Books › Violin tone and violin makers, 1916 › scan 227
Scan 227
Violin tone and violin makers, 1916
4 lines. Read by computer on 27 September 2026. Printed page 205. See the scan on archive.org.
1AND VIOLIN MAKERS
3in addition to the label. Brown or yellow-brown varnish of moderate quality. Arching sometimes inclined to be full. Sound-holes rather upright and the opening not very wide. Scroll mediocre. He is said to have worked with Guarneri del Gesù, but his violins bear no likeness whatever to those of that master, and it is difficult to understand how such a story could have gained currency. His son Nicholas Lupot, born Stuttgart, 1758, died Paris, 1824, was a maker of the first rank, and is usually reckoned the most important of all the makers of the French school. He worked first with his father, and his earlier examples date from Orleans. In 1792 he made for Pique of Paris a number of fiddles in the white, which were varnished by that maker, and bore his label, but are easily distinguished from the works of the latter. The migration to Paris took place in 1794, and his finest efforts are dated from there, the best period beginning about 1800, or a year or two later. His copies of makers other than Stradivari are comparatively rare, but he was unquestionably one of the best imitators of the great Cremonese who ever lived. The work throughout is scrupulously well finished; outline exactly reproduced, and scrolls and sound-holes cut with much vigour and accuracy. Notwithstanding this, the general appearance of his instruments is a trifle massive and heavy, and there is no doubt that in this respect certain other copyists, such as François Fent and Vincent Panormo, have excelled him. His varnish is of good quality, but varies somewhat in appearance, texture, and colour. Dark red was the favourite shade, but lighter shades from yellow onwards are met with, and in some examples the reds are rather glaring. The tone of a fine example is excellent, but, like that of most French instruments,
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