Stradivarius violoncello was a still further attraction, especially as he could play on it whenever he felt inclined. He used to care for it like a child, and at length, on a memorable day in the year 1867, he was at the Colonel’s house, occupied in comparing the Stradivarius’ merits with that of a violoncello by the brothers Amati and another by Montagnana, when Colonel Oliver suddenly inquired--“Which do you prefer?” Piatti at once indicated the Stradivarius without hesitation. His astonishment and embarrassment were unbounded when in reply to this conclusion, the Colonel said laconically: “Take it home then!” But nothing would induce the simple-minded _virtuoso_ to accept the Colonel’s offer, and after thanking him, he left the house hurriedly, fearing that his great longing for the violoncello might make his refusal “tremble in the scale.” Scarcely had he arrived home, however, when the violoncello was brought to his door, and from that day to his death remained with him always. It was on this grand Stradivarius that Piatti delighted audiences week after week, and month after month, at the Saturday and Monday Popular Concerts, (now, alas!--be it said to our shame--dwindled out of existence for want of support) and it was on New Year’s day, 1901--six months before his death--that he played his _Swan Song_ (the “Danza Moresca”) before a party of friends at his daughter’s house, with all his accustomed skill and brilliancy. Although it is not part of our subject here to detail the lives of violoncello players, yet we cannot leave this artist, so beloved in England, without mentioning the touching tribute to his memory, which is celebrated annually by his resting-place, in the private chapel of the Lochis family. The funeral, which was a public one, attended by the Prefect, the Mayor, and representatives of the leading Musical Societies of his native town of Bergamo, took place on the 22rd of July 1901. In spite of the tempestuous weather, hundreds of townsfolk and people from the neighbouring provinces turned out to do homage to their esteemed countryman. Four professors, from the Music School at Bergamo, played the Andante from Schubert’s Quartet in D minor, according to the last wishes expressed by Piatti, and a week later again visited the Lochis Chapel, where they made a solemn compact to meet each year, and perform the same Andante on the anniversary of the master’s death. Thus is the memory of the great artist, whose lovable nature made him a boon companion and cherished friend, reverently preserved.