tour he met with many adventures, frequently travelling on
horseback, and at one time being at death's door with yellow fever. On
his return to Europe he shared the fate of many musicians who have
achieved financial success, and lost his money by unfortunate
investment, which made it necessary for him to resume his travels. He
therefore visited Great Britain, Switzerland, Germany, Spain, Portugal,
etc.

He was, of course, compared to many of the great violinists of his time,
who all had their special merits. One criticism, in which Sivori is
compared with Spohr, may be interesting: "Spohr is of colossal stature,
and looks more like an ancient Roman than a Brunswicker; Sivori is the
antithesis of Spohr in stature. Spohr has the severe phlegmatic
Teutonic aspect; Sivori has the flashing Italian eye and variability of
feature. Spohr stands firm and still; Sivori's body is all on the swing,
he tears the notes, as it were, from his instrument. Spohr's refinement
and polish have been the characteristics of his playing; in Sivori it is
wild energy--the soul in arms--the determination to be up and doing--the
daring impulse of youthful genius. Spohr's playing is remarkable for its
repose and finish; Sivori electrifies by the most powerful appeals to
the affections."

Sivori was a man of generous impulses, and was seldom appealed to in
vain to assist in a good cause. When his teacher, M. Dellepaine, was
taken ill and was unable temporarily to fill his post of first violin at
the theatre, and of director of the conservatoire at Genoa, Sivori
replaced him in both and gave him the entire benefit of his services.
After two years the teacher died, and Sivori still held the two places
an entire year for the benefit of the widow, until a situation was
procured for her which enabled her to live without further assistance.

At one time Sivori felt that the instrument which he played was not so
perfect as to satisfy him. He asked Paganini to sell him one, and the
reply was, "I will not sell you the violin, but I will present it to you
in compliment to your high talents." Sivori travelled to Nice to receive
the instrument from his master's own hands. Paganini was then--it was in
1840--in a deplorable condition, and could hardly speak. He signified a
desire to hear his pupil play once more, and Sivori, withdrawing to a
room a little way off, so that the sound of the instrument would not be
too loud, played whatever Paganini called for. Abo