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

Scan 156

The violin: its famous makers and their imitators. : With several wood engravings from photographs of the works of Stradiuarius, Guarnerius, Amati, and others, 1880

2 lines. Read by computer on 29 August 2026. Printed page 138. See the scan on archive.org.

1annually to be awarded as a prize to the most successful student among the Violinists. By this arrangement the maker has an opportunity of exercising to the best advantage all the skill of which he is capable, as he is at once aware that the attention of the public is directed to the constructor of the prize as well as to the receiver, and that an immediate road to popularity is thus opened. Lupot's appointment as maker to the Conservatoire was enjoyed by his successor, Francois Gand, and is still retained by the latter's two sons, in conjunction with Bernadel. Nicholas Lupot may be justly termed the French Stradiuarius. He was an artist in every sense of the word. He regarded the works of Stradiuarius with the utmost veneration. While, however, he laboured unceasingly to imitate him, he scorned all those mischievous maturing processes common to the majority of French copyists; he never desired that his copy should pass with the unwary as the original; in fact, of such a fraud his high sense of honour rendered him incapable. There is not an instance in which he did not varnish the copy all over, leaving time to do its work of wear, although by so doing he doubtless sacrificed much in his own time, inasmuch as all new Violins so varnished have a crude appearance, notwithstanding any amount of high finish expended upon them. What, however, Lupot lost in his day has been awarded to his name a hundredfold since. He seldom occupied himself in copying Guarnerius or Amati, although there are a few beautiful examples met with now and again in which he adopted these forms. Stradiuarius was his idol, and from the fact already mentioned, that he is most rarely found to be

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