LACASSO, ANTONIO MARIA, Milan, probably the same as Lausa.
LAGETTO, Paris, about 1650. Followed the Amati patterns.
LAMBERT, JOHANN HENRY, Berlin, 1760.
LAMBERT, ---- Nancy, 1760. A prolific but not very careful maker, which
gained him the name of the Lute Carpenter.
LANDOLPHI, CARLO, Florence, 1750. An excellent maker, who followed the
Cremona patterns with considerable success.
LANDOLPHI, FERDINAND, Milan, about same date.
There appears to be some doubt whether there was more than one
Landolphi, his name being Carlo Ferdinand, but being mentioned as of
both Florence and Milan, and the Christian names given separately,
there may have been two. Fetis only mentions Carlo, and locates him at
Milan.
LAUSA, ANTONIO MARIA, 1675. A capital imitator of Magini and Gaspar di
Salo's instruments, but is said not to have succeeded in rivalling them
in tone.
LAUTTEN, L. W. No particulars of this maker; but we find a violin by
him in a Catalogue, described as "fine and handsome."
LECLERC, ---- Paris, 18th Century.
LENTZ, JOHANN NICHOLAUS, London, about 1800. Considered a good workman.
LEWIS, EDWARD. London, about 1700. An excellent maker, used good wood,
fine varnish, chiefly of a yellow colour, and was notable for his
excellent finish.
LINELLI, or LINAROLLA, ---- Venezia, about 1520. A maker of rebecs,
viols, and viols da gamba.
LOTT, JOHN FREDERICK, London, born 1775, died 1853. An excellent
workman, who made many instruments for Thomas Dodd. He is also very
generally known as a first-rate double bass maker.
LOTT, GEORGE FREDERICK, son of the above, was also an excellent
workman, and is said to have been chiefly employed by dealers.
LOTZ, THEODORE, Prestburg, about 1735, has a good reputation as a maker
of violins.
LUPOT, FRANCOIS, Stuttgard, about 1770.
LUPOT, NICHOLAS, son of Francois, born at Stuttgard, 1758; went to
Orleans, 1786, and Paris, 1794; died 1824. This artiste deserves the
title of the King of the French makers. He followed the model of
Stradiuarius, used excellent wood and good varnish, much in the style
of that master. His violins are very fine in tone and resemble the
Italian more than any other maker's. Tolbecque, the violinist has two
very fine specimens. His instruments have been frequently selected by
the French Conservatoire as prizes for their pupils. They now fetch
high prices. Dubourg calls him "a studious artist, whose instruments
are in request when a good Cremona is unattainable." He also says,
"sixty guineas have been refused for one of his best violins." Spohr in
his "Violin School," also recommends his instruments. This artiste
published a work on the construction of violins, called "La Chelonomie,
on le parfait Luthier."