his eccentricity. Dubourg tells a curious story of this musician: Being
at Lucca at the time of the annual festival called "Festa della Croce,"
on which occasion it was customary for the leading artists of Italy to
meet, Veracini put his name down for a solo. When he entered the choir,
he found the principal place occupied by a musician of some rank named
Laurenti. In reply to the latter's question, "Where are you going?"
Veracini haughtily answered, "To the place of the first violinist." It
was explained by Laurenti that he himself had been engaged to fill that
post, but, if his interlocutor wished to play a solo, he could have
the privilege either at high mass or at vespers. Evidently he did not
recognize Veracini, who turned away in a rage, and took his position
in the lowest place in the orchestra. When his turn came to play his
concerto, he begged that instead of it he might play a solo where he
was, accompanied on the violoncello by Lanzetti. This he did in so
brilliant and unexpected a manner that the applause was loud and
continued, in spite of the sacred nature of the place; and whenever he
was about to make a close, he turned toward Laurenti and called out:
"Cost se suona per fare il primo violino"--"This is the way to play
first violin."

Veracini played upon a fine Steiner violin. The only master he ever had
was his uncle Antonio, of Florence; and it was by traveling all over
Europe, and by numerous performances in public, that he formed a
style of playing peculiar to himself, very similar to what occurred
to Pa-ganini and the celebrated De Beriot in later years. It does not
appear certain that Tartini ever took lessons from Veracini; but hearing
the latter play in public had no doubt a very great effect upon him, and
caused him to devote many years to the careful study of his instrument.
Some say that Veracini's performance awakened a vivid emulation in
Tartini, who was already acknowledged to be a very masterly player. Up
to the time, however, that Tartini first heard Veracini, he had
never attempted any of the more intricate and difficult feats of
violin-playing, as effected by the management of the bow. An intimate
friendship sprang up between the two artists and another clever
musician named Marcello, and they devoted much time to the study of the
principles of violin-playing, particularly to style and the varied kinds
of bowing. Veracini's mind afterward gave way, and Tartini withdrew
himself to Anco