Bow & Bridge Violin and bow makers, as the old books printed them

Books › An Encyclopedia of the Violin, 1925 › scan 58

Scan 58

An Encyclopedia of the Violin, 1925

91 lines. Read by computer on 28 September 2026, twice; the two readings disagreed in places. Printed page 34. See the scan on archive.org.

1by Landolfi is reproduced on Plate 8, and one of his instruments on Plate 12.
3LANDOLFI, Pietro Antonio, Milan, 1750 to 1800. Son, pupil and successor of Carlo Ferdinando Landolfi, whose skill he was never able to equal. He was less painstaking and his work could never be classed with that of a master.
5LANZA (Lansa), Antonio Maria, Brescia, 1675 to 1715.
7LAPAIX, J. A., Lille, 1840 to 1858.
9LA PREVOTTE, ETIENNE, Marseille, Paris, b. Mirecourt, about 1795, d. Paris, 1856.
11LARUE, PIERRE MATHIEU, Paris, 1767.
13LASKE, JOSEF ANTON, Prague, b. Rumburg, 1738, d. Prague, 1805.
15LAVAZZA, ANTONIO MARIA, Milan, 1703 to 1708.
17LAVAZZA, SANTINO, Milan, 1718 to 1780.
19LECLERC, JOSEPH NICOLAS, Paris, 1760 to 1777.
21LECOMTE, ANTOINE, Paris, 1775 to 1800.
23LE DUC, PIERRE, Paris, 1640 to 1649.
25LEFEBVRE, J. B., Amsterdam, 1720 to 1786.
27LEFEBVRE, NICOLAS, Rouen, 1630 to 1636.
29LEFEBVRE (LEFEBVRE), TOUSSAINT-NICOLAS-GERMAIN, Paris, 1762 to 1789.
31LE JEUNE, FRANÇOIS, Paris, 1755 to 1789.
33LELIEVRE (LE LIEVRE), J. C. PIERRE, Paris, 1731 to 1765.
35LENTZ (LENZ), JOHANN NIKOLAUS, London, 1803 to 1813.
37LEONI, CARLO, Treviglio, Treviso, 1851 to 1861.
39LEONI, FERDINANDO, Parma, 1870.
41LE PILEUR, PIERRE, Paris, 1703 to 1757.
43LESCLOP, FRANÇOIS-HENRY, Paris, 1746.
45LEWIS, EDWARD, London, 1687 to 1730.
47LIGHT, EDWARD, London, 1798 to 1800.
49LIGNOLI, ANDREA, Florence, 1681.
51LINAROLO, VENTURA, Venice, 1577 to 1591.
53LOLIJ (LOLLIJ), JACOPO, Naples, 1727.
55LONGMAN & BRODERIP, LONGMAN LUCKEY AND CO., 1760.
57LORENZINI, GASpare, Piacenza, 1750.
59LOTT, GEORGE FREDERIK, London, b. 1800, d. 1868.
61LOTT, JOHN FREDERICK (SEN.), London, b. Germany, 1775, d. London, 1853. A celebrated maker of Cremonese imitations.
63LOTT, JOHN FREDERICK (JUN.), London, b. 1804, d. 1871.
65LOUIS, JOSEPH, Genf, Basel, Mulhausen, Besançon, 1813 to 1841.
67LOUVET, JEAN II, Paris, 1750 to 1789.
69LOUVET, PIERRE, Paris, 1739 to 1783.
71LUDICI, HIERONYMO PIETRO DI, Conegliano, 1698 to 1709.
73LUGLIONI (LUGLONI), GIUSEPPE, Venice, 1777.
75LUPOT, FRANÇOIS I, Stuttgart, Orleans, b. Plombières, 1725, d. Paris, 1804.
77LUPOT, FRANÇOIS II, Paris, b. Orleans, 1774, d. Paris, 1837.
79LUPOT, FRANÇOIS-LAURENT, Mirecourt, Plombières, Luneville, Orleans, b. 1696, d. after 1762.
81LUPOT, JEAN, Mirecourt, b. about 1652, d. after 1696.
83LUPOT, NICOLAS, Orleans, Paris, b. Stuttgart, 1758, d. 1824. Son and pupil of François Lupot, with whom he came to Orleans at the age of eleven. His earliest instruments are dated from Orleans. In 1794 he came to Paris and was employed by Rique, but it is doubtful whether he gained much by this. In the year 1798 he opened his own shop, and became without question the greatest master of the French school, quite correctly being called the "French Stradivarius." His only fault was applying his varnish a little too thick, which very often caused it to crack, but nevertheless he was a great master and his violins were given as prizes to the pupils at the Paris Conservatory. One of the violins built in 1818 is in possession of the Brussels String Quartet. The label used by Lupot is reproduced on Plate 15, and one of his instruments on Plate 16.
85MAC-INTOSH, JAMES, Blairgowrie, b. 1801, d. 1873.
87MAFEOTTO, GIUSEPPE, Rovere, 1637.
89MAGGINI, GIOVANNI PAOLO, Brescia, b. 1580, d. about 1632. A son of Giovanni Maggini. At the age of seven he was a pupil of Gasparo da Salo, where he remained until he attained his majority. In his first year, he worked strictly after the model of his teacher, and was often in exact and not sufficiently particular in the selection of his wood. He made frequent attempts to create a broader-toned violin, but failed in every attempt. His varnish was thinner than da Salo's, but more fiery and of different colors, mostly light brown. More than fifty of his instruments are in existence. Two are in the possession of Prince Chimay who paid 8000 francs for each. Professor Keller in Stuttgart has another, and one is owned by Theodor Hammerle in Vienna. Th one of two readings
90MAGGINI, GIOVANNI PAOLO, Brescia, b. 1580, d. about 1632. A son of Giovanni Maggini. At the age of seven he was a pupil of Gasparo da Salo, where he remained until he attained his majority. In his first year, he worked strictly after the model of his teacher, and was often inexact and not sufficiently particular in the selection of his wood. He made frequent attempts to create a broader-toned violin, but failed in every attempt. His varnish was thinner than da Salo's, but more fiery and of different colors, mostly light brown. More than fifty of his instruments are in existence. Two are in the possession of Prince Chimay who paid 8000 francs for each. Professor Keller in Stuttgart has another, and one is owned by Theodor Hammerle in Vienna. Th one of two readings

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