Books › A dictionary of violin makers, 1896 › scan 68
Scan 68
A dictionary of violin makers, 1896
7 lines. Read by computer on 3 September 2026. Printed page 60. See the scan on archive.org.
1making the violins and violoncellos given as prizes to the Conservatoire pupils. In 1820 he undertook to entirely replace the instruments of the royal orchestra with new ones of his own; but his death cut short the work, which was completed by Ch. Fr. Gand. Labels: "Nicolas Lupot, filius fecit in Aurelianensis, anno 1776"; "N. Lupot Fils luthier, rue d'Illiers, à Orléans, l'an 1791"; "Nicolas Lupot luthier rue de Grammont à Paris, an 1801"; "Nicolas Lupot luthier, rue Croix-des-petits-Champs à Paris, l'an 1812"; "N. Lupot, luthier de la musique du Roi et de l'école royale de Musique, Paris, 1817." Many instruments were signed with his autograph.
3MacGeorge. A maker in Edinburgh about 1800-20.
4Macintosh. A maker in Dublin about 1830-40. Pupil of Thomas Perry.
5Maffeotto, Giuseppe. Was working in Rome in the 18th century.
6Maggini (Magino or Maglino), Gio: Paolo, son of Zovan or Giovanni Maggini and his wife Giulia; grandson of Ser Bertolino or Bartolommeo de Maggini of Botticino, a little village on the hills not far from Brescia; b. 1580; d. before or in 1632, as in a schedule presented in that year by his son Carlo he uses the words "filius quondam Johannis Pauli." It is possible that he died of the plague that in 1632 raged in Brescia. His parents left Botticino and settled in Brescia. Gio: Paolo was apprenticed to Gasparo da Salò, according to a legal document, dated 1602, signed by both Gasparo and Maggini, the latter calling himself "garzone." In the first period of Maggini's work one finds much that is characteristic of the work of Gasparo; there is the same heavy model, short blunted corners, and purfling carelessly inlaid. The head, although showing a great deal of character, is also carelessly worked, one side often differing from the other, and the face very deeply and unevenly cut, while the fluting of the back of the head is also irregular. The wood is generally maple, and is frequently cut on the slab; the wood of the bellies being also cut on the slab forms an interesting link between the viol and the violin; afterwards he adopted the method of cutting the wood with the straight way of the grain. In the sound-holes he undercut or bevelled their inside edges like those of a viol; occasionally he ornamented his violins similarly to viols, with inlaid purfling, or the "clover-leaf" device at top and bottom of the back, or with an elaborate design on the centre of the back; the two latter ornamentations are never to be found on the same instrument, unless it is a forgery. In the second period of his work the influence of Gasparo is not so marked; there is a great improvement in the construction and work of the instrument; the arching is slightly higher than in his earlier or later work, and is usually associated with a pronounced raised border; the purfling is done with more precision; the sound-holes, though still original in character, have more graceful curves, and are better cut; so is the head, which is more symmetrical. The wood, of very fine quality, is seldom cut on the slab; and is never so cut for the bellies; the "Dumas" viola and violins are very fine specimens of this period. The beautiful instruments turned out by Antonio and Girolamo Amati may possibly have influenced the third period of his work, which shows much greater accuracy and a more beautiful form. The purfling is distinct and finely done; the sound-holes are well cut and carefully finished; the arching is not so great, and the edges are lighter, which gives the instruments a more graceful appearance. The curves of the scroll are quite symmetrical, while the fluting at the back of the head is not so hollowed and is beautifully done. Stronger corner blocks and linings are also used for the interior, and the thicknesses are more accurately calculated. The varnish is always of remarkably fine quality, but varies in colour; he usually used varnish of a clear brown colour, similar to that on Gasparo's work; but by degrees it became more brilliant, of a transparent golden colour. Nearly all his instruments are double-purflled, but three violins and one viola are known with only one line of purfling; and
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