His second set of Solos (admired more than practised, and practised more than performed) was printed in 1739: and his third set of Concertos (laboured, difficult and fantastic), in the year 1741. Soon after this, he published his long-promised, and once impatiently-expected work, entitled “_Lo Dizionario Armonico_.” In this work, after giving due commendation to Lully, Corelli and Bononcini, as having been the first improvers of instrumental music, he endeavours to refute the idea, that the vast foundations of universal harmony can be established upon the narrow and confined modulation of these authors; and makes many remarks on the uniformity of modulation apparent in the compositions that had appeared in different parts of Europe for several years previously. This didactic production possessed many recommendatory qualities; many combinations, modulations and cadences, calculated to create, and to advance the science and taste of a _tyro_; but it appeared too late. Indolence had suffered the influence of his name to diminish, and his style and ideas (new as, in some respects, they were) to be superseded by the more fashionable manner, and more novel conceptions, of fresh candidates for favour and fame. This work was succeeded by his “_Treatise on Good Taste_,” and his “_Rules for playing in Good Taste_;” and, in 1748, he brought forward his “_Art of Playing on the Violin_;” at that time a highly useful work, and superior to any similar publication extant. It contained the most minute directions for holding the instrument, and for the use of the bow; as well as the graces, the various shifts of the hand, and a great number of applicable examples. About 1756, Geminiani was struck with a most curious and fantastic idea; that of a piece, the performance of which should represent to the imagination all the events in the episode of the thirteenth book of Tasso’s Jerusalem. It is needless to say, that the chimera was too extravagant, of attempting to narrate and instruct, describe and inform, by the vague medium of instrumental sounds. Musical sounds may possibly, according to a conjecture sometimes entertained, constitute the language of heaven; but as we, on earth, are possessed of no _key_ to their meaning in that capacity, we must be content to employ, for our purposes of intercommunion, the _articulate_, which alone is, to us, the _definite_.