Nicholas Lupot, rue Croix des petits champs, à Paris, l’an 1817.
Nicholas had a brother named François, who became celebrated as a maker of bows.
VUILLAUME, JOHN BAPTISTE, born at Mirecourt, October 7, 1798, died February 19, 1875; the greatest violin maker and copier of modern times. It is not precisely known under whom he received his first instruction in the art of violin making. Some say his father, one Claude Vuillaume, born at Mirecourt in 1771, died 1834, whilst others maintain that the father was not a fiddle maker, but a carrier between Mirecourt and Nancy. At all events, at the age of nineteen, he was engaged by François Chanot, a violin maker of repute, who had just about that period established a workshop for the manufacture of a new-shaped violin, which had been patented, so it is not unlikely that François Chanot was his first real master. He next engaged himself with one Lété, an organ builder, who dealt in violins, and ultimately became a partner in the concern. In 1828 he parted from Lété and continued in business alone. During this period he found great difficulty in disposing of his instruments; the rage being for those of Italian manufacture. He thereupon took to fabricating copies of the old masters, and his operations in this line appear to have been attended with great success. As a large number of old instruments, Italian and others, passed through his hands for repair, Vuillaume had ample opportunity afforded him for studying and ascertaining the inward and outward conditions necessary for the production of good tone, and this advantage he was not slow to avail himself of. Fortified with a vast amount of experience, combined with much knowledge gained by experiment, Vuillaume was in course of time enabled to produce an instrument in all but one point equal to the greatest Italian masters, the condition wanting being that of age. In some cases, possibly through stress of trade, Vuillaume endeavoured to supply this deficiency by giving to his instruments an appearance of wear and long usage. In his latter years, however, he relinquished this pernicious practice. The climax of his skill as a copyist was reached on the occasion when he reproduced a facsimile of Paganini’s famous Guarnerius, entrusted for repair. This copy was so marvellous in its similarity with the original, both as regards appearance and tone, that the great virtuoso himself failed to recognise his own instrument, and Vuillaume had to point it out to him. In addition to his high capabilities as a violin maker, Vuillaume was renowned as a bow maker, and effected some improvements in that important adjunct, and on the whole proved himself a genius of uncommon order.
IV.—BRITISH.
WILLIAM ADDISON—THOMAS COLE—EDWARD PAMPHILON—PEMBERTON—THOMAS URQUHART—CHRISTOPHER WISE.
This group represents the early English school and the principal makers existing during the seventeenth century. It may reasonably be inferred that they were more at home with the viol than with the violin as known to-day. Little can be said concerning their early productions, as they are now all but extinct; a great portion of them probably perished in the great fire of London in 1666, in which city some of them were supposed to have worked.
Christopher Wise is said to have made some fairly good instruments of a highly decorative nature.
Jacob Rayman was the better artist, and some instruments attributed to him reflect great credit on this early school.
Thomas Urquhart was a still further advance, his outline and varnish places him in the front rank of the period.