1. John William Jullion b. 1844 d. 1871 unmarried
2. Henry James Jullion b. 1846 d. 1893 - married - Georgiana Merchant (see below for details)
3. Julia Maria Julion b. 1849 d. ... - unmarried - moved to Paris. She was known as Aunt "Poms" - reason currently unknown but possibly relating to her predilection for the use of 'pom-pons' in her daily dressing - much associated with French fashion of the era. Since she went on to become a court dressmaker, this would seem to be the reason.)
4. Rosa Charlotte Jullion b. 1852 d ... - unmarried - working as a barmaid, Wells, Somerset in 1881 Rosa, too, with "Poms" went on to become a court dressmaker.
5. Frederick Francis Jullion b. 1853 d. 1854
6. Francis Jullion b. 1855 d. 1889
7. Walter Hamlet Jullion b. 1857 d. 1885
8. Arthur Jullion b. 1859 d. ...
Mary L M Jullien
b. circa 1874 Birmingham Warwickshire
Details - from the 1881 Census:-
Sue Tearne writes "Joyce (Jullien) was a talented pianist and always thought that the Julliens were descended from Louis Jullien, the French musician and impresario, who was credited with introducing the Polka (dance genre) to England from the Continent in the mid-19th century. After she died, I found this was not the case."
Rosa Charlotte Jullion b. 1852 was working as a barmaid in Wells, Somerset in 1881 and retained the Jullion version of the name whereas by 1881, her parents were spelling the name as Jullien as was her brother, Henry James. It is possible that this was done to capitalise on the popularity of the -en version of the name as presented by Louis Jullien who had come from France earlier in the 19th Century and who had introduced, amongst other things, Promenade Concerts - and the Polka - to Britain. Another sister (Julia Maria) of the same generation moved to Paris to live, although family papers do not state when. In those same papers, she is said to have been unmarried.
Speculation: In view of the belief that her family line descended from Louis Jullien, the music impresario, is it possible that Joyce Jullien's memory or belief was partially correct in that perhaps Louis Jullien was indeed a descendant of the French line - or of a French line - of the same family; thus, not descended but 'related' - a relationship that, over the generations translated to 'descended from' in her perception or that of her immediate family. There is, after all, a Louis Jullien (Louis Percy Jullien) in this (page) generation and also, in the previous generation, can be found John Louis Jullion (a Doctor) b. 1825 d. 1865, who married Margaret Hughes. He was the youngest son of James Jullion and Charlotte Webb - and a brother of James Thomas Jullion, patriarch of this particular line.
The Jullion family in England has its origins in the late 1600s when a Huguenot (Protestant) ? John ? Jullion (perhaps, even, Jean Jullien) fled France to escape persecution. His son, another John Jullion, arrived in England a short time afterwards. In 1787, the 'Edict of Toleration' restored the 'safety' and rights of Protestants in France. James Jullion, (father of James Thomas Jullien) was born in 1783 and it may be surmised that his father - who died in 1796 - would have tested the waters of the new toleration and possibly renewed contact with the French branch(es) of the family (supposing they had ever lost contact). This may have precipitated the name change to Jullien in some lines of the next generation. Question - could it have been that the original - and authentic - spelling of the family name (heirs to a Dukedom as they were) was Jullien and not Jullion - and that the original Huguenot Jullion changed his name from Jullien to the Jullion version to 'cover his Huguenot trail'? The "- en" sound in French translates perfectly to the "- on" sound in English. Use the Huguenot Insignia to access September 2003 information relating to this family.
18th and 19th Century English Jullion family were celebrated craftsmen in watch and clock making - a parallel occupation may be found in French Jullien family as there is a mention of a recent clock/watch auction in which an item had "a movement by Jullien of Paris, C.1880."
Louis-Antoine Jullien (1812-1860).
According to the celebrated musician, Hector Berlioz, Jullien had an English wife and was living, in 1847, in Harley Street, London. Jullien himself was French but was based in England between 1838 and 1859. It is of interest to note an early inter-marriage (circa 1808) between the families of Berlioz and Jullien in France - and a book on Berlioz being published by Adolphe Jullien in 1888. Louis Jullion effectively created the promenade concert in England. He was a great showman, especially in his dress and accessories - for example he had a jewelled baton with which he conducted Beethoven - and he was an authoritative conductor. He attracted some of London's best players into his orchestra which gave its promenade concerts in London theatres, the Surrey Gardens and in many provincial centres.
