Scan 151
The violin: its famous makers and their imitators, 1875
2 lines. Read by computer on 28 September 2026. Printed page 99. See the scan on archive.org.
1is usually counted as his pupil. There is no authority for this statement beyond the similarity of form to be traced in their respective instruments. No Italian maker is more frequently mistaken than Maggini. Any instrument having ornamentation on the back in the shape of purfled scroll-work is at once said to be by Paul Maggini. Barak Norman, the old English maker, thus comes in for a large share of Maggini's patronage, as also a vast number of early German makers who adopted similar devices; to the real connoisseur, however, there is no difficulty in distinguishing the work. A more pardonable error is the confusing of Gaspard di Salo and Maggini, which is of frequent occurrence. The Double Basses of these two makers have much in common to the eye of the not deeply versed examiner. Maggini, however, was not so successful as his compeer in his selection of the form of the instruments. In them we miss that harmony of outline belonging to the works of Gaspard, particularly as relates to his Double Basses. Gaspard's Violins are less harmonious in design, and evidence his unsettled views as to the form they should take—a perfectly natural circumstance, when the infantile state of the Violin of his day is considered. The outline of Maggini is broad, but lacks the classic symmetry of the rare old Brescian artist. The form of Maggini is flat, and the means which he adopted in order to obtain a full and telling tone were very
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