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Scan 89
The Hawley Collection of violins, 1904
6 lines. Read by computer on 3 September 2026. Printed page 53. See the scan on archive.org.
1GIOVANNI PAOLO MAGGINI. THE HAWLEY MAGGINI
3prenticed to a local lute-maker. There were many in that city and the calling was both honorable and profitable. He made many violas and basses, which even to-day are among the best in existence, and betimes was busy planning a smaller instrument of the kind which would meet the growing necessity of the times. Gradually it took the shape in his mind; and the productions of his skill meeting the approval of his immediate patrons, the building of violins soon assumed the proportions of a lusty growing industry. As a violin-maker, Gasparo's chief claim for fame rests on the tone of his instruments; in fact tone formed the desideratum with him, the perfection of workmanship being a matter of small concern. It is fortunate for posterity that Gasparo placed the soul above the body. His influence, felt through his pupil, has been lasting, and had he not given himself up to the study of what constituted the best in violin tone, the development of the violin, and that of the art of playing it, would have been delayed perhaps indefinitely. In the chapter upon the Goding Amati, we have shown how Andrea Amati's adoption of a high model postponed for so many years the broad, flat pattern violin in Cremona. Gasparo's violins are an exceeding rarity. It is estimated that not more than thirty are in existence. They are of two types—high and low arching, the former being no doubt earlier than the latter, and more closely related to the lute family. If Andrea Amati came under Gasparo's influence, it was at an early date; hence his model. Maggini more fortunately came in the latter period, hence also many of his characteristics. That Gasparo did not achieve success until after extensive thought and experimenting, is certain. Gladstone says, "Even the locomotive is not a greater marvel of mechanism than the violin." In some details of construction Gasparo advanced to a high state, for he gave his instruments a coating of lovely varnish, so lasting that it remains to-day in good condition. The sound holes of great length are one of his chief characteristics. While odd, they are clearly in keeping with the outline and general character of the instrument. His scroll is also unique. The peg box is very long and the fluting executed in a primitive fashion. The length of the peg box of the violin gradually became shorter and assumed proper proportions in Maggini's later work. Gasparo's violas are unrivaled for their richness of tone, and in quartet playing nothing can be richer or more beautiful. He cut both his tops and backs on the slab, which is one reason for their somber tone quality. He left the violin as regards its interior construction, i. e., blocks, linings, etc., in a primitive state, and it remained for Maggini to take up and carry to completion the grand work made possible by his discoveries. While documentary evidence was not needed to prove the connection between Gasparo and Maggini as master and pupil, that interesting fact was established by Messrs. Hill, by the discovery of a legal document dated 1602 to which Maggini signs himself as witness, declaring himself an apprentice of Gasparo and twenty-one years of age. Just when the death of Gasparo occurred does not appear, but it is thought to have occurred while Maggini was still in the early twenties, and possibly as early as 1610.
5In the year 1615, on January 20th, Maggini married Maddalena Anna Foresto, he being thirty-four and she nineteen years of age. His wife was possessed of a considerable dowry, a fact which is shown by a receipt signed by her a few days after her marriage. By this time Maggini had thoroughly established himself in business and, to judge by the income tax return for the year 1617, was fairly well to do. He owned the house in which he lived and another he had formerly occupied, and, in
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