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Scan 159
Old Violins And Their Makers, 1883
4 lines. Read by computer on 30 September 2026. Printed page 145. See the scan on archive.org.
1sider this a kind of embellishment. He made a great many violins, tenors, and violoncellos. Those dating from Orléans, and the early ones emanating from Paris, are not so highly valued as those made between 1805 and 1824. He also made several sets of quintets (two violins, two tenors, and a violoncello), whose appearance and quality of tone are almost identical. These quintets are very rare now. From his profound knowledge of the best old Italian instruments he also became famous as a repairer and restorer of these, and his own fiddles are rising in value every day, but none of the other Lupots approach him in excellence. After his removal to Paris he was chosen as one of the violin makers to the Royal Chapel, and also to the then recently established Paris Conservatoire. It is said that his price for a violin was £12, and for a violoncello £24, and that the last commission which he had from the Chapel Royal was for a suite of fourteen violins, four tenors, six violoncellos, and four double basses. These he was unable himself to complete, and they were finished by his pupil and successor, François Gand.
3The celebrated violinist, Louis Spohr, played for a long time on a violin by Lupot, which he procured, in exchange for an Italian instrument, from the leader of an orchestra in a little town which he visited when he first started for Italy. He was so delighted with the full and powerful tone of his new acquisition that he promoted it to the dignity of his concert fiddle, and continued to play upon it until 1822, when he relinquished his professional travels. He then acquired a Stradivari, and transferred his Lupot to Matthäi, a
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