to Pa-ganini and the celebrated De Bériot 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 Ancona, where in utter solitude he applied himself to working
out the fundamental principles of the bow in the technique of the
violin--principles which no succeeding violinist has improved or
altered. Tartini, even while absorbed in music, did not neglect the
study of science and mathematics, of which he was passionately fond,
and in the pursuit of which he might have made a name not less than his
reputation as a musician. It was at this time that Tartini made a very
curious discovery, known as the _phenomenon of the third sound_, which
created some sensation at the time, and has since given rise to numerous
learned discourses, but does not appear to have led to any great
practical result. Various memoirs or treatises were written by him, and
that in which he develops the nature of the _third sound_ is his "Tratto
di Musica se-condo la vera scienza de l'Armonia." In this and others of
his works, he appears much devoted to _theory_, and endeavors to place
all his practical facts upon a thoroughly scientific basis. The effect
known as the _third sound_ consists in the sympathetic resonance of a
third note when the two upper notes of a chord are played in perfect