The first half of the 18th century was rich in Italian Violinists and writers for the instrument, of whom the chief was Giuseppe Tartini, born 1692. Dr. Burney says of his compositions: "Though he made Corelli his model in the purity of his harmony and simplicity of his modulation, he greatly surpassed that composer in the fertility and originality of his invention; not only in the subjects of his melodies, but in the truly _cantabile_ manner of treating them. Many of his _adagios_ want nothing but _words_ to be excellent pathetic opera songs. His _allegros_ are sometimes difficult; but the passages fairly belong to the instrument for which they were composed, and were suggested by his consummate knowledge of the finger-board and the powers of the bow. As a harmonist he was, perhaps, more truly scientific than any other composer of his time, in the clearness, character, and precision of his Basses, which were never casual, or the effect of habit or auricular prejudice and expectation, but learned, judicious, and certain." It would be difficult to add to this judgment of the compositions of Tartini. The truth of Burney's remarks is better understood at this moment than when penned. During the space of nearly a century the sonatas of Tartini lay dormant, and only within recent years have their beauties been again recognised. Such works as Tartini's are all-important links in the chain of musical progress. Pietro Locatelli, a pupil of Corelli, introduced a style of playing quite in advance of his time. His compositions abound with novel combinations; double stops, harmonics, and arpeggios are displayed with wonderful results. Burney says that "Locatelli had more hand, caprice, and fancy than any Violinist of his time." The immediate follower of the style of Locatelli was Lolli, born 1728, who wrote pleasing airs and used novel effects, but failed to go further. It was one of his feats to play on one string--a performance very properly held in contempt in our day, having neither sense nor grace to recommend it. Felice Giardini was another musician of the style of Locatelli.[5] He was born at Turin, in the year 1716. His performance at Naples and Berlin excited considerable notice. In 1742 he visited England, and created some sensation, his style being new to the British public. [Footnote 5: In "Les Maitres Classiques," edited by M. Alard, and the "Hohe Schule," edited by Ferdinand David, will be found some of the best examples of this composer, as well as of many others noticed here.]