ere
and there, Fiddles hung around the walls, others dangling from the
ceiling, Fiddle-backs, Fiddle-heads, and bellies in pigeon-holes;
three Double-Basses tied to the wall, covered with sacking. This was
the sight that met the gaze of the authorities. Little did they
imagine they were surrounded with gems no money would have bought from
their late eccentric owner. Here were some half-dozen Stradivari
Violins, Tenors, and Violoncellos, the chamber Gasparo da Salo
Double-Bass now in the possession of Mr. Bennett, and the Ruggeri now
belonging to Mr. J. R. Bridson, besides upwards of one hundred Italian
instruments of various makers, and others of different nationalities.
All these were passed over by the visitors as so much rubbish in their
search for something more marketable. At last they alighted on a
packet of valuable securities together with a considerable amount of
gold. A seal was placed upon the apartment, pending inquiries as to
the whereabouts of the dead man's relatives. In due time, some nephews
came forth and laid claim to the goods and chattels of the Italian
Fiddle connoisseur.

[Footnote 2: The house is now turned, with those adjoining, into a
manufactory. When Luigi Tarisio lived there it was a small restaurant,
similar to those seen in the side streets of Soho.]

Luigi Tarisio died in October, 1854. Three months later, upon the news
being communicated to M. Vuillaume, of Paris, he soon set out for
Milan, and had the good fortune to secure the whole of the collection,
at a price which left him a handsome profit upon the transaction,
besides the pleasurable feeling of becoming the possessor of such a
varied and remarkable number of instruments.

Having given the reader all the information I have been able to
collect concerning Tarisio, I will only add that he had advantages
over all other connoisseurs, inasmuch as he found the instruments
mostly in their primitive condition, and free from any tampering as
regards the labels within them. He was thus enabled to learn the
characteristics of each without fear of confusion. The days of taking
out the labels of unmarketable names and substituting marketable
counterfeits had not arrived.

The principal buyers of Italian instruments on the Continent, when
dealing in this class of property was in its infancy, were Aldric, MM.
Chanot senior, Thibout, Gand, Vuillaume of Paris, and Vuillaume of
Brussels. In London, among others, were Davis, Betts, Corsby, and