In 1680, he visited Germany, and met with a reception suitable to his merit, from most of the German princes, but particularly from the Elector of Bavaria, in whose service he was retained, and continued for some time. After a few years’ residence abroad, he returned to Rome, and there pursued his studies with assiduity. It was at Rome that he published (about 1683) his first _twelve Sonatas_. In 1685, the second set appeared, under the title of _Balletti da Camera_. In 1690, he gave to the press the third “Opera” of his Sonatas; and in 1694, the fourth, which, consisting of movements fit for _dancing_, like the second, he called _Balletti da Camera_. This species of instrumental composition, the sonata, first imagined in the course of the 17th century, has been fixed, in many respects, by Corelli. The proficiency of Corelli on his favourite instrument became so great, that his fame was extended throughout Europe, and the number of his pupils grew very considerable; for, not only his own countrymen, but even persons from distant kingdoms, resorted to him for instruction, as the greatest master of the violin that had, at that period, been heard of in the world. It does not appear, indeed, that he had attained a power of _execution_ in any degree comparable to that of later professors. The style of his performance was, however, learned, elegant, and occasionally impressed with feeling; while his _tone_ was firm and even. Geminiani, who was well acquainted with it, used expressively to compare it with that of a sweet trumpet. One of those who heard him perform, has stated that, during the whole time, his countenance was distorted, his eyes were as red as fire, and his eye-balls rolled as if he were in agony. This was the enthusiasm of genius—the influence of the “præsens divus,” Apollo—the exalted state so well characterized by the poet’s exclamation, “Est Deus in nobis—agitante calescimus illo!” About the year 1690, the Opera had arrived at a flourishing state in Rome, and Corelli led the band as principal Violin[15]. It was not till ten years after this date, that he published his _Solos_,[16] the work by which he acquired the greatest reputation during his life-time, and to which, in its established character of a text-book for students, the largest share of attention on the whole has been directed. It was the fifth in the series of his publications, and was issued at Rome under the following title:—“Sonate a Violini e Violone o Cimbalo: Opera Quinta, Parte prima, Parte seconda: Preludii, Allemande, Correnti, Gighe, Sarabande, Gavotte, e Follia.” This work was dedicated to Sophia Charlotte, Electress of Brandenburgh; and it was these Solo Sonatas that the author himself was accustomed to perform on particular occasions.