re, Paris, 1646.

LEFEBVRE, ----, Amsterdam, about 1730.

LEFEBVRE, ----, Paris, 1788.

LE JEUNE, Francois, Paris, 175-.

LE PILEUR, Pierre, about 1754.

LESCLOP, Francois Henry, Paris, 1746.

LOUIS, ----, Geneva.

LOUVET, Jean, Paris, 1750.

LUPOT, Jean, Mirecourt.

LUPOT, Laurent, Mirecourt, born 1696. Son of Jean Lupot, removed to
Plombieres, afterwards to Luneville, and again to Orleans.

LUPOT, Francois, born 1736. Son of Laurent. Born at Plombieres. In the
year 1758 he removed to Stuttgart, and was appointed maker to the Duke
of Wurtemberg. Francois removed with his son Nicolas to Orleans in
1770. He died in Paris in 1804. The workmanship and style are similar
to those seen in the instruments of Chappuy and other makers of that
period. Scroll rather rough, varnish dark brown, broad pattern.

LUPOT, Nicolas, son of Francois, born at Stuttgart in 1758, removed
with his father to Orleans in 1770.

N. Lupot fils, Luthier,
rue d'Illiers, a Orleans, l'an 1791.

Nicolas Lupot, Luthier, rue de
Grammont; a Paris, l'an 1803.

Nicolas Lupot, Luthier, rue Croix
des-petits-champs, a Paris, l'an 1817.

He established himself in Paris in 1794, his fame having reached that
city some time before. The attention which he soon received from the
musical world of Paris proved to him that his removal was
advantageous. He had not long been in Paris before he was honoured
with the patronage of the Conservatoire of Music, an honour which is
attended with many benefits, the chief of which is the making of a
Violin annually, 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 was retained by the latter's son, in
conjunction with Bernardel. Nicolas Lupot may be justly termed the
French Stradivari. He was an artist in every sense of the word. He
regarded the works of Stradivari with the utmost veneration. While,
however, he laboured unceasingly to imitate him, he scorned all those
mischievous maturing processes common to so many French copyists; he
never desired that his c