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Scan 160
Old Violins And Their Makers, 1883
6 lines. Read by computer on 30 September 2026. Printed page 146. See the scan on archive.org.
1musician in Leipsic, after whose death it passed into the hands of another musician, named Ullrich. Spohr's Lupot became, of course, renowned during its owner's travels, and there is no doubt that, apart from the intrinsic merits of this maker's work, the preference accorded to it by such a distinguished performer largely helped to raise the name of Nicolas Lupot in the estimation of fiddle fanciers.
3His tickets vary a good deal in style. In Orléans he incorrectly Latinised his inscription thus, "Nicolaus Lupot, Filius, fecit in Aurelianensis Anno." He does not, in this respect, appear to have been so fortunate as his great Cremonese models, whose numerous church connections probably guaranteed the accuracy of their Latin. Although tickets are of little other than corroborative importance, the sight of "fecit in Cremonensis" on an Amati, or "Faciebat in Cremonensis" on a Stradivari, would, probably, send along the spinal cord of a modern connoisseur a cold shiver of doubt which the loveliest varnish, the most exquisite contour, or even the most striking individuality, might fail wholly to counteract. Lupot also, more rationally, signed, "N. Lupot Fils, Luthier, rue D'illiers à Orléans, l'An." His Parisian tickets also vary: "Nicolas Lupot Luthier rue de Grammont à Paris l'An," "Nicolas Lupot rue Croix des Petitschamps, à Paris, l'An," and "N. Lupot Luthier de la Musique du Roi et de l'Ecole Royale de Musique Paris, 18—."
5François Gaviniès was a maker in Bordeaux, who went to Paris in 1741, and became master of the Corporation of Violin Makers for the year 1762. His instruments are of quite common order, and it has been
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