Otto says: “The instruments made by Jacob Stainer differ from the Cremonese both in outward shape and in tone. They are higher modelled, and their proportions of strength are calculated quite differently. The nearest comparison which can be drawn between a Cremonese and a Stainer is this: a Cremonese has a strong reedy, sonorous tone something similar to that of a clarionet, while a Stainer approaches to that of a flute. The belly is modelled higher than the back. The highest part of the model under the bridge extends exactly one half of the instrument towards the lower broad part and then diminishes towards the end edge. It decreases in a like manner at the upper broad part towards the neck. The breadth of this model is uniformly the same as that of the bridge, from which it diminishes towards the side edge. The edges are very strong and round. The purfling lies somewhat nearer to the edges than in the Cremonese, and is likewise narrower than in the latter (the Cremonese) in which it is very broad. The f holes in Stainer instruments are very beautifully cut, and the upper and under turns are perfectly circular. In length they are somewhat shorter than the Cremonese. The neck is particularly handsome, and the scroll is as round and smooth as if it had been turned. Some few have lions’ heads, which are extremely well carved. The sides and the back are made of the finest figured maple and covered with a deep yellow amber varnish. In some the screw (peg) box is varnished dark brown and the belly deep yellow. The above are the most accurate marks by which the genuine Stainer instruments may be distinguished. They are rarely to be found with any labels inside, but in the few which are to be met with of the genuine instruments bearing any inscription, they are simply written, not printed. In the Tyrolese imitations of Stainers they are all printed. In the genuine Cremonese instruments they are likewise invariably printed.”
Genuine Stainers with labels have this written inscription: “Jacobus Stainer in Absam prope Œnipontum h-fis 165-.” The following is a facsimile:
III.—FRENCH.
BOQUAY, JACQUES. Paris, about 1700-1735. One of the earliest of the old French school. Under whom he learnt the art of violin making is not known, but his instruments, as also those of his contemporaries, clearly indicate that the Italian influence was suffusing itself in no uncertain manner. It appears that about the middle of the sixteenth century, one Nicolas Rénault, a French viol and lute maker, travelled into Italy and became associated with Andreas Amati, and even assisted that maker in the manufacture of certain instruments for the chapel of Charles IX, in 1566, and, after a somewhat lengthened stay in Italy, he returned to France the gainer of considerable experience. Here, perhaps, may be the explanation why Boquay and the rest of the early French school principally adhered to the Amati model. Later on Boquay sought to become original, notably with regard to the sound holes and the scroll. The tone is sweet, but lacks power.
COMBLE, AMBROISE DE, Tourney, Belgium (1730-1760). The best maker of the old French school, and reputed pupil of Stradivarius. Although the instruments of de Comble cannot be said to be on the model adopted by the great Cremonese maker during his best period, there is nevertheless some indication to lead to the belief that he endeavoured to follow the renowned artist in the matter of varnish. In this respect he was fairly successful. His instruments are rather flat and of large pattern, somewhat on the lines of Stradivarius’s later productions, and although they are not characteristic of refined workmanship, the material chosen was of the best quality. He made his instruments strong in the wood, consequently they possess a very full and rich tone. De Comble also made some excellent violoncellos.
LUPOT, NICOLAS, born at Stuttgart, 1758, died in Paris, 1824, founder of the modern school of violin making. His father, also a maker of some merit, removed to Orléans in the year 1770, and in this town instructed his son in the art which was destined to make his name famous. During his pupilage Nicolas set himself to study the instruments of the great Italian makers, especially those of Stradivarius, and in the result he elected to adopt the model of this master, from which he seldom, if ever, departed. With such diligence and enthusiasm did he labour to produce something akin to his ideal that he soon was able to turn out an instrument that suffered but little on comparison with the Italians of the first water. Thus a most beneficial influence in the art of violin making became propagated. In 1798 Nicolas quitted Orléans for Paris and established himself in business, and there for twenty-six years he carried on a labour of love which, as well, produced considerable pecuniary benefits. Lupot had not been long in Paris before his work claimed the attention of the Conservatoire, then but recently formed, and he was accordingly appointed violin maker to that excellent institution: he was similarly appointed to the Chapel Royal. It is not difficult to imagine that Lupot endeavoured to revive the lost art of making the old Italian varnish, judging from the various qualities with which he was wont to cover his instruments. In this respect, however, he cannot be said to have been successful, but what he did use ranks high as a modern varnish. The instruments of this maker are highly prized, especially those made between 1805 and 1824. An impetus was probably given to the value of Lupot’s violins from the circumstance that the celebrated Spohr played for a long time on a Lupot, the tone of which he declared was “full and powerful”; in fact, the great virtuoso only parted with this instrument on becoming possessed of a Strad. Lupot appears to have been almost as uncertain about his labels as he was concerning his varnish. At Orléans he adopted a Latinised inscription, and in Paris, three labels have been noticed variously worded. The following are copies of some labels:
N. Lupot fils, Luthier, rue d’Illiers, à Orléans, l’an 17—.
Nicholas Lupot, Luthier, rue de Grammont, à Paris, l’an 17—.