chief actor. Even with the first note from his bow the scene changed; he stood all at once with his music-desk in a cheerful hall, which was gaily and irregularly decorated with curved and twining furniture in the Pompadour style, everywhere little mirrors, gilt cupids, Chinese porcelain, an exquisitely charming chaos of ribbons, flower garlands, white gloves, torn laces, false pearls, diadems of gilt sheet metal, and similar celestial theatrical properties, such as one sees in the sanctum of a prima donna. Paganini's external appearance had also changed, very much indeed to his advantage;[1] he wore knee-breeches of lilac satin, a silver embroidered white waistcoat, a coat of light-blue satin with buttons wound with gold; and little locks of carefully curled hair played round his face, which bloomed with the roses of youth and gleamed with sweetest tenderness, when he eyed the pretty little dames who stood round his music-desk while he played his violin.
"Indeed I saw by his side a pretty young creature, in old-fashioned dress of white satin puffed out on the hips, the waist seeming for that all the more piquantly narrow, the powdered hair friséed aloft, the pretty round face flashing
- ↑ Heine called himself a romanticist, but as regards the practical art of life and its associations, his heart was really in the later Renaissance, or Baroque period of the Regency.—Translator.