He was the Director of the Drury Lane Theatre and engaged Berlioz to conduct concerts - and the English Grand Opera Orchestra - which he wanted to establish at the Royal Theatre. However, miscalculations and bad luck led him to bankruptcy for which he was imprisoned in April 1848. He met with financial disaster on a number of occasions and ultimately suffered from mental instability; but his mix of lighter music with the classics, coupled with lower admission charges, particularly for the "promenaders", helped to bring orchestral music to a wider audience. This did not stop Punch Magazine declaring, in 1852, on his 'gratuitous overuse of the Ophicleide' -
Hector Berlioz - a Memoir of Louis Jullien: - (Source Mémoires, Postface) -
"Quatre ou cinq ans après cette espèce de congrès musical, Jullien, dont j'ai déjà parlé à propos de sa direction de l'Opéra anglais au théâtre de Drury-Lane, vint à Paris pour y donner une série de grands concerts dans le cirque des champs Elysées. Sa banqueroute l'empêchait de signer certains engagements; je parvins heureusement à lui faire obtenir son concordat et par suite la liberté de contracter. Le pauvre homme en me voyant renoncer si aisément à ce qu'il me devait, fut pris, au tribunal du commerce, d'un accès d'attendrissement et m'embrassa en versant des flots de larmes. Mais à partir de ce moment, son état mental, dont personne ne voulait, à Londres ni à Paris, reconnaître la gravité, ne fit qu'empirer. Depuis nombre d'années pourtant, il prétendait avoir fait en acoustique une découverte extra ordinaire dont il fait part à tout venant. Mettant un doigt dans chacune de ses oreilles, il écoutait le bruit sourd que le sang produit alors dans la tête en passant par les artères carotides, et croyait fermement y reconnaître un la colossal donné par le globe terrestre en roulant dans l'espace. Puis sifflant avec ses lèvres une note aiguë quelconque, un ré, ou un mi bémol, ou un fa, il s'écriait plein d'enthousiasme: «C'est le la, le la véritable, le la des sphères! voilà le diapason de l'éternité!» ..."
"Un jour il accourut chez moi: son air était étrange. Il avait vu Dieu, disait-il, dans une nuée bleue, et Dieu lui avait ordonné de faire ma fortune. En conséquence il venait d'abord m'acheter ma partition des Troyens récemment achevée; il m'en offrait trente-cinq mille francs. Ensuite il voulait, malgré mon désistement, acquitter sa dette de Drury-Lane. «J'ai de l'argent, j'ai de l'argent, ajouta-t-il en tirant de sa poche des poignées d'or et de billets de banque, tenez, tenez, en voilà, payez-vous!» J'eus beaucoup de peine à lui faire reprendre son or et ses billets en lui disant : «Une autre fois, mon cher Jullien, nous nous occuperons de cette affaire et de la mission que Dieu vous a confiée. Il faut être pour cela plus calme que vous n'êtes aujourd'hui. Le fait est qu'il avait déjà reçu des fonds considérables pour ses concerts des Champs-Élysées, d'un entrepreneur à qui il avait inspiré une grande confiance. La semaine suivante, après avoir fait un scandale public en jouant de la petite flûte dans son cabriolet sur le boulevard des Italiens, et en invitant les passants à venir à ses concerts, Jullien mourut d'un transport au cerveau. Combien y a-t-il en Europe à cette heure, de musiciens que l'on prend au sérieux et qui sont aussi fous que lui!"
The Polka - The Polka, a lively couples dance in 2/4 time, developed from folk roots and became a European popular dance craze in the 1840s. It is said to have come from Bohemia and was supposedly discovered by Joseph Neruba in 1835 (some say it was Joseph Cellarius). The story goes that Neruba saw a Bohemian peasant girl by the name of Anna dancing and singing to a tune she liked and she had invented a little dance to go with it.
Neruba, liking what he saw asked her to repeat the dance for him and seeing the possibilities of the dance - and the possibility of money - took it to Prague in 1835. The Polka arrived in Vienna in 1839 with a music band from Prague under the leadership of Pergier. In 1840, J. Raal, (a.k.a.: Raab, Baab) - a dancing master of Prague - danced it at the Odeon Theater and made it a huge success. It soon reached other European centres.
Thereafter, in élite Paris salons and in humble village squares and taverns, polka dancers flaunted their defiance of the staid dance forms, the minuets and quadrilles, which had preceded this raucous and, for the times, scandalous new dance. The Polka was introduced into the ballrooms of France and England in 1843, and led to the inauguration of the present style of round dancing.
By the mid-19th century the interest in realistic detail, psychological motivation for characters, and concern for social problems led to naturalism in drama. Turning to science for inspiration, the naturalists felt that the goal of art, like that of science, should be the betterment of life. Dramatists and players should, like scientists, objectively observe and depict the real world. Influenced by the theories of Charles Darwin, the naturalists believed that heredity and environment are at the root of all human actions and that the drama should illustrate this. The romantic concern for spiritual values was abandoned. The leading naturalist was the French writer Émile Zola, who compared the playwright to a physician who must expose disease in order to cure it-the drama therefore had to bring social ills into the open. The result of this was drama that focused on the seamier elements of society rather than on the beautiful or ideal. Naturalists sought, in the words of the French playwright Jean Jullien (1854-1919), to present a "a slice of life, put on the stage with art." Ideally, a naturalist play had no beginning, middle, or end or any sort of dramatic contrivance. In practice, of course, incidents were selected and shaped for dramatic effect.
Dentist Jullion - In 1781, Paul Jullion of Gerrard Street in London was charging half a guinea for a single artificial tooth, and four times that for a human one.
14 Aug 1948 William Scott C. Woodcock = Mireille J. Jullion - Marriages from the Registers of Jarrow St Mark (1896-1948) Northumberland and Durham. Collection of Northumberland and Durham indexes.