LUPOT--PECCATTE--SPURIOUS STAMPING--PANORMO--W. J. B. WOOLHOUSE'S
CALCULATIONS.
I have spoken at length of Dodd and Tourte--two names that stand out
in the history of the bow with remarkable prominence--and before
proceeding with the general list of bow makers, great and small, I
propose to speak of Peccatte and Lupot, whose genius was inferior
only to that of Tourte in that they were followers rather than
originators.
Francois Lupot was a brother of Nicolas Lupot the violin maker. He,
however, devoted all his energies to the manufacture of bows, and, in
his best work, is considered by many to nearly equal Tourte. But
unfortunately the standard of excellence in Lupot's bows varies to a
considerable extent, and, while some are truly magnificent others are
very inferior. This is a fact that cannot be too widely made known in
the interests of intending purchasers. The guarantee of genuineness
alone is not sufficient for anyone desiring a bow for use, and,
unless he has the requisite knowledge and experience himself he
should always first submit a bow to a professional man of repute for
his judgment as to its qualities for a player. Many of Lupot's sticks
are stamped "LUPOT," sometimes in two or three places, but it has
been doubted whether he did this himself or not. In general it is
thought that it was done afterwards by dealers. This is certainly the
case with the few Tourtes that are stamped with their maker's name,
for it is an ascertained fact that the Tourtes never stamped their
work. There are only two instances on record of Tourte marking a
stick, and in each case it consisted of a minute label glued into the
slot bearing the following inscription: "Cet archet a ete fait par
Tourte en 1824, age de soixante-dix-sept ans." (This bow was made by
Tourte in 1824, aged 77 years).
An important addition, said to have been instituted by Lupot, was the
metal plate which lines the groove in the nut and prevents the
wearing away of the nut by friction with the stick.
In Plate VII. I give two examples of Lupot's work. Here will be seen
all the tenderness of line characteristic of Tourte, albeit that they
lack somewhat of his force. The workmanship in these two bows is
superb, and they are also delightful to play with, being well
balanced and of controllable flexibility. This is a point in a bow
that is frequently overlooked. Many imagine that flexibility alone is
the chief desideratum, and bows have been shown to me almost
indiarubber-like in their pliancy; the owners expecting me to wax
enthusiastic over this--to my mind--serious defect. As a matter of
fact, flexibility and pliancy are not correct definitions of a bow's
chief quality, as they amount to weakness. What is really meant is
elasticity, by which is conveyed not only the property of yielding to
pressure but also that of speedily recovering its normal state. We
sometimes hear a player in testing bows say that such a one has too
much "life" in it; thereby implying that its action is largely out of
the performer's control, a condition usually attributable to an
excess of flexibility.
[Illustration: PLATE VII.]
As a contrast to the Lupot bows in Plate VII., I give two examples of
Dominique Peccatte, Plate VIII. Here we have forcibleness and energy
to a most marked extent, yet there is a certain grace withal, the
extreme squareness of the outer line does not offend the eye as in
those of Dodd.
[Illustration: PLATE VIII.]
Peccatte, like Francois Tourte, started life in an occupation far
removed from that which made him famous. His father was a barber at
Mirecourt, where Dominique was born 1810. Wielding the razor not
proving congenial, he adopted the prevailing industry of the town and
became a maker of violins and bows; in the latter he became
exceptionally expert. In the year 1826 J. B. Vuillaume was in want of
a talented workman and wrote to his brother, who was established in
Mirecourt, to find him one. The result of these enquiries was that
Dominique Peccatte came to Paris and remained for eleven years with
Vuillaume. In 1837 Francois Lupot died and Peccatte took over the
business. Ten years later he returned to his native place, though
retaining his business connexion with Paris until his death, which
took place in 1874. Many of his bows are unstamped, or bear the stamp
of Vuillaume, but great numbers of them are stamped "PECCATTE,"
occasionally with the word "PARIS" on the opposite side of the stick.
Much confusion has arisen from the fact that in some specimens the
stamp has only a single "T," the result, probably, of illiteracy on
the part of the maker.
The third in Plate VIII. is a bow by Panormo. His work is quite
distinct from that of any other maker; but one must not run away with
the idea that he affected an unjustifiable singularity, for the flat
sides and angular facets of the Panormo heads have a logical basis,
being in point of fact the natural continuation of the octagonal
stick.
Indebted as we are to the makers and scientists of France for
bringing the indispensable "fiddlestick" to such a degree of
perfection, we must not overlook the claims of certain of our own
countrymen for recognition in the same field of art.
