This maker had a nephew also called Pietro, who worked at Mantua from about 1725 to 1740, and subsequently in Venice till about 1755. He was a pupil of his uncle, but his work is less esteemed. LANDOLPHUS, CARLO, Milan, 1750-1775, reputed pupil of Guarnerius. This maker was decidedly original in his pattern. Although his instruments are not characteristic of great beauty as regards outline, they possess a very pleasing tone. He is one of the last of the old Italian school, consequently his instruments are rapidly increasing in value. The most striking point observable in his work is the extremely weak and small scroll. He left a number of instruments unpurfled and otherwise in an unfinished state. Those with the light red varnish are considered the best. He also made some violoncellos of small size. Ticket: [Illustration: Carolus Ferdinandus Landulphus Fecit Mediolani in Via St. Margaritae Anno 1755.] MAGGINI, GIOVANNI PAOLO, born 1580, died about 1640. This distinguished maker is the second representative of the Brescian school, and reputed pupil of Gasparo da Salo. According to recent researches, Maggini was born in Botticino Sera, a small village not far from Brescia. Maggini’s instruments are in general of large pattern; their proportions are similar to those of Gasparo da Salo, and the style of workmanship almost identical. The swell or arching is decided, and reaches almost to the edges. The sides or ribs are narrow; the bellies very strong and of good quality, the backs generally thin, with the wood cut on the layers. The varnish, which is remarkable for its delicacy, is of a yellowish light brown colour; sometimes, however, he used a brownish red varnish. In either case it is of excellent quality. The extended dimensions, and the proportion of the arching relative to the various thicknesses of the wood, impart to most of these instruments a superb, grave and melancholy tone. Another characteristic of this master’s productions is found in his ornamentation. He generally affected a double row of purfling and various other decorations, and although Maggini was not alone in this respect, he appears to be the last maker who relinquished the practice of introducing any ornate addition, which, anterior to his period, was considered so essential to the finish of an instrument. Maggini is credited with being the first maker who paid any real attention to the inside of the instrument, having, it is said, introduced the side linings and corner blocks, which have ever since been a _sine qua non_ of construction. De Beriot, the great violinist, was an admirer of Maggini’s violins. Tickets of this celebrated maker are not dated. The following is a copy of one: [Illustration: Paolo Maggini in Brescia]