opy should pass 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, 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 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, Francois Gand.

MARQUIS DE LAIR, Mireco