Books › Old violins and violin lore, 1900 › scan 109
Scan 109
Old violins and violin lore, 1900
14 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1OLD VIOLINS
3turned out a small and large pattern; but he evidently inclined to the larger pattern of the late Amati Strad.
5A violin of Pieray's was advertised in the sale of Tom Britton, the musical coal-heaver, as "a very beautiful violin, and as good as a Cremona," which shows that even at that date the Stainer influence, then so strong in England, had not dimmed the fame of Cremona. However, it would of course have been absurd to compare him to Stainer, the affinity between Pieray and Amati being too obvious.
7But the really great silver-gilt if not golden age of French violin-making dawned with Lupôt (1736–58), was extended by Pique (1788–1822), Vuillaume (1798–1875), Chanot (1801), Gand (1802), and Aldric (1792–1840), famous for his varnish; and Fent,1 an admirable copyist, whose violins often sell as Lupôt's copies of Strad.
9The labours of these great French disciples of Cremona, copyists and occasional forgers as they were, are sufficient to decide for ever the superiority of the Strad model over all others. Their lives were chiefly occupied in reproducing the unique Antonio minutely without attempting the least modification of the ultimate Cremona form, which he had defined.
11The firm of Lupôt, immortalised by Nicolas Lupôt (1758–1824), dates back to 1696 or somewhat earlier. The father and grandfather of Nicolas Lupôt resided
131 This Fent is no relation, as far as is known, to the family working in England, whose name is spelt Fendt.
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