Scan 316
The violin, its famous makers and their imitators, 1887
4 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1such treasures should have been known to such 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 connoisseur of those days had associated Giuseppe Guarneri with Violins 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 Guarneri, one evidencing an artistic grandeur, together with a high finish, but little inferior to those of Antonio Stradivari. The marked difference between these epochs of Guarneri's manufacture has led to a great amount of misconception. Fifty 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 the various instruments of the several epochs of Guarneri 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 Stradivari.
3Attention was claimed for the works of Maggini by the charming Belgian Violinist, Charles de Bériot, who, early admiring the large proportions and powerful tone of Maggini's instruments, 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 con-
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