Books › Old violins and violin lore, 1900 › scan 111
Scan 111
Old violins and violin lore, 1900
10 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1OLD VIOLINS
3in tone and sensitive quality. The moment Nicolas Lupôt arrived in Paris, early in this century, his talents were recognised; orders flowed in, and he remained and remains without a rival in the French school.
5He was appointed maker to the Paris Conservatoire, which involved the manufacture of the annual prize violin to be presented to the gold medallist of the year, and to this academic privilege we are doubtless indebted for some of his finest efforts. A violin which would annually at the time be associated with one of the chief musical events of the year, and come under the criticism of all musical Paris, would certainly call forth the mettle of one who admittedly "took the cake," but was not without formidable rivals.
7One of these rivals was Pique. He was in the habit, it is said, of buying Lupôt's fiddles unvarnished, varnishing them, and labelling them with his own name. He had better have left the varnishing alone and contented himself with a fraudulent label. It is surprising that he should have stooped to such a device. Pique is quite a considerable person, second only to Lupôt as a maker. He must have been influenced by commercial considerations, but his dishonesty is a great tribute to the superior popularity and merit of Lupôt. Still Pique was so clever that he could have afforded to be honest.
9François Gand, who entered as Lupôt's pupil in 1802, was much beloved by his master. He became his best
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