id="Anchor-4"/>[4] execution made the music seem as if it played itself as his eye fell upon it. Pasini was petrified with astonishment.

The abandonment of the vice of gambling came about in this way, his own words being quoted. "I shall never forget," said he, "one day placing myself in a position which was to decide my whole career. The Prince De * * * * * had long desired to possess my excellent violin (the Guarnerius), the only one I then had, and which I still possess. One day he desired me to fix a price; but, unwilling to part from my instrument, I declared I would not sell it for less than 250 gold Napoleons. A short time after, the Prince remarked that I was probably indulging in banter in asking so high a price, and added that he was disposed to give 2,000 francs for it. Precisely that very day I found myself in great want of money, in consequence of a heavy loss at play, and I almost resolved to yield my violin for the sum he had offered, when a friend came in to invite me to a party that evening. My capital then consisted of thirty francs, and I had already deprived myself of my jewels, watch, rings, pins, etc. I instantly formed the resolve to risk this last resource, and if fortune went against me, to sell the violin and to set out for St. Petersburg, without instrument and without funds, with the object of retrieving my position. Soon my thirty francs were reduced to three, and I saw myself on the road to the great city, when fortune, changing in the twinkling of an eye, gained me one hundred francs with the little that yet remained. That moment saved my violin and set me up again. From that day I withdrew from play, to which I had sacrificed a portion of my youth: and convinced that a gambler is universally despised, I renounced for ever that fatal passion."

It would be interesting to know when these things occurred, but dates are wanting; it is sufficient to find the artist triumphant in one great crisis in his life. Gambling, to which, however, he was not a party, was destined to trouble the last years of his life, as will be seen further on.

Paganini's career, gambling apart, was by no means of a conventional character. His irregular habits, fits of extraordinary energy followed by langour and depression, led to frequent disappearances from public view. One such disappearance lasted for about four years, and only the romantic aspect of it has been described; the prime cause may have been overlooked. Here is one view of the matter. Enter Napoleon; exit Paganini. In 1800 Napoleon crossed the Alps; in 1804, he proclaimed himself Emperor. He parcelled out Europe, providing for his brothers and sisters, creating sovereigns at his own sweet will. Italy, invaded by a foreign foe, shaken with wars, "alarums and excursions," was not a happy hunting ground for a travelling virtuoso. Paganini vanished from view. In absolute retirement he lived for over three years at the chateau of a Tuscan lady of rank, who was a performer upon the guitar. Paganini threw himself with ardour into the study of that instrument, and became as great a virtuoso upon it as upon the violin. He composed a number of pieces for guitar and violin. According to Fétis, Paganini also devoted himself to the study of agriculture.

But eventually he tired of a life of indolence and dalliance, and in 1804—the country settled now under French government—Paganini returned to Genoa, but whether to the paternal roof is not clear. He was doubtless invigorated by his long rest, and now resumed his arduous course of study. It has been remarked that it was only after Paganini had attained an almost perfect mastery over his instrument that he began to investigate the methods of other virtuosi[5]; even so, he had formed his own style of composition before studying the works of others. Now, he busied himself with the studies of Locatelli, whose extravagances almost equalled his own. It is said that he even gave lessons while in Genoa, and mention is made of one pupil, Catarina Calcagno, who had a brilliant, but brief career.

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 sweetness, and the Princess was charmed into such amiable condescension, that she loaded me with encomiums—asking me, whether, since I could produce so much with two strings, it would not be possible for me to gratify them by playing on one. I yielded instant assent—the idea tickled my