Books › Violin tone and violin makers, 1916 › scan 230
Scan 230
Violin tone and violin makers, 1916
10 lines. Read by computer on 3 September 2026. Printed page 208. See the scan on archive.org.
1VIOLIN TONE
3period, in which the build is somewhat higher, and there is a "pronounced raised border" running round the edges. The labels are undated, and placed near the centre of the instrument, instead of directly under the sound-hole. The tone of his best violins is superb, but a little deficient in brilliancy in the upper register. Genuine Maggini work is scarce, but imitations of it abound. One of the cleverest imitators was Bernhard Fendt, several of whose double-basses have passed as Magginis. Violas of unquestioned authenticity do not exceed about a dozen in number. They are more arched than the fiddles and the sound-holes set somewhat high. Nearly all the existing specimens have been reduced in size. Only two or three genuine violoncellos appear to be known. Of double-basses and instruments of the violone class it is difficult to speak with certainty. A small chamber bass, erroneously assigned to da Salò, was in the possession of Mr. T. W. Bourne a few years ago, and a fine example of large size is, or was recently, in Stockholm. Much of the work of this class formerly assigned in this country to Maggini is now recognised as English, Fendt and one or two others being the authors of it. Of Maggini's two sons, one died in infancy, and the other, Pietro, was not a violin maker. The older books mention a Pietro Santo Maggini, but his existence as a maker is nowadays discredited.
5MAIRE, NICHOLAS.—Paris. Died 1878. A good bow-maker.
7MALDONER, JOHANN STEPHAN.—Füssen; eighteenth century. Mediocre work, often worm-eaten. Used a label with an ornamental border.
9MALINE.—Paris; worked to about 1850 or later. A clever bow-maker. Worked at one time for
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