Scan 306
The violin: its famous makers and their imitators, 1909
2 lines. Read by computer on 27 September 2026. Printed page 246. See the scan on archive.org.
1pass with the unwary as the original; it left his hands wholly unsophisticated. 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 own day has been awarded to his name a hundredfold since. He seldom occupied himself in copying Guarneri or Amati, although there are a few beautiful examples met with now and again in which he adopted these forms. Stradivari was his idol, and from the fact already mentioned, that he is very rarely found to have followed any other model than that of Stradivari, he would seem to have been 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. The varnish of Lupot is peculiar to him. Its qualities are good, being free from hardness. Though it is not of the Italian type,
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