Duiffoprugcar, Jehan

As printed

1. A dictionary of violin makers (1896)

   Duiffoprugcar (Duiffoproucart), Jehan, son of Gaspard Duiffoprugcar. Was a maker of lutes about 1570-90 in Lyons.

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   1. his celebrated portrait of him, in which he is represented at the age of 48 years. Gaspard's instruments are rare, and are more valued for their inlaid work and ornamentation than for the quality of their tone. Instruments known are: the famous bass-viol with the plan of Paris inlaid in different coloured woods on the back, and the neck ending in a horse's head, now in the Brussels Conservatoire Collection; the bass-viol with its back inlaid with the picture known as the "Vieillard dans la chaise d'enfant," the neck also ending in a horse's head; the small bass-viol with the neck finished in exactly the same way, and the back beautifully ornamented; and inscribed with the Latin legend, "Viva fui in sylvis, sum dura occisa securi; dum vixi tacui, mortua dulce cano" (It is supposed to be the viol that speaks, "I was living in the forest, the cruel axe killed me. Living, I was mute; dead, I sing sweetly."); and the bass-viol, with Michel Angelo's "Moses" represented on the back. J. B. Vuillaume, of Paris, caused much misapprehension on the subject of Gaspard's instruments by, in 1827, producing violins beautifully inlaid and carved in his style, which were so successful that orders for similar instruments were at once received; his example was soon followed in Germany and Mirecourt, so that now violins and violoncellos of this description are numerous. The "violins" known are: one dated 1510, said to have been made for François I. (he only ascended the throne in 1515); one dated 1511, with an oil painting said to be by Leonardo da Vinci; one dated 1515; another dated either 1515 or 1539; one dated 1517, with a portrait of Gaspard copied from the 1562 engraving; one labelled "Gaspard Duiffoprugcar Bononiensis a. 1515," the neck ending in an old man's head; one dated 1521; and one with the label: "Gaspard Duiffoprugcar à la coste Saint-Sébastien à Lyon." A "lyra da braccio," probably made at the beginning of the 16th century, is also labelled: "Gaspard Duiffopruggar Bononiensis, anno 1515." It has only lately been known that Gaspard was not born before 1514. He married Barbe Homeau; he was in easy circumstances, but unfortunately his house stood on some ground required for the enlargement of a fortress (built in Lyons, 1564); he was turned out of his home in 1566, and it was pulled down; he could not obtain any indemnity and died shortly afterwards, leaving a widow and four children in debt and in great misery. They were awarded a pension by Charles IX. in 1571. See "Tieffenbrücker."
   3. Duiffoprugcar (Duiffoproucart), Jehan, son of Gaspard Duiffoprugcar. Was a maker of lutes about 1570-90 in Lyons.
   5. Duiffoprugcar, Magno. See "Dieffopruchar."

2. A dictionary of violin makers (n.d.)

   Duiffoprugcar (Duiffoproucart), Jehan, son of Gaspard Duiffoprugcar. Was a maker of lutes about 1570-90 in Lyons.

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   1. his celebrated portrait of him, in which he is represented at the age of 48 years. Gaspard's instruments are rare, and are more valued for their inlaid work and ornamentation than for the quality of their tone. Instruments known are: the famous bass-viol with the plan of Paris inlaid in different coloured woods on the back, and the neck ending in a horse's head, now in the Brussels Conservatoire Collection; the bass-viol with its back inlaid with the picture known as the "Vieillard dans la chaise d'enfant," the neck also ending in a horse's head; the small bass-viol with the neck finished in exactly the same way, and the back beautifully ornamented; and inscribed with the Latin legend, "Viva fui in sylvis, sum dura occisa securi; dum vixi tacui, mortua dulce cano" (It is supposed to be the viol that speaks, "I was living in the forest, the cruel axe killed me. Living, I was mute; dead, I sing sweetly."); and the bass-viol, with Michel Angelo's "Moses" represented on the back. J. B. Vuillaume, of Paris, caused much misapprehension on the subject of Gaspard's instruments by, in 1827, producing violins beautifully inlaid and carved in his style, which were so successful that orders for similar instruments were at once received; his example was soon followed in Germany and Mirecourt, so that now violins and violoncellos of this description are numerous. The "violins" known are: one dated 1510, said to have been made for François I. (he only ascended the throne in 1515); one dated 1511, with an oil painting said to be by Leonardo da Vinci; one dated 1515; another dated either 1515 or 1539; one dated 1517, with a portrait of Gaspard copied from the 1562 engraving; one labelled "Gaspard Duiffoprugcar Bononiensis a. 1515," the neck ending in an old man's head; one dated 1521; and one with the label: "Gaspard Duiffoprugcar à la coste Saint-Sébastien à Lyon." A "lyra da braccio," probably made at the beginning of the 16th century, is also labelled: "Gaspard Duiffopruggar Bononiensis,anno 1515." It has only lately been known that Gaspard was not born before 1514. He married Barbe Homeau; he was in easy circumstances, but unfortunately his house stood on some ground required for the enlargement of a fortress (built in Lyons, 1564); he was turned out of his home in 1566, and it was pulled down; he could not obtain any indemnity and died shortly afterwards, leaving a widow and four children in debt and in great misery. They were awarded a pension by Charles IX. in 1571. See "Tieffenbrücker."
   2. Duiffoprugcar (Duiffoproucart), Jehan, son of Gaspard Duiffoprugcar. Was a maker of lutes about 1570-90 in Lyons.
   3. Duiffoprugcar, Magno. See "Dieffopruchar."
   4. Duiffoprugcar, Ulrich. A lute is known with the label: "Uldrich Duiffoprugar Lutario A. 1521."
   5. Duke, Richard. A maker in London about 1750-80. He made excellent copies of Stradivari and Amati instruments, and not quite such good ones of Stainer. Genuine instruments of his are very fine, but unfortunately his name was often made use of in extremely poor specimens. His violins and violoncellos were of rather a long pattern, very arched, with yellow varnish, their tone was very good; some of his tenors are a little short in length but very broad, so as to obtain a large deep tone; the result is good, although the two lower strings might be more powerful. Labels: "Richard Duke, Londini, fecit 1760"; similar ones dated 1767 and 1769; "Richard Duke, maker, Holborn, London, anno 1768"; another dated 1777. These two labels were generally written in ink. He also used a printed label: "Richard Duke, maker, near opposite Great Turn-Stile, Holbourn, London."