of expressing what he had just heard; but in vain. He, however, directly
composed a piece, which is perhaps the best of all his works, and called
it the 'Devil's Sonata;' he knew it, however, to be so inferior to what
his sleep had produced, that he stated he would have broken his
instrument, and abandoned music for ever, if he could have subsisted by
other means."

This composition is said to have secured for him the position in the
chapel of San Antonio, where he remained until 1723, in which year he
was invited to play at the coronation festivities of Charles VI. at
Prague. On this occasion he met Count Kinsky, a rich and enthusiastic
amateur, who kept an excellent private orchestra. Tartini was engaged as
conductor and remained in that position three years, then returning to
his old post at Padua, from which nothing induced him to part, except
for brief intervals. At Padua Tartini carried on the chief work of his
life and established the Paduan school of violin playing. His ability as
a teacher is proved by the large number of excellent pupils he formed.
Nardini, Bini, Manfredi, Ferrari, Graun, and Lahoussaye are among the
most eminent, and were attached to him by bonds of most intimate
friendship to his life's end.

Tartini's contemporaries all agree in crediting him with those
qualities which make a great player. He had a fine tone, unlimited
command of finger-board and bow, enabling him to overcome the greatest
difficulties with remarkable ease, perfect intonation in double stops,
and a most brilliant shake and double-shake, which he executed equally
well with all fingers. The spirit of rivalry had no place in his amiable
and gentle disposition. Both as a player and composer Tartini was the
true successor of Corelli, representing in both respects the next step
in the development of the art.