Books › A dictionary of violin makers, 1896 › scan 14
Scan 14
A dictionary of violin makers, 1896
28 lines. Read by computer on 3 September 2026. Printed page 6. See the scan on archive.org.
1Dal Signor Ant. Bagatella, Padovano, È coronato dall' Accademia stessa. Padova, 1786." This work touched less on innovations than on practical methods of arriving at a perfect imitation of the instruments of the great Italian makers, Amati especially; it was translated into German by Schaum under title of "Ueber den Bau der Violinen, Bratschen, Violoncells und Violons" (Leipzig, 1806). It was from Bagatella's work that Maugin, in his "Manuel du Luthier," took his method of tracing a fine model of a violin with only a rule and compass, which may also be seen somewhat shortened at the end of Bishop's translation of Otto on the violin.
3Bagatella (Bagattella), Pietro. Worked at Padua about 1760-66.
5Bagnini, Orazio di Antonio. Maker of cithers in Florence, 1667.
7Bailly, Paul, of Mirecourt and Paris. Received a bronze medal in 1878 for work which, though not showy, was of good quality. Was among the Exhibitors in the Chicago (1893) Exhibition.
9Baines. Worked in London about 1780. Pupil of Matthew Furber.
11Bairhof, Giorgio. Naples, about 1760. Probably pupil of G. or N. Gagliano.
13Bajoni, Luigi. Maker in Milan from about 1840; was living in 1876.
15Baker, Francis. A magnificent bass-viol with six strings, of beautiful tone, had the following label: "Francis Baker, in Paul's Church Yard, 1696, London."
17Baker, John. A maker in Oxford about 1688 to 1720. His work was in every way good, excellently finished, the varnish a light yellow colour, the tone not large but very pure and clear in quality. In Thomas Britton's collection of musical instruments was "a fine viol by Mr. Baker of Oxford." A four-stringed viola da gamba "made by John Baker in Oxford, anno 1688," was exhibited in London, 1872.
19Balestrieri (Balestieri), Pietro, brother of Tommaso. His instruments are inferior. He worked at Cremona about 1725.
21Balestrieri (Balestieri), Tommaso, brother of Pietro. A maker in Cremona about 1720-57, then in Mantua till about 1772. Said to have been a pupil of Stradivari; there is a rough general resemblance in his work to that done by Stradivari in the last years of his life (1730-37), but no comparison in point of merit. He made some good violins, a few violas, and violoncellos of fine tone. The wood varies, that used for the bellies was carefully selected; the tone is powerful and becomes richer with age. He used two kinds of varnish, one resembling that of Guadagnini, the other softer and richer in colour. Label: "Thomas Balestrieri, Cremonensis, fecit Mantuae, 1762."
23Ballantine, was working in Edinburgh in 1850 and in Glasgow in 1856.
25Banks, Benjamin, son of George and Barbary Banks, b. July 14, 1727; d. Feb. 18, 1795. Was one of the first English makers to follow the Amati instead of the Stainer pattern, copying it very closely. Pupil of Wamsley in London, then settled in Salisbury. His instruments are excellently made, the scrolls perhaps somewhat clumsy; the tone is good, particularly that of the violoncellos. The varnish is transparent and rich; brownish-yellow colour with a reddish tinge is used for his best instruments, deep red with blackish tinge for others. He unfortunately let it clog the fibre of the bellies, which gave them a white appearance, or, technically, "the grain was killed." His large violoncellos are best, the smaller ones are equally well made but have not the same amount of tone, the style of finishing is very marked and decided, so that his instruments are easily recognised. A violoncello made after the Stainer model, with yellow brown-red varnish, had a fine tone. The average price of the best violoncellos between 1790 and 1794 was from ten to twelve guineas, but in this century they realised as much as £50. Inferior instruments were made by him (probably assisted by sons or other workmen) for Longman and Broderip, music publishers, the pattern long, more on the Stainer model, with red varnish. The names of Longman and Broderip are stamped on the back under the button, but there is no writing or label to show who was the maker. No double-bass of his is known, and it is doubtful if he or any member of his family ever made one. Labels: "Made by Benjn. Banks, Catherine Street, Salisbury, 1773"; "Benjamin Banks, Musical Instrument Maker. In Catherine Street, Salisbury, 1780"; "Benjamin Banks, fecit Salisbury." "B. B." was stamped on the back or beneath the button at the end of the neck, also "B. Banks, Sarum."
27Banks, Benjamin, second son of Benjamin Banks (1727-95), b. Sept. 13, 1754; d. Jan. 22, 1820. Worked with his
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