TYWERSUS, ----, Nancy, 16th century.

VAILLANT, Francois, Paris, about 1750.

VERON, Pierre Andre, 1720-50.

VIBRECHT, Gysbert, Amsterdam, about 1700.

VUILLAUME, Jean, Mirecourt, 1700-40.

VUILLAUME, Claude, Paris, 1772-1834. The earliest maker of this
family; made commonplace instruments branded with his name.

VUILLAUME, J. B., Paris, born 1798, died in 1875. There are upwards of
2,500 Violins which bear his name. Many of these he made throughout.
The early ones are much appreciated, and having been wisely varnished
over at first, now begin to show the good results of such handling.
The career of Vuillaume was singularly eventful. Commencing life from
the first stage of the ladder, he gradually mounted to the highest, by
the help of the usual nurses of fortune, skill and perseverance. He
was a great lover of Cremonese instruments, and was intimately
associated with Tarisio. At the death of the celebrated Italian
connoisseur, he purchased the whole of his collection. He employed a
number of skilful workmen, some of whom have achieved independent and
individual reputations, and will be found noticed in their proper
places in this work.

VUILLAUME, N. F., Brussels. Brother of the above. Was well known both
as a maker and connoisseur. Born in 1802; died 1876.

VUILLAUME, Claude Francois, born 1807.

VUILLAUME, Sebastien, Paris, nephew of J. B. Vuillaume, made a few
excellent instruments. He died in the same year, 1875.

SECTION IX
The German School

There is no trace of any German Violins of the time of Gasparo da
Salo, or Maggini. This is certainly remarkable, and the more so when
we consider how near were the German makers of Lutes, &c., to the old
Italian town where Violins were being made. It is evident from this
non-production of Violins that the Tyrolese were content with their
Viols and Lutes, and did not recognise the wonderful effects of the
little Violin until it had become pretty nearly perfected by the
Italians. The manufacture of Lutes, Viols, and Guitars in Germany had
in 1650, or a little later, reached its zenith, and the exquisite
pieces of workmanship, in the shape of Lutes, Viols da Gamba, and
Viols d'Amore, richly inlaid with mother-of-pearl, ivory, and
tortoiseshell, made at this period, evidence the high state of the
art.

To Jacob Stainer is due the credit, to a great extent, of changing the
system of modelling so long in vogue in Germany. Although so great a
maker, he wa