Books › The fiddle fancier's guide; a manual of information regarding violins, violas, basses and bows of classical and modern times, together with biographical notices and portraits of the most famous performers of these instruments, 1892 › scan 139
Scan 139
The fiddle fancier's guide; a manual of information regarding violins, violas, basses and bows of classical and modern times, together with biographical notices and portraits of the most famous performers of these instruments, 1892
6 lines. Read by computer on 29 August 2026. Printed page 125. See the scan on archive.org.
1beautiful golden varnish, which hardly can be named second to even the best Italian.
3VAILLANT, F., Paris. About 1738. This was a very good maker, who produced some fine instruments on the lines of Nicolas Amati. His outline is very pure, with somewhat long middle bouts. His tickets run "François Vaillant rue de la Juiverie à Paris."
5VUILLAUME, J. B., Paris, 1798—1875. In some respects this distinguished maker is the greatest that France has ever had. In other respects he is not. He certainly had the capacity to be the greatest in all points, had he so chosen, but he did not so choose, with the result that he never gained on Lupot except in one or two points of comparatively slight importance. He was born in Mirecourt on the 7th October, 1798, and all his biographers, without exception, state that his father, Claude Vuillaume, was a violin maker there. I have, myself, adopted that statement in making reference to him elsewhere, and even the late highly esteemed Gustave Chouquet, keeper of the museum of the Conservatoire at Paris, has apparently drawn his information from the same source, namely, Antoine Vidal. It has even been recently stated that his grandfather was a violin maker, although he does not appear to have gone quite so far as that himself. In 1874, when M. Vidal was writing his book, he asked Vuillaume to make some researches in his native town, in order to ascertain the history of his family. What came of these searches will be referred to presently, but long previous to that date, namely, about 1856, when M. F. J. Fetis, Chapel Master to the King of the Belgians, and Director
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