Books › The fiddle fancier's guide; a manual of information regarding violins, violas, basses and bows of classical and modern times, together with biographical notices and portraits of the most famous performers of these instruments, 1892 › scan 104
Scan 104
The fiddle fancier's guide; a manual of information regarding violins, violas, basses and bows of classical and modern times, together with biographical notices and portraits of the most famous performers of these instruments, 1892
4 lines. Read by computer on 29 August 2026. Printed page 90. See the scan on archive.org.
1in the seeming recklessness with which he copied, and, in some cases, travestied, the salient points of Joseph del Jesu, and yet he may have laboured over the instrument for months, getting up those antique fractures, indentations, scratchings, and rubbings, which give an air of genuine age to some of his productions. He was a man of many adventures, which have been duly recorded in Mr. Reade's novels. He died about 1871.
3Lupot, Nicolas. The greatest of a French family of violin makers which has flourished for about two centuries. The first was a Jean Lupot in Mirecourt, whose son Laurent was born there in 1696, and became a violin maker also. Travelling about a little, he settled in Orleans, and about 1762, disappears from fiddle history. This son, François Lupot, also violin maker, after moving about in similar fashion, settled temporarily in Orleans, and then in Paris, where he died in 1804. The last mentioned had two sons, the above Nicolas born in Stuttgart in 1758, and François born in Orleans in 1774. Nicolas was the great maker of the family, and was trained by his father in Orleans, where he continued to work until he was about forty years of age, and then went to Paris, where he started business in 1794, and died in 1824. The violins of this maker are undoubtedly of the highest character. There is great variety in his style, and many of those hailing from Orleans, one would hardly recognise, if placed side by side with some of those which he made in Paris later on. This is chiefly, but not wholly, seen in his varnish, however, for there is the same masterly, solid style about all his instruments. A great many of his early violins are covered with a dull,
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