The twelve ‘Cambridge’ sonatas, presented to Cardinal Ottoboni, represent the ‘late’, galant Bitti, full of lovingly sculpted ornamental detail for the violin but with the same resourceful harmony and perfectly proportioned forms as before. The twelfth sonata, in four movements, makes a fitting climax to the set. Its first movement (Vivace) is somewhat corrente-like, with delicately traced passage-work. The Andante that follows is distinguished by some interesting harmonic turns. An extended gavotte-like theme with two captivating variations makes up the third movement. The sonata ends with a type of movement especially dear to Bitti: a giga.