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," 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.
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 idiosyncrasies 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.