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Scan 71
A dictionary of violin makers
16 lines. Read by computer on 3 September 2026. Printed page 61. See the scan on archive.org.
1also a very fine violin, which though double-purflled on the belly, has only imitated purfling on the back, the double line being drawn in with pencil or ink. The large size of his violins makes the sides appear low, but at the neck-end their height is almost identical with that of Amati violins and some of Stradivari, though at the tail-pin end they are about one-sixteenth of an inch lower. The great length and breadth necessitated relatively low sides, and Maggini obtained exactly the right proportions for producing that great volume of tone, so full and mellow, for which his violins are famed; their size prevented their general use, but De Beriot, the great violinist, played constantly on a magnificent specimen, which eventually was sold for £600, and is now in the Collection of Prince de Caraman-Chimay, as well as a viola and a violoncello made by Maggini. As a rule Maggini violins are worth about £100. His violas are of very high model, the arching rises from the inner line of purfling, for the latter is, as usual; double; the border is high, and the sides are set close to the edges of the back and belly, leaving but little margin; the corners are short; the sound-holes, placed higher than in the violins, are short, wide, very upright, and undercut on the inner edge. The wood is most excellent, the varnish of very fine quality and a rich golden-brown colour; the tone is very fine. His violoncellos are made on exactly the same pattern, the sound-holes placed rather high, the sides made rather low. Stradivari learnt much from him, both in the making of violins and of violoncellos; the latter have almost the same proportions. Giuseppe Guarneri was another maker on whom his work exercised a strong influence. The amount of work done by Maggini was comparatively small, probably about fifty of his instruments are now existing; only seven or eight violas, two violoncellos, and one double-bass are known, the latter of very small size and of poor workmanship. He probably made some viols as well. In England only twelve violins, six or seven violas, and one violoncello are known. The label used is: "Gio: Paolo Maggini in Brescia." It is never dated, a fact which often helps to expose a forgery. Maggini married Maddalena Anna Foresto on Jan. 20, 1615, and lived in the Contrada del Palazzo Vecchio del Podesta; by 1626 he had also a house and shop in Contrada delle Bombasarie. His only surviving son, Carlo Francesco, became a silk merchant, and his son Pietro died in his infancy, so that there seems to be absolutely no ground for the statement that his son, Pietro, or Pietro Santo, was also a violin maker, especially as no violin, viola, or violoncello is known made by any other Maggini than the great Gio: Paolo.
3Maire, Nicolas. A violin bow maker in Paris; b. Dec. 28, 1800, in Mirecourt; d. July 17, 1878, Paris. Was apprenticed to Jacques Lafleur in Paris, and continued to work there in rue Montmartre. He made excellent bows.
5Maldonner (Moldonner). A maker in Füssen, Bavaria, about 1760.
7Maler (Maller), Laux. A maker of lutes in Bologna about 1415, mentioned by Mace in "Musick's Monument" (London, 1676). He says, "There are diversities of Men's Names in lutes; but the Chief Name we most esteem is Laux Maller, ever written with Text Letters: Two of which Lutes I have seen (pittifull Old, Batter'd, Crack'd Things) valued at £100 a piece. Mr. Gootiere, the famous Lutenist in His Time, shewed me One of Them, which the King paid £100 for. And Mr. Edw. Jones (one of Mr. Gootiere's scholars) had the other, which He so valued; and made a Bargain with a Merchant, who desired to have it with him in His Travels, (for his Experience); And if he lik'd It when he returned was to give Mr. Jones £100 for it; but if he Refus'd it at the Price set, he was to return the Lute safe, and to pay £20 for His Experience and Use of It, for that Journey. I have often seen Lutes of three or four pounds, far more Illustrious and Taking to a common Eye . . . observe the Colour; which is the Dark-black-reddish-colour; though I believe it contributes nothing at all to the sound; only the Best Authors did use to lay on That Colour, especially Laux Maller."
9Maler, Sigismond. A maker of lutes in Venice in 1526.
11Mann, Hans. A maker in Naples about 1720-50. His instruments are rare. He followed the Stradivari and Guarneri patterns.
13Mansiedl. See "Maussiell."
15Mantegazza (or Montegatia), Pietro and Giovanni. Two brothers working in Milan about 1750 to 1800. They
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