irably conceived figure which surmounts the pedestal represents
the master standing, violin and bow in hand, at the moment of his
accidental discovery of the curious acoustic phenomenon known as the
"third sound,"--_i. e._, the production of a third note in harmony when
only two are struck with the bow. The statue was modelled by Dal
Zotto, an able Italian sculptor, whose work found so much favour with
those present at its inauguration that they enthusiastically carried
him about the piazza on their shoulders,--a tribute we judge to have
been well deserved.

The subject of Dal Zotto's statue was sent, while yet very young, from
Pirano, (where he was born of a good family in 1692) to Capo d' Istria,
to study at the college of the "Padri delle Scuole." It was here that
he received his first instruction in violin playing, and in
fencing,--two accomplishments that were to play an important part in
his future life. In spite of the fact that Tartini's family had
destined him to become a Franciscan, he had the strongest antipathy to
an ecclesiastical career. His relatives fought in vain against his
unbending resistance, and finally sent him to Pavia, to study law.
Learning cost him little effort, and he still found plenty of spare
time for fencing. Somewhat wild, and tired of serious study, he
decided to take up his abode in Paris or Naples, and there establish
himself as a fencing-master. A love-affair put an end to this project.
Tartini having won the heart of a young and beautiful girl, a niece of
the cardinal and Bishop of Padua, George Cornaro, the lovers were
secretly married, but did not long succeed in keeping the knowledge of
their union from their relatives. Tartini's family, enraged at his
conduct, withdrew at once the support they had hitherto given him, and
to cap the climax, the bishop accused him of seduction and theft.
Warned in time, Tartini fled to Rome, leaving his young wife in Padua
without confiding to her the direction of his travels.

Reaching Assisi, he ran across a monk in whom he recognised a near
relation from his native city of Pirano. This good-natured brother,
who was a sacristan in the monastery at Assisi, took pity on the
refugee, and gave him an asylum in one of the cells. This is the time,
and this is the cell in which the accompanying picture represents our
hero. Two years he passed in this monastery, making use of his
involuntary seclusion to carry on with great zeal his musical