Books › Old violins and violin lore, 1900 › scan 42
Scan 42
Old violins and violin lore, 1900
10 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1VIOLINS AT BRESCIA
3brown into orange and golden yellow, as luscious as anything to be found in a Joseph or a Strad.
5Although Maggini adhered to his double purfling, there are specimens of his work in exhibitions without it; and at least one curiously but not carelessly made instrument is known where the purfling at the back is neither double nor even inlaid, but merely drawn sharply in black lines. A very fine single-purfled violin, formerly in the collection of Prince Caraman Chimay, now in the possession of Mr. Antonietti, possesses an unrivalled tone of the Maggini timbre. Many of his violins retain the old taste for other inlaid ornamentation. He does not run into maps and portraits, but a graceful clover-leaf pattern is often found at top and bottom of his backs, twisted, as it were, out of the purfling, and a sixfold trefoil sometimes occupies the centre of the back; but an acute observer has noted that there is no instance of the central trefoil combined with the clover-leaf pattern.
7Not less remarkable than this great maker's definition of the violin and viola types was his conception of the violoncello. The Maggini 'cello is not the son of the double-bass, but the father of the tenor. It is much more like a large tenor than like a small double-bass; the proportions are, as it were, enlarged from the tenor, not reduced from the flat-backed bass. Maggini's bent was entirely in the direction of the smaller violoncello pattern.
9The early and even the later Cremona 'cellos were too large, and there is very little doubt that the
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