, it is surprising that so much has been achieved in such
a brief space of time. The knowledge of Italian works in 1800 was of
the slenderest kind, both in France and England; in less than
three-quarters of a century those countries contrived to possess
themselves of the finest specimens of Cremonese instruments, together
with those of other Italian schools. We here have an example of the
energy and skill that is brought to bear upon particular branches of
industry when once a demand sets in. Men of enterprise rise with it
unnoticed, and lead the way to the desired end. In the case of Italian
Violins it was Luigi Tarisio who acted as pioneer--a being of singular
habits, whose position in the history of the Violin, considered as a
curiosity, is an important one. This remarkable man was born of humble
parents, wholly unconnected with the musical art. In due time he chose
the trade of a carpenter, which vocation he followed with assiduity,
if not with love. He amused himself during his leisure hours in
acquiring a knowledge of playing on the Violin--an accomplishment that
was destined to exercise an influence on his future life, far greater
than was ever contemplated by the young carpenter. That his playing
was not of a high order may be readily imagined: it was confined
chiefly to dance-music, with which he amused his friends, Fiddling to
their dancing. His first Violin was a very common instrument, but it
served to engender within him that which afterwards became the ruling
passion of his life. His study of this little instrument was the seed
from which grew his vast knowledge of Italian works. So much was his
attention absorbed by the form of the instrument that any skill in
playing upon it became quite a secondary consideration. He endeavoured
to see all the Violins within his reach, and to observe their several
points of difference. The passion for old Violins, thus awakened,
caused him to relinquish his former employment entirely, and to devote
the whole of his attention to the art which he so loved. He soon
became aware of the growing demand for Italian works, and felt that,
possessed with a varied and proficient knowledge of the different
styles of workmanship belonging to the Italian schools of
Violin-making, he could turn his present acquirements to a profitable
as well as pleasurable use. He resolved to journey in search of hidden
Cremonas. His means were, indeed, very limited. His stock-in-trade
consisted only o