In 1805, Paganini resumed his artistic tours, and arriving at Lucca, played a concerto at an evening festival in a convent church. So great was the enthusiasm of the audience (or congregation), that the monks had to leave their stalls to put a stop to the applause. At that time, Maria Anna (Elise), sister of Napoleon, was Princess of Lucca, and the Tuscan court was held in that Capital. The fame of Paganini could not fail to have reached the ears of the Princess, and it was but natural that the first _virtuoso_ of Italy should receive an official appointment. So it happened that in the year 1805 he was offered, and accepted, the post of leader of the Court orchestra, and solo violinist. He also gave violin lessons to Prince Bacciochi, the husband of Maria Anna. It was during this period that Paganini began his experiments of employing less than the four strings of his violin. He gave an account of the origin of the practice to a friend at Prague many years later.[6] "It fell to my lot," he said, "to direct the opera whenever the reigning family visited it, as well as to perform at Court three times a week, and to get up a public concert for the higher circles every fortnight. Whenever these were visited by the Princess, she never remained to the close, because the flageolet tones of my violin were too much for her nerves. On the other hand there was another fascinating creature ... who, I flattered myself, felt a penchant for me, and was never absent from my performances; on my own side, I had long been her admirer (Paganini was now twenty-three years of age, susceptible, and possibly himself fascinating.) Our mutual fondness became gradually stronger and stronger; but we were forced to conceal it, and by this means its strength and fervour were sensibly enhanced. One day I promised to surprise her at the next concert, with a musical joke, which should convey an allusion to our attachment; and I accordingly gave notice at Court that I should bring forward a musical novelty, under the title of 'A Love Scene.' The whole world was on tiptoe at the tidings; and on the evening appointed, I made my appearance, violin in hand; I had previously robbed it of the two middle strings, so that none but E and G remained. The first string being designed to play the maiden's part, and the second (fourth) the youth's, I began with a species of dialogue, in which I attempted to introduce movements analogous to transient bickerings and reconciliations between the lovers. Now my strings growled, and then sighed; and anon they lisped, hesitated, joked and joyed, till at last they sported with merry jubilee. In the course of time, both souls joined once more in harmony, and the appeased lovers' quarrel led to a _pas de deux_, which terminated in a brilliant _coda_. This musical fantasia of mine was greeted with loud applause. The lady, to whom every scene referred, rewarded me by looks full of delight and