tended this feat to playing five
games simultaneously, which, though far inferior to the wonderful
feats of Morphy, Paulsen, and others in more recent years, very much
astonished his own generation. Philidor was an admirable violinist, and
the composer of numerous operas which delighted the French public for
many years. He died in London in 1759.

There were several other pupils of Corelli who achieved rank in their
art and exerted a recognizable influence on music. Locatelli displayed
originality and genius in his compositions, and his studies, "Arte di
Nuova Modulazione," was studied by Paganini. Another pupil, Lorenzo
Somis, became noted as the teacher of Lecler, Pugnani (the professor of
Viotti), and Giardini. Visconti, of Cremona, who was taught by Corelli,
is said to have greatly assisted by his counsels the constructive genius
of Antonius Stradiuarius in making his magnificent instruments.

IV.

The name of Giuseppe Tartini will recur to the musical reader more
familiarly than those previously mentioned. He was the scion of a noble
stock, and was born in Istria in 1692. Originally intended for the law,
he was entered at the University of Padua at the age of eighteen for
this profession, but his time was mostly given to the study of music and
fencing, in both of which he soon became remarkably proficient, so
that he surpassed the masters who taught him. It may be that accident
determined the future career of Tartini, for, had he remained at the
university, the whole bent of his life might have been different. Eros
exerted his potent sway over the young student, and he entered into a
secret marriage, that being the lowest price at which he could win his
_bourgeois_ sweetheart. Tartini became an outcast from his family, and
was compelled to fly and labor for his own living. After many hardships,
he found shelter in a convent at Assisi, the prior of which was a family
connection, who took compassion on the friendless youth. Here Tartini
set to work vigorously on his violin, and prosecuted a series of
studies which resulted in the "Sonata del Diavolo" and other remarkable
compositions. At last he was reconciled to his family through the
intercession of his monastic friend, and took his abode in Venice that
he might have the benefit of hearing the playing of Veracini, a great
but eccentric musician, then at the head of the Conservatario of that
city. Veracini was nicknamed "Capo Pazzo," or "mad-head," on account of