The music itself was of a kind perfectly adapted to the nature of the malady, and it made so deep an impression on the Italians, that even to the present time, long since the extinction of the disorder, they have retained the Tarantella, as a particular species of music employed for quick lively dancing. The different kinds of Tarantella were distinguished, very significantly, by particular names, which had reference to the moods observed in the patients. Whence it appears that they aimed at representing by these tunes, even the idiosyncracies of the mind as expressed in the countenance. Thus there was one kind of Tarantella which was called “Panno rosso,” a very lively impassioned style of music, to which wild dithyrambic songs were adapted; another, called “Panno verde,” which was suited to the milder excitement of the senses, caused by green colours, and set to Idyllian songs of verdant fields and shady groves. A third was named “Cinque tempi:” a fourth “Moresca,” which was played to a Moorish dance; a fifth, “Catena” and a sixth, with a very appropriate designation, “Spallata,” as if it were only fit to be played to dancers who were lame in the shoulder. This was the slowest and least in vogue of all[282]. For those who loved water they took care to select love songs, which were sung to corresponding music, and such persons delighted in hearing of gushing springs and rushing cascades and streams[283]. It is to be regretted that on this subject we are unable to give any further information, for only small fragments of songs, and a very few Tarantellas, have been preserved, which belong to a period so remote as the beginning of the seventeenth, or at furthest the end of the sixteenth century[284].