Scan 313
The violin: its famous makers and their imitators, 1909
8 lines. Read by computer on 27 September 2026. Printed page 251. See the scan on archive.org.
1large. Amati would seem to have been his model, but his instruments can scarcely be considered copies of that maker, the outline only being retained, while the other features are dissimilar. The wood is rarely handsome, but its quality is good; the thicknesses are variable. The work is of average merit. Varnish is of a pale red colour, of good quality. It is interesting to learn that these instruments were appreciated in England at the beginning of the eighteenth century. Tom Britton had in his collection of books and instruments at Clerkenwell a "Claude Pierray," which is described in the sale catalogue as "a very beautiful Violin, and as good as a Cremona."
3Piète, N., Paris, about 1780.
5Pillement, F., Paris, 1790-1820. Work branded inside.
7Pique, F. L., Paris, about 1788-1822. As a copyist of Stradivari, this maker approached, perhaps, nearest to Nicolas Lupot. It has been supposed that some Violins bearing the name of Pique were made by Lupot, and varnished by Pique. There are several specimens of Pique's instruments upon which have been lavished care and skill of a very high order. Each feature is brought out, while, at the same time, exaggeration, that common error of the copyist, is avoided. The scrolls are well executed, both in point of finish and
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