Luigi Tarisio died in October, 1854. Three months later, upon the news being communicated to M. Vuillaume, of Paris, he soon set out for Milan, and had the good fortune to secure the whole of the collection, at a price which left him a handsome profit upon the transaction, besides the pleasurable feeling of becoming the possessor of such a varied and remarkable number of instruments. Having given the reader all the information I have been able to collect concerning Tarisio, I will only add that he had advantages over all other connoisseurs, inasmuch as he found the instruments mostly in their primitive condition, and free from any tampering as regards the labels within them. He was thus enabled to learn the characteristics of each without fear of confusion. The days of taking out the labels of unmarketable names and substituting marketable counterfeits had not arrived. The principal buyers of Italian instruments on the Continent, when dealing in this class of property was in its infancy, were Aldric, MM. Chanot senior, Thibout, Gand, Vuillaume of Paris, and Vuillaume of Brussels. In London, among others, were Davis, Betts, Corsby, and John Hart. There is yet another, the omission of whose name would be a blemish in any notice of the Violin and its connoisseurs. I refer to Mr. Charles Reade, the novelist, who in early life took the highest interest in old Italian Violins. We are indebted to him in a great measure for bringing into this country many of the most beautiful specimens we possess. Impressed with the charms of the subject, he visited the Continent for the pleasure it afforded him of bringing together choice specimens, and thus opened up the intercourse between England and the Continent for the interchange of old Violins which continues to this day. It would be difficult to find an instance where the intricacies of the subject were so quickly mastered as in his case. Without assistance, but solely from his own observation, he gained a knowledge which enabled him to place himself beside the Chief Continental connoisseurs, and compete for the ownership of Cremonese masterpieces. These were the men who laid bare the treasures of Cremona's workshops, and spread far and wide love and admiration for the fine old works. Connoisseurship such as theirs is rare. To a keen eye was united intense love of the art, patience, energy, and memory of no ordinary kind, all of them attributes requisite to make a successful judge of Violins.