The bite of venomous spiders, or rather the unreasonable fear of its consequences, excited at such a juncture, though it could not have done so at an earlier period, a violent nervous disorder, which, like St. Vitus’s dance in Germany, spread by sympathy, increasing in severity as it took a wider range, and still further extending its ravages from its long continuance. Thus, from the middle of the fourteenth century, the furies of _the Dance_ brandished their scourge over afflicted mortals; and music, for which the inhabitants of Italy, now probably for the first time, manifested susceptibility and talent, became capable of exciting ecstatic attacks in those affected, and then furnished the magical means of exorcising their melancholy. SECT. 3.—INCREASE. At the close of the fifteenth century we find that Tarantism had spread beyond the boundaries of Apulia, and that the fear of being bitten by venomous spiders had increased. Nothing short of death itself was expected from the wound which these insects inflicted, and if those who were bitten escaped with their lives, they were said to be seen pining away in a desponding state of lassitude. Many became weak-sighted or hard of hearing, some lost the power of speech, and all were insensible to ordinary causes of excitement. Nothing but the flute or the cithern afforded them relief[263]. At the sound of these instruments they awoke as it were by enchantment, opened their eyes, and moving slowly at first, according to the measure of the music, were, as the time quickened, gradually hurried on to the most passionate dance. It was generally observable that country people, who were rude, and ignorant of music, evinced on these occasions an unusual degree of grace, as if they had been well practised in elegant movements of the body; for it is a peculiarity in nervous disorders of this kind, that the organs of motion are in an altered condition, and are completely under the control of the over-strained spirits. Cities and villages alike resounded throughout the summer season with the notes of fifes, clarinets, and Turkish drums; and patients were everywhere to be met with who looked to dancing as their only remedy. Alexander ab Alexandro[264], who gives this account, saw a young man in a remote village who was seized with a violent attack of Tarantism. He listened with eagerness and a fixed stare to the sound of a drum, and his graceful movements gradually became more and more violent, until his dancing was converted into a succession of frantic leaps, which required the utmost exertion of his whole strength. In the midst of this over-strained exertion of mind and body the music suddenly ceased, and he immediately fell powerless to the ground, where he lay senseless and motionless until its magical effect again aroused him to a renewal of his impassioned performances.