All these modes of relief, however, were as nothing in comparison with the irresistible charms of musical sound. Attempts had indeed been made in ancient times to mitigate the pain of sciatica[275], or the paroxysms of mania[276], by the soft melody of the flute, and, what is still more applicable to the present purpose, to remove the danger arising from the bite of vipers[277] by the same means. This, however, was tried only to a very small extent. But after being bitten by the Tarantula, there was, according to popular opinion, no way of saving life except by music, and it was hardly considered as an exception to the general rule, that every now and then the bad effects of a wound were prevented by placing a ligature on the bitten limb, or by internal medicine, or that strong persons occasionally withstood the effects of the poison, without the employment of any remedies at all[278]. It was much more common, and is quite in accordance with the nature of so exquisite a nervous disease, to hear accounts of many, who, when bitten by the Tarantula, perished miserably because the Tarantella, which would have afforded them deliverance, was not played to them[279]. It was customary, therefore, so early as the commencement of the seventeenth century, for whole bands of musicians to traverse Italy during the summer months, and, what is quite unexampled either in ancient or modern times, the cure of the _Tarantati_ in the different towns and villages was undertaken on a grand scale. This season of dancing and music was called “the women’s little carnival,”[280] for it was women more especially who conducted the arrangements; so that throughout the whole country they saved up their spare money, for the purpose of rewarding the welcome musicians, and many of them neglected their household employments to participate in this festival of the sick. Mention is even made of one benevolent lady (Mita Lupa) who had expended her whole fortune on this object[281].