Panormo furnishes us with another example of the certain appreciation, sooner or later, of exceptional talents. No matter how trifling the circumstances under which gifted men have laboured, some time or other their genius is discovered, and acknowledged with its due award, if not of fortune, at least of fame. The peculiar circumstances under which Panormo lived would have been sufficient in the case of most men to dwarf all efforts. Unable to obtain readily that patronage to which his abilities justly entitled him, he removed from city to city, hoping to discover a resting-place, in which favour might attend his art. No doubt this was a mistaken course, and one which robbed his work of the attention which a mind undisturbed by the care of existence can bestow; nevertheless his natural gifts had a vitality that could not entirely be suppressed. He worked and toiled for his art and for bare sustenance alternately. His life, like that of many others in the paths of literature and science, was a continued battle with adversity. Such persons are forced to satisfy daily wants by slaving at work which brings them but little credit in after time, and becomes a standard by which they are too often erroneously judged. Vincenzo Panormo was the slave of many, manufacturing Double Basses and other instruments from the material selected and purchased by his temporary employer, ofttimes compelled to carry out some crotchet of the patron much against his own wishes. The wood thus forced upon him was often of the worst description; and, in addition, he was frequently obliged to complete his work within a given time. Instruments manufactured under such conditions can scarcely, it may be supposed, add to their maker's reputation. We cannot but regret that he should have been obliged to waste himself on such poor materials. Fortunately, however, in some cases he found time to exercise his skilful powers to their full extent, and has thus bequeathed to us some of the finest specimens of the copyist's art. His workmanship is of a lighter description than that of Lupot, and is therefore more graceful. The sound-hole is admirably cut, and the scroll also well carved. PANSANI, Antonio, Rome, 1735. PASTA, Antonio, Brescia, 1700-1730. Good work. Model a little high; varnish of soft quality. PASTA, Domenico, Brescia, about 1700. PAZZINI, Gaetano, Florence, about 1630, pupil of Maggini. PICINO, Padua, 1712. High model; dark varnish. PLATNER, Michel, Rome, about 1750. The instruments of this maker resemble those of Tecchler, both in workmanship and varnish. Michael Platner fecit Romae anno 17-- POLLUSCA, Antonio, Rome, about 1751. POSTIGLIONE, Vincenzo, Naples, contemporary. PRESSENDA, Giovanni Francesco, Turin. Joannes Franciscus Pressenda q. Raphael fecit Taurini Anno Domini 1826.