Scan 215
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.
1than that of Stradiuarius, he would seem to be specially aware of his own peculiar fitness for the great master's design. Every feature of Lupot's instruments was clearly a matter of study with him. It cannot be said of him, as of most other makers, that certain points are good, while others are weak. Every portion of his work contributes to the harmonious whole. The outline is perfect; the sound-hole is executed in a masterly manner; the model, purfling, and scroll of equal merit. He was untouched in his own day, and his productions have never been approached since. It may be safely said that Lupot is the king of modern makers, and as time rolls on the more will his works be valued. The varnish of Lupot is peculiar to him. Its qualities are good, being free from hardness. Though it is not of the Italian type, neither is it of the kind usually met with on the Violins of his contemporaries. It may be described as a quality of varnish coming between the Italian and French. Its property of tone is very mellow, and its colour varies between light and dark red. Age has wonderfully assisted in heightening its lustre, and although it will never rank with the varnish of Cremona, yet will occupy a foremost place among the varnishes of modern times. It is said that many instruments having the name of Pique in them are the work of Lupot, and this misnomer is accounted for by the story that Pique purchased them in an unvarnished state and varnished them with his preparation. Be this as it
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