Scan 307
The violin: its famous makers and their imitators, 1909
10 lines. Read by computer on 27 September 2026. Printed page 247. See the scan on archive.org.
1neither 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 the French. Its colour varies between light and dark red. Age has assisted in heightening its lustre, and although it will never rank with the varnish of Cremona, yet it will hold its own 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 may, it is certain that the varnish of Pique could not serve to benefit such instruments; on the contrary, it would reduce their value. The tone of Lupot's instruments improves yearly. The quality is round and telling, and free from roughness. He died in Paris in 1824, aged 66, and was succeeded in his business by his son-in-law, François Gand.
3Marquis de Lair, Mirecourt, about 1800. The name is generally branded on the back. The wood is chiefly of a plain description, and varnish wanting in transparency.
5Mast, Jean Laurent, Paris, about 1750.
7Mast, Joseph Laurent, Mirecourt and Toulouse. Son of Jean Laurent. A Violin dated 1816 is in the Museum of the Paris Conservatoire.
9Maucotel, Charles, born at Mirecourt, in 1807. In 1834 he entered the workshop of Gand in Paris.
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