nd 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 the selection of the _form_ of his
instruments. In them we miss the harmony of outline belonging to those
of Gasparo, particularly as relates to his Double Basses. Gasparo's
Violins are less harmonious in design, and evince his unsettled views
as to the form they should take; a perfectly natural circumstance when
the infantile state of the Violin in his day is considered. The
outline of Maggini is broad, but lacks the classic symmetry of the
rare old Brescian maker. The form is flat, and the means which he
adopted in order to obtain a full and telling tone were very complete.
The sides are frequently shallow, and in accordance with the outline.
With others who followed him, he evidently recognised the necessity of
reducing the height of the sides in proportion to the dimensions of
the instrument. The sound-hole is long and pointed, and admirably set
in the instrument. The scroll is primitive, but boldly cut, and
clearly marks an onward step from the somewhat crude production of
Gasparo, the back of which is not grooved, or but slightly. Maggini's
varnish is of brown or yellow colour, and of good quality. The
instruments covered with the brown varnish are often without any
device on their backs, and seldom have two rows of purfling. De
Beriot, the famous Belgian Violinist, used one of Maggini's Violins,
and, in consequence, their value was much increased.[12]

[Footnote 12: The genuine labels are undated, as in the case of his
master, Gasparo da Salo.]

MALER, Laux, Bologna, about 1450. Maker of Lutes. Maler appears to
have been regarded by Lutinists as the Stradivari of Lutes. Thomas
Mace informs us in his "Musick's Monument," 1676, they were sold for
as much as one hundred pounds each, though often "pittiful, old,
batter'd, crack'd things." He tells us he has "often seen Lutes of
three or four pounds price far more illustrious and taking to a common
eye." History repeats itself at every turn. The uneducated eye of
to-day is equally apt to regard a Mirecourt or Bavarian copy with as
much favour as a genuine Cremona. Mace proceeds to instruct the
"common eye." "First, know that an old Lute is better than a new one."
Thus also with Viols: "We chiefly value old instruments before new;
for by experience they are found