dies at Geneva—his compositions—Charles Philippe Lafont—appears at Paris as a vocalist—studies under Kreutzer and Rode—his residence at