Bow & Bridge Violin and bow makers, as the old books printed them

Books › the history of the violin, 1864 › scan 263

Scan 263

the history of the violin, 1864

2 lines. Read by computer on 28 September 2026. Printed page 241. See the scan on archive.org.

1sometimes taken for those he imitated; he used oil varnish; his nephew came over to England, and established himself there. François Nicolas Fourrier, generally called Nicolas, was born at Mirecourt, in 1758, but went to Paris, where he died in 1816. His instruments are frequently good; he imitated the Cremona school, was correct in his proportions, and particular in his choice of wood. Koliker also was a maker of repute at Paris towards the end of the century; and other names there are—Chevrier, Bernadel, Benoist Fleury, Gavinies, Leclerc, Simon, and Remy; also Nicolas Viard of Versailles, and Cherotte at Mirecourt. In naming this last place, we must mention Jean Vuillaume, who made good instruments there from 1700 to 1740, and had worked with Stradiuarius; Chanot was also a maker of merit there. Nicholas Lupot was born at Stuttgart, in 1758, and was the son of Francois Lupot, a maker at that place. Nicholas became a celebrated maker, following the models of Stradiuarius. He first worked at Orleans, where a firm of Lupot and Son existed in 1786. In 1794 he established himself in Paris, where he died in 1824. He published a work, to which we have referred occasionally, called "La Chelonomie, ou le parfait Luthier;" but it was written by the Abbé Sibire, from materials supplied by Lupot. His instruments sometimes reach a high price; and he was very skilful in repairing and restoring old instruments. Namy, also about the same time, was noted as a skilful restorer and repairer of old instruments. Ambroise Decombre, of Tournay, made some good instruments, particularly basses, from 1700 to 1735, and had worked with Antoine Stradiuarius; Jean Raut, of Bretagne, who worked at Rennes down to 1790, made good instruments on the model of the Guarnerius school.

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