Scan 292
The violin: its famous makers and their imitators, 1875
4 lines. Read by computer on 1 October 2026. No printed page number was found. See the scan on archive.org.
1now in the possession of wealthy amateurs and a few professors. When the various works of the gifted Guarnerius were brought to light, much surprise was felt that such treasures should have been known only to a handful of obscure players, chiefly in the churches of Italy. The Violin used by Paganini belongs to the last period of the great maker, and, consequently, is one of those bold and massive instruments of his grandest conception, but lacks the beautiful finish of the middle period. The connoisseurs of those days had associated Joseph Guarnerius with the Violin of the type of Paganini's only; their surprise was great when it was discovered that there were three distinct styles in the works of Guarnerius, one evidencing an artistic grandeur, together with a high finish, but little inferior to those of Antonius Stradiuarius. The marked difference between these epochs of Guarnerius' manufacture has led to a great amount of misconception. Thirty years since, the world possessed little information on the subject, and the connoisseur of those times could not believe it possible that these varied styles emanated from one mind. The opportunities given to the connoisseur of later days of comparing these various instruments of the several epochs of Guarnerius have set at rest all doubts concerning them. They no longer require dates or labels; they are as easily distinguished and classed as the works of Amati or Stradiuarius.
3Attention was claimed for the works of Maggini by the charming Belgian violinist, Charles de Bériot,
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