Francois Xavier Tourte

History

Francois Xavier Tourte (1748-1835) was born in 1748 and died in 1835 in Paris, France. He was known as 'Tourte le jeune' and was the younger brother of Nicolas Leonard Tourte and son of Nicolas Pierre Tourte. He is widely acknowledged as the most important archetier in the history of the craft, commonly referred to as 'the Stradivari of the bow'.

Tourte initially trained as a watchmaker from approximately 1760. According to Willibald Leo Lütgendorff, he worked as a watchmaker for eight years before entering his father's and brother's workshop. After his father's death in 1764, he came under the protection of his elder brother, Nicolas Leonard, and was drawn into bow making as his assistant. He is credited with making pernambuco the standard material for bow sticks, introducing it to his brother's workshop and rendering the earlier use of ironwood or snakewood obsolete.

In 1782, the virtuoso J. B. Viotti arrived in Paris and made contact with the Tourte brothers. Francois Xavier was quicker to respond to Viotti's requirements for a more even and flexible stick, leading him to develop the familiar 'incurved' camber of the standard modern bow. Another notable violinist, Rudolph Kreutzer, was instrumental in Tourte's development of the form and function of the frog to maintain a more controlled flat ribbon of hair through the metal 'D' ring or ferrule. By about 1785, he had established the formal pattern for the modern classical bow. From this point, he used his elder brother's brand, with the 'L' removed, signifying that Nicolas Léonard was no longer active.

The next phase of his career, suggested by his production of octagonal rather than round sticks after approximately 1800, saw him move to 10 Quai de l'École. In this 'golden period,' he established the ideal standard lengths and weights for violin, viola, and cello bows, which had previously been highly variable, and perfected the fully mounted, functionally modern frog. He worked until at least 1833, and retired to 38 rue Dauphine, beside the Seine, continuing to produce excellent work even in his 77th year, according to Lütgendorff. He worked until he was eighty-five, when failing eyesight necessitated a rest, as noted by Cecie Stainer.

Craft

• Material Innovation: He made pernambuco the standard material for bow sticks, replacing ironwood or snakewood. He initially used staves from old sugar hogsheads from Brazil for experiments, but later always selected fine pernambuco wood with perfectly straight grain, strong and elastic, without excessive weight.
• Camber Development: He developed the familiar 'incurved' camber of the standard modern bow.
• Frog Design: He developed the form and function of the frog to keep a more controlled flat ribbon of hair, utilizing a metal 'D' ring or ferrule. He also invented a method of spreading the hairs of the bow and fixing them on the face of the nut by means of a movable band of metal, fitting on a slide of mother-of-pearl.
• Standardization: He laid down the formal pattern for the modern classical bow by about 1785 and established the ideal standard lengths and weights for violin, viola, and cello bows.
• Stick Shape: After approximately 1800, he produced octagonal rather than round sticks.
• Bending Technique: He did not cut the stick in a curved shape but cut it straight from the wood and bent it over his knee after heating it over a gentle coal fire. He achieved a permanent and regular bend by subjecting the wood in a state of flexion to a moderate amount of heat for some time.
• Finishing: He never lacquered his sticks, but only polished them with oil and pumice.
• Quality Control: He was a conscientious worker who delivered only irreproachable bows, destroying any that he deemed not fully successful.
• Other Skills: He was also known to be able to carve bridges wonderfully.
• Rarity: Only one authenticated double bass bow made by him is known.

Influence

• Family Workshop: After his father's death, he was drawn into bow making as an assistant in his elder brother Nicolas Leonard Tourte's workshop.
• Collaborations with Virtuosos: His work was significantly influenced by the requirements of virtuoso violinists. J. B. Viotti, who arrived in Paris in 1782, suggested many improvements from a violinist's perspective. Rudolph Kreutzer was instrumental in the development of the frog's form and function.
• Historical Accounts: More about him is reported in Fétis's book on Stradivari (pages 118-128), based on Vuillaume's account.

Legacy

• Renown: He is acknowledged as the most important archetier in the history of the craft, commonly referred to as 'the Stradivari of the bow'. His skill has never been equaled.
• Market Value: He charged 12 louis d'or (about £10) for gold-mounted bows and 3 1/2 louis d'or (nearly £3) for silver-mounted ones. His bows now fetch significantly higher prices, with a violoncello bow selling for £44 at a Paris sale in 1887.
• Enduring Quality: His work remains the most admired and desirable of all the numerous and gifted French bow makers that followed his inspiration. His bows are always preferred by violinists and show no signs of wear.
• Museum Collections: Several of his bows are preserved in the Paris Conservatoire Collection.
• Markings: His bows were rarely marked; only two are known with small engraved labels stating: "Cet archet a ete fait par Tourte en 1824, age de soixante-dix-sept ans."
• Imitation: His bows were so closely imitated by other makers, such as Peccatte and Lafleur, that it is sometimes difficult to distinguish between originals and copies.

Further Information

• Addresses: He settled at 10 Quai de l'École and later retired to 38 rue Dauphine.
• Brand: His brand was TOURTE. He used his elder brother's brand, with the 'L' removed, after about 1785.
• Business Card (1774): His business card read: "Tourte le Jeune / fait et vend toutes sortes d'archets / Demeure quai de l'école, maison / de marchand de musique, ci / devant Caffé du Parnasse No. 10 / au 4me A Paris".
• Nickname: He was known as 'Tourte le jeune' to distinguish him from his brother.

Summary

François Xavier Tourte, known as 'Tourte le jeune', was a pivotal French archetier (bow maker) born in 1748 in Paris. Initially trained as a watchmaker, he joined his family's bow-making workshop, eventually becoming known as 'the Stradivari of the bow'. He revolutionized bow making by standardizing the use of pernambuco wood, developing the modern 'incurved' camber, and perfecting the frog design, often in collaboration with virtuoso violinists like J. B. Viotti and Rudolph Kreutzer. By 1785, he had established the formal pattern for the modern classical bow, and his 'golden period' around 1800 saw him define ideal lengths and weights for violin, viola, and cello bows. His meticulous craftsmanship, including his unique bending technique and refusal to lacquer sticks, resulted in bows of unparalleled quality that remain highly sought after and admired today. He worked until at least 1833, leaving an enduring legacy that set the standard for all subsequent bow makers.