g to show
their high appreciation of his worth, presented the youthful player
with a magnificent Contra-Bass, by Gasparo da Salo, which had been
made expressly for the chapel orchestra of the convent of St. Peter,
by the famous Brescian maker.

Upon an eventful night, the inmates of the monastery retired to rest,
when they were awakened by deep rumbling and surging sounds. Unable to
find repose while these noises rent the air, they decided to visit the
chapel; and the nearer they got to it the louder the sounds became.
Regarding each other with looks of mingled fear and curiosity, they
reached the chapel, opened the door, and there stood the innocent
cause of their fright, Domenico Dragonetti, immersed in the
performance of some gigantic passage, of a range extending from the
nut to the bridge, on his newly-acquired Gasparo. The monks stood
regarding the performer in amazement, possibly mistaking him for a
second appearance of the original of Tartini's "Sonata del Diavolo,"
his Satanic Majesty having substituted the Contra-Basso for the
Violin. Upon this instrument Dragonetti played at his chief concert
engagements, and though frequently importuned to sell it by his
numerous admirers, declined to do so; in fact, though for the last few
years of his life he gave up public performance, he resolutely refused
most tempting offers for his treasure--800 pounds, to use an
auctioneer's phrase, "having been offered in two places," and
respectfully declined. In his youthful days he decided that his
cherished Gasparo should return to the place from whence he obtained
it, the Monastery of San Marco, and this wish was accordingly
fulfilled by his executors in the year 1846. The occasion was one of
much interest; it was felt by Dragonetti's friends and admirers that
to consign the instrument upon which he had so often astonished and
delighted them with the magic tones he drew from it, to the care of
those who possibly knew nothing of its merits, was matter for regret.

Being desirous of furnishing the reader with all the information
possible relative to Signor Dragonetti's instrument I communicated
with Mr. Samuel Appleby, who was his legal adviser, and probably
better acquainted with him than any other person in this country. He
very kindly sent me the following particulars, which are
interesting:--

"BRIGHTON, _July_ 2, 1875.

"MY DEAR SIR,--

"Your letter of yesterday needs no apology, as it will afford me
pleasure at any