ers hitherto unknown to him became familiar. When he met
with instruments apparently beyond the repairer's skill, he would make
tempting offers of purchase, which were often accepted. Having
accumulated many instruments of a high order during these journeys, he
began to consider the best means of disposing of them. He decided upon
visiting Paris. He took with him the Violins he valued least,
resolving to make himself acquainted with the Parisian Fiddle market
before bringing forth his treasures. It is said that he undertook his
journey on foot, depriving himself often of the common necessaries of
life, that he might have more money to buy up his country's Fiddles.
His first visit to Paris was in 1827, an eventful year in the history
of Italian Violins, as far as relates to Paris. Upon arriving in the
French capital, he directed his steps to the nearest luthier, one
Aldric, to whom he had been recommended as a purchaser of old
instruments of high value. Upon arriving at the shop of M. Aldric,
Tarisio hesitated before entering, feeling suddenly that his
appearance was scarcely in keeping with his wares, his clothes being
of the shabbiest description, his boots nearly soleless, and his
complexion, naturally inclined to blackness, further darkened by the
need of ordinary ablutions. However, he set aside these thoughts, and
introduced himself to the luthier as having some Cremona Violins for
sale. Aldric regarded him half-contemptuously, and with a silent
intent to convey to Tarisio that he heard what he said, but did not
believe it. The Italian, to the astonishment of the luthier, was not
long in verifying his statement; he opened his bag and brought forth a
beautiful Niccolo Amati, of the small pattern, in fine preservation,
but having neither finger-board, strings, nor fittings of any kind.
The countenance of the luthier brightened when he beheld this
unexpected specimen of the Italian's wares. He carefully examined it,
and did his best to disguise the pleasurable feelings he experienced.
He demanded the price. The value set on it was far in excess of that
he had anticipated; he erroneously arrived at the probable cost from
an estimate of the shabby appearance of the man. He had been
comforting himself that the Italian was unaware of the value put upon
such instruments. He decided to see further the contents of the bag
before expressing an opinion as to the price demanded for the Amati.
Violins by Maggini, Ruggeri, and oth