  NOTES ON THE ILLUSTRATIONS IN THIS VOLUME. Portrait of NicolÒ Paganini, by Maurin, a French Artist. Free from caricature, it is probably the most authentic picture of the great virtuoso. It appeared in the seventh volume of the "Revue Musicale." The Birthplace of the Celebrated Paganini in the Passo di Gatto Moro, Genoa, Italy. The house is in a squalid neighbourhood—a dirty, narrow alley now occupied by the poorest of the city. Probably no worse than at the time of Paganini's birth. There is a tablet which reads as follows:—
The date 1782 given here confirms the latest research that Paganini was born in that year and not in 1784 so usually quoted. Paganini's Violin, Bow, Case, etc., in the Municipal Museum at Genoa. This is the celebrated Joseph Guarnerius on which the great virtuoso invariably performed. The instrument is under a glass shade, and with other relics of Paganini, preserved in a strong safe. It is stated that £5,000 has, in vain, been offered for the violin. This is another Caricature—Paganini performing on a tight rope—under which is printed "Exercices sur une seule corde,"—in reference to his one string solos. This was published by Mori and Lavenu, London, circa 1831. This is, we believe, from a contemporary German picture. This humorous picture is on the title-page of a comic song, "The wonderful Paganini, or London fiddling mad." The poetry by W. T. Moncrieff, Esq., and the melody by one of the first composers of the day! London, published by Leoni Lee, circa 1831. The "poetry" is not of a classical standard. "What a hubbub! what a fuss! all London sure are frantic Sirs, The Prince of Fiddlers has arriv'd, great Paganini has come. So wonderful, exorbitant, so frightful, so romantic, Sirs, the world of Music at his mighty presence are struck dumb. So firm his touch, so fine his stop, everyone must own his sway, Great King King of Catgut! Agitato! presto! Who but he Sirs, Mori, Spagnoletti, now must second fiddle play, Sirs— Glory be to Tweedle dum! Success to Tweedle dee! Sirs Germany, France, Italy, combined his fame to puff The prices must be doubled, all the world crowd to survey him, Sirs, Four thousand pounds a night to pay him is not half enough, Sixpences, none, after this, must dare call fiddlers' money Sirs. Thousands, tens of thousands, must the wondrous man reward," etc., etc., and so on for five verses! Sigr. Paganini. During one of his performances at the King's Theatre, June, 1831. From a contemporary lithograph of the celebrated sketch by D. Maclise, R.A., now in the Foster Collection, South Kensington Museum. In the background are J. B. Cramer, Lindley, Dragonetti, Mori, etc. This is, perhaps, the most interesting print of the great violinist. It was published on July 12th, 1831, by W. Spooner, 259, Regent Street, London. Reproduction of the celebrated Statuette (caricature), by Dainton. Paganini with the Violin, Rossini at the pianoforte and the celebrated prima-donna Pasta. (Jos. McGuire, delt., printed by Englemann & Co.), circa 1832. A Copy of the Original Oil Painting of Paganini in the Municipal Museum at Genoa. The face full of intellect, shows the ravages of the disease which was so soon to terminate his existence. The House at Nice in which Paganini died on the 27th May, 1840. It was formerly the residence of the Count de Sessol. The lower part has been converted into shops. The Tablet, with inscription, fixed on the front of the house, Rue de la Prefecture, Nice, France. The Tomb of Paganini at Parma. Neither religious nor political martyr ever had so many objections made to his obsequies. To the cemetery, near Parma, in November, 1876, the embalmed remains of Paganini were transposed from the family villa at Gaione, by order of his son, the Baron Achille (who died in December, 1895). The funeral was held at night by torchlight. A nephew, the Baron Attila Paganini, followed, and crowds of curious sightseers joined the procession. In 1893 there was erected the beautiful mausoleum which is now depicted from the only known photograph, taken expressly for The Strad. It bears this inscription:—
Beneath this cupola of white marble, with its granite columns, may the ashes of Paganini rest in peace. His true remains—his reputation, his influence, his music, are with us for ever. Paganini in Prison. One of the many scandals which is contradicted in the text. (See page 90.) There is another prison story that during Paganini's incarceration, he was reduced to the G, in consequence of the other strings having broken—hence his wonderful development of the fourth. This is again apocryphal. Paganini has greater claim to a scientific knowledge of the acoustical property of strings. Plates are reproductions of Paganini's MSS. in the British Museum. No. 15, a letter (dated April 16th, 1832, and in French) thanking the person addressed, for kindness shown to his "cher fils Achille," Nos. 16 (dated February 19th, 1835) and 17 (dated May 5th, 1838); short notes (in Italian) are interesting autographs. Paganini was proverbially a "silent man"—his epistles are very rare. Plates These reproductions of rare programmes tell their own tales—they are interesting, because there are seen the items and the arrangement of concerts, also the prices, for admission, etc.—in those years. Facsimile of a Letter by Paganini, dated 1829. It was formerly in the possession of the late Mr. Carrodus, the great English violinist. A Semi-Caricature of Paganini with the inscription. The Modern Apollo (not Belvedere) Sketched at his last Concert at the King's Theatre. Published by G. Madeley, Wellington Street, Strand, 1831. Plates Reproductions of music MS. in British Museum. A Theme, with variations for violin, with accompaniment, is a curious example of the great master's compositions. Copy of a rare Copper Medal struck in Paganini's honor in 1831. |
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