Scan 293
The violin: its famous makers and their imitators, 1875
2 lines. Read by computer on 1 October 2026. Printed page 233. See the scan on archive.org.
1who, early admiring the large proportions and powerful tone of Maggini's intruments, decided to use one for public playing. That an artist so refined as de Bériot, and one who attached so much importance to that sympathy between the Violin and player which should make it the vehicle for presenting its master's inward feelings, should have selected a Violin of large size, and adapted for giving forth a great volume of tone, was a matter of surprise to a great many of his contemporaries. Those who judged only from his school of playing anticipated that he would have selected Amati as embodying the qualities he so passionately admired. It is certain, however, that he succeeded in bringing the penetrating power of his Maggini thoroughly under his control. In the instruments of Maggini, de Bériot doubtless recognised the presence of vast power, together with no inconsiderable amount of purity of tone, and to bring forth these qualities to the best advantage was, with him, a labour of love. The popularity of Maggini's Violins rapidly raised their value. Instruments that before de Bériot made them widely known might have been purchased for ten pounds, realized one hundred. The Violin known as "De Bériot's Maggini" remained in his possession till within a short time of his death, when it was disposed of to his friend and patron, the Prince de Chimay, it is said, for the enormous sum of six hundred pounds, a price far in excess of the average value of Maggini's instruments. In this
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