- The French violin generally has squared corners as opposed to the more rounded design of models from other countries. The body of the violin has an hour-glass shape which comprises an upper bout, waist and lower bout. On a French model the lower bout will be slightly larger than the upper bout. Sometimes one will see black ink edging on the scroll of the instrument. It is mistakenly thought to be associated only with French-made violins; makers from other countries used this ink effect as a feature as well, particularly on Cremonese instruments.
- Jacques Bouquay, 1700-1730, was of the old French school and much influenced by Italian workmanship. He, and others of this period, used a transparent, warm brown varnish, similar to that of Cremona. He was a master of scroll carving and his instruments tended to have a sweet sound, not so powerful as the Italian models.
Jean-Baptiste Vuillaume, 1798-1875, built beautiful instruments, wonderful to play. Finding that purchasers of violins tended to prefer an older instrument over a new, he would travel great distances in Italy to find old wood, even old furniture, from which to make his violins. He would "cook" his violins by accelerating the natural drying process through smoking or the use of chemicals. His typically red violins are among the greatest of all violins. He made many copies of Stradivarius violins, even replicating such details as the varnish and labels. - In the same year as Vuillaume was born, Nicolas Lupot, 1758-1824, established a workshop in Paris. He was appointed Violin Maker to the King and his instrument making imitated Stradivarius more closely than anyone before or since. His work is known worldwide and his violins can be recognized by their brilliant textured finish with flamed wood backs.
For instruments of delicate and fine workmanship the violins of Pierre Silvestre, 1801-1859, stand out, and it is regrettable that so few are now to be found. Using wood of outstanding quality, he chiefly copied the work of Stradivari but without achieving the master's quality of character in his instruments. - A Frenchman named Tourte is considered to be the most important figure in the development of the modern bow. French bows are generally more expensive than their English or German counterparts and are thought to be of a superior design. This might be because France was the center of the violin world in the 19th century and produced the light, skippy bows of Voirins and later the heavier strong bows of Sartory.
- A French violin can be as good an investment as an Italian instrument. The value of these instruments increased dramatically in the mid-20th century due to the rise in the number of interested collectors. Before purchasing a French violin, check that the authenticating papers are from a reputable authenticator.