manner.
A French merchant (M. Livron) lent him the instrument to play upon at
a concert at Leghorn. When the concert had concluded, Paganini brought
it back to its owner, when M. Livron exclaimed, "Never will I profane
strings which your fingers have touched; that instrument is yours." A
more fitting present or higher compliment could not have been offered.
The names of Amati and Stradivari became familiar to the musical world
gradually, but Guarneri, in the hands of a Paganini, came forth at a
bound. This illustrious Violin was often credited with the charm which
belonged to the performer; the magical effects and sublime strains
that he drew forth from it must, it was thought, rest in the Violin.
Every would-be Violinist, whose means permitted him to indulge in the
luxury, endeavoured to secure an instrument by the great Guarneri. The
demand thus raised brought forth those gems of the Violin-maker's art,
now in the possession of wealthy amateurs and a few professors. When
the various works of the gifted Guarneri were brought to light, much
surprise was felt that such 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 connoisseurs 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.

Attention was claimed for the works of Maggini by the charming Belgian
Violinist, Charles de Beriot, who, early admiri