"This ideal specimen of Maggini's powers is most remarkable in every way. The model is of his finest and most characteristic
type. It springs upwards at once from the inner line of purfling, and the degree and character of the arching are what we now recognise as the best possible for tone -- especially for great volume of tone. At every point the powerful forms of the modelling are felt to be suitable embodiments of the great volume and solidity of tone so pre-eminently characteristic of Maggini.
Such is the startling newness and novelty of appearance of this violin, seeing that the majority of violin lovers associate Maggini with darkness of colour, crudeness of style, and the ravages of time, that many have said -- " it must be a modern copy "; and some
persons, such was their ignorance of the capabilities of Maggini, have not hesitated to declare it was a copy made by Stradivari or some other contemporary Italian maker."
Gio: Paolo Maggini: His Life and Work, Margaret L.Huggins, Margaret L.Huggins, Gio: Paolo Maggini: His Life & Work, London
"The Dumas is not the only Maggini violin that science has shown to be by a later maker. John
Topham fi nds only two instruments whose tree-ring sequences significantly cross-match with the
Dumas: another violin formerly attributed to Maggini and a violin by Pietro Guarneri of Mantua,
possibly made in 1698. This lends credence to the intriguing possibility mentioned by Tim Ingles
(in Four Centuries of Violin Making) of another maker, as yet unidentified, following Maggini’s style
Mr Black's Violins: The extraordinary obsession of Gerald Segelman, Andrew Hooker, Mr Black's Violins: The extraordinary obsession of Gerald Segelman, Boston