Scan 77
Chats to violin students on how to study the violin, 1895
8 lines. Read by computer on 3 September 2026. Printed page 63. See the scan on archive.org.
1makes it very probable. The tone of his violins is generally very fine and has much of the Italian quality. He was followed by Pique, Nicholas Lupot, Gand and Bernadel who were all splendid copyists, especially of Stradivarius.
3Pique, who flourished at the beginning of this century in Paris, avoided all exaggeration and his scrolls and sound holes are well worthy of attention.
5Nicholas Lupot was born in Stuttgart, 1758. He went, however, to Orleans immediately after, and is therefore to all intents and purposes a French maker. He started work in Paris, and seems to have earned the title (and in many cases justly) of being the French Stradivarius. In all points of his work he was equally careful and successful, and he takes the lead among modern makers. He died in 1824. His pupil, Francois Gand, is one of a family of makers, perhaps generally better known as repairers, although Francois had a great reputation, the tone and outline of his violins being very noticeable. A brother of his joined the two Bernardels (whose father worked for Lupot, and was held in the highest esteem as a maker), and the business done by this firm was quite phenomenal.
7J. B. Vuillaume, born at Mirecourt 1800, was one of a large family of musical instrument makers dating from early last century. He was most prolific in his work, about 3,000 violins existing which bear his name. Many of these he made himself entirely. Of course, in such a large number the quality varied, some are not worth much, but others are most excellent and rank
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