Scan 214
The violin: its famous makers and their imitators, 1875
2 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1attention 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, François Gand, and is still retained by the latter's two sons, in conjunction with Bernadel. Nicholas Lupot may be justly termed the French Stradiuarius. He was an artist in every sense of the word. He regarded the works of Stradiuarius with the utmost veneration. While, however, he laboured unceasingly to imitate him, he scorned all those mischievous maturing processes common to the majority of French copyists; he never desired that his copy should pass as the original with the unwary; in fact, of such a fraud his high sense of honour rendered him incapable. There is not an instance in which he did not varnish the copy all over, leaving time to do its work of wear, although by so doing he doubtless sacrificed much in his own time, inasmuch as all new Violins so varnished have a crude appearance, notwithstanding any amount of high finish expended upon them. What, however, Lupot lost in his day has been awarded to his name a hundredfold since. He seldom occupied himself in copying Guarnerius or Amati, although there are a few beautiful examples met with now and again in which he adopted these forms. Stradiuarius was his idol, and from the fact already mentioned, that he is most rarely found to be working on any other model
The computer misreads some letters and numbers. Where a name matters to you, read the scan.