The late mathematician and musical amateur, W. S. B. Woolhouse, no
less than Fetis, contributed greatly to a full understanding of the
essential properties of a bow on the part of those whose office it is
to produce the actual instrument. Woolhouse laid great stress on a
point overlooked by many other students of the subject, the same
being that the success of a bow depends quite as much on its purity
as a vibrating body as does the violin.
Unless the bow is so adjusted in its weight and proportions that it
vibrates with absolute uniformity throughout its entire length it is
useless to an artist.
Bows are "false" frequently in the same way that strings are.
Inequalities of finish, imperceptible to our ordinary senses, will
render a perfect "_staccato_" from end to end impossible, just as it
is impossible to obtain true fifths in every part of a violin's
compass if one of the strings be slightly wanting in absolute
cylindricity. I speak specially of "_staccato_," as that form of
bowing suffers perhaps more than any other from faulty bows; but any
form of bowing that calls for special dexterity will betray the
inefficiency of a bow.
It is of great interest to compare the calculations of Woolhouse with
those of Fetis, and I will here quote the results obtained by the
former.
"If measurements be taken in inches, and parts of an inch, and _h_
denote the distance of any part of the bow from the head, the
diameter of the stick in that locality, supposing the bow to be
round, may be readily calculated from the following formula:--
Diameter = .2 [log.(_h_ + 7.25) - 9.8100]
"From this formula the numbers given in the last column of the
following table were calculated."
+--------------------------------------------+-------------+
| _Distance from Head of Bow in Inches_. | Diameter |
+--------------+--------------+--------------+ in parts of |
| Violin | Viola | Violoncello | an inch. |
+--------------+--------------+--------------+-------------+
| 0 | | | .210 |
| 2 | 0 | | .230 |
| 4 | 1-1/2 | 0 | .247 |
| 6 | 3 | 1 | .262 |
| 9 | 5 | 3 | .280 |
| 13 | 8 | 5-1/2 | .300 |
| 18 | 11-1/2 | 9 | .318 |
| 23 | 15 | 12 | .333 |
| | 19 | 16 | .348 |
| | 23 | 20 | .360 |
| | | 24 | .370 |
+--------------+--------------+--------------+-------------+
These measurements, of course, only extend to the commencement of the
cylindrical portion.
Woolhouse made a small gauge of ivory, based on the above
measurements, which proved of great practical value in examining
bows. The measurements he obtained by the above calculation apply to
wood of medium density. He says, "For close and dense wood the
dimensions should be somewhat diminished, or, what amounts
practically to the same thing, the distance from the head should, for
dense wood, be increased by half an inch, or an inch, as the case may
be, before applying the gauge." He then gives a table of inclusive
weights of violin, viola and violoncello bows.
+---------------------------------------------------+
| _Weight of Bow for_ |
| +-------------+-------------+-------------+
| | Violin | Viola | Violoncello |
| +-------------+-------------+-------------+
| | grains | grains | grains |
| Light | 850 | 1,000 | 1,150 |
| Medium | 900 | 1,050 | 1,200 |
| Heavy | 950 | 1,100 | 1,250 |
+---------+-------------+-------------+-------------+
In speaking of the adjustment of the spring or _cambre_, Woolhouse
gives a means of obtaining the exact curve that does not strike me as
being sufficiently reliable for the purpose. He suggests that "an
auxiliary bow be made of the proper dimensions, but so as to be quite
straight; then, on being haired and screwed up in the ordinary way,
it will show, in an inverted position, the exact curve to which other
bows should be set." But "screwed up in the ordinary way" appears to
me to admit of too much latitude of application: it is not possible
to divine to what extent this auxiliary bow _is_ to be screwed, and
if _this_ is left to the judgment of the maker, why not set the
_cambre_ by judgment and save the trouble of the straight auxiliary
bow?
I will now proceed to give an alphabetical list of bow makers which I
trust is as complete as possible. I have endeavoured to leave out all
purely factory makers in favour of those who are personally engaged
in the manufacture of bows. There are some in the list who are not
actual makers, but who carefully supervise all the bows issued under
their name. Such work is always distinctive and differs greatly from
that issued by firms who order bows by the gross from foreign
factories, and then stamp their own name on the stick. This is a
class of bow that usually looks very pretty and tempting to the young
lady amateur, but is sadly lacking in balance and spring; what little
there may be of the latter at first soon disappears, for it is quite
impossible for any firm to turn out thoroughly efficient bows at the
extraordinarily low prices one sees quoted. One must remember that
for a bow to be of any real utility, the material, the workmanship,
and the fittings must be of the very best possible description.