every manner to reduce to paper the wonderful composition of his dream. Fine as was the work thus produced, Tartini always maintained that it fell far short of the glorious virtuoso piece which he had heard. Tartini was in some sort a forerunner of the modern romantic school. He was accustomed to take a poem as the basis of an instrumental piece. He wrote the words along the score and conducted the music wherever the spirit of the words took it. He was also in the habit of affixing to his published works mottoes, indicative of their poetic intention. With this general characterization his music well agrees, for in dreamy moods it has a mystical beauty till then unknown in music. He is also entitled to lasting memory on account of his having first discovered the phenomenon of "combination tones," the under resultant which is produced when two tones are sounded together upon the violin, especially in the higher parts of the compass. These tones are the roots of the consonances sounding, and Tartini directed the attention of his pupils to them as a guide to correct intonation in double stops, since they do not occur unless the intonation is pure. He made this important discovery about 1714, and in 1754 he published a treatise on harmony embodying the combination tones as a basis of a system of harmony. This having been violently attacked, his second work of this kind, "On the Principles of Musical Harmony Contained in the Diatonic Genus," was published in 1767. Tartini, therefore, must be reckoned among the great masters who have contributed to a true doctrine of the tonal system. Copies of his theoretical writings are in the Newberry Library at Chicago.