e admiration, and always bade him be
of good cheer. Paganini, the greatest of violinists, had hailed him as
equal to Beethoven.

On the night of the failure of "Benvenuto Cellini," a strange-looking
man with disheveled black hair and eyes of piercing brilliancy had
forced his way around into the green-room, and, seeking out Berlioz, had
fallen on his knees before him and kissed his hand passionately. Then
he threw his arms around him and hailed the astonished composer as the
master-spirit of the age in terms of glowing eulogium. The next morning,
while Berlioz was in bed, there was a tap at the door, and Paganini's
son, Achille, entered with a note, saying his father was sick, or he
would have come to pay his respects in person. On opening the note
Berlioz found a most complimentary letter, and a more substantial
evidence of admiration, a check on Baron Rothschild for twenty thousand
francs! Paganini also gave Berlioz a commission to write a concerto for
his Stradivarius viola, which resulted in a grand symphony, "Harold
en Italie," founded on Byron's "Childe Harold," but still more an
inspiration of his own Italian adventures, which had had a strong flavor
of personal if they lacked artistic interest.

The generous gift of Paganini raised Berlioz from the slough of
necessity so far that he could give his whole time to music. Instantly
he set about his "Romeo and Juliet" symphony, which will always remain
one of his masterpieces--a beautifully chiseled work, from the hands
of one inspired by gratitude, unfettered imagination, and the sense of
blessed repose. Our composer's first musical journey was an extensive
tour in Germany in 1841, of which he gives charming memorials in
his letters to Liszt, Heine, Ernst, and others. His reception was as
generous and sympathetic as it had been cold and scornful in France.
Everywhere he was honored and praised as one of the great men of the
age. Mendelssohn exchanged _batons_ with him at Leipsic, notwithstanding
the former only half understood this stalwart Berserker of music. Spohr
called him one of the greatest artists living, though his own direct
antithesis, and Schumann wrote glowingly in the "Neue Zeitschrift": "For
myself, Berlioz is as clear as the blue sky above. I really think there
is a new time in music coming." Berlioz wrote joyfully to Heine: "I came
to Germany as the men of ancient Greece went to the oracle at Delphi,
and the response has been in the highest degree e