great Court receptions. Paganini added many novelties to those which characterised his talent. Thus, seeking to vary the effect of his instrument at the Court concerts, where it was his duty to play, he removed the second and third strings, and composed a dialogue for the first and fourth strings. He has related this circumstance himself nearly in these terms:-- “At Lucca I directed the orchestra when the reigning family honoured the opera with their presence. I was often called upon to play at Court: and then, I organised fortnightly concerts. The Princess Eliza always withdrew before the termination, as my harmonic sounds irritated her nerves. A lady, whom I had long loved without having avowed my passion, attended the concerts with great regularity. I fancied I perceived that I was the object of her assiduous visits. Insensibly our mutual passion increased; but important motives rendered prudence and mystery necessary; our love in consequence became more violent. I had promised her, on one occasion, that, at the following concert, I would introduce a musical piece which should bear allusion to our relative positions; and I announced to the Court a novelty under the title of “Scène amoureuse.” Curiosity rose to the highest pitch; but the surprise of all present at Court was extreme, when I entered the saloon with a Violin with only two strings. I had only retained the first and the fourth. The former was to express the sentiments of a young girl, the other was to express the passionate language of a lover. I had composed a kind of dialogue, in which the most tender accents followed the outbursts of jealousy. At one time, chords representing most tender appeals, at another, plaintive reproaches; cries of joy and anger, felicity and pain. Then followed the reconciliation; and the lovers, more persuaded than ever, executed a _pas de deux_, which terminated in a brilliant coda. This novelty was eminently successful. I do not speak of the languishing looks which the goddess of my thoughts darted at me. The Princess Eliza lauded me to the skies; and said to me in the most gracious manner possible, ‘You have just performed impossibilities; would not a single string suffice for your talent?’ I promised to make the attempt. The idea delighted me; and, some weeks after, I composed my military sonata, entitled “Napoleon,” which I performed on the 25th of August, before a numerous and brilliant Court. Its success far surpassed my expectations. My predilection for the G string dates from this period. All I wrote for this string was received with enthusiasm, and I daily acquired greater facility upon it: hence I obtained the mastery of it, which you know, and should no longer surprise you.”