Scan 54
The Fiddle Fancier's Guide: A Manual of Information Regarding Violins …, 1892
16 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1Augiére. A very good Parisian maker, established about 1830.
3Bagatella, Antonio, Padua, 1786. Chiefly known as the author of a work on violins which is of great interest even yet. He was a fine repairer of old violins, and was employed by Tartini.
5Baestrieri, T., Cremona and Mantua, 1720—1772. A very good maker indeed. Some of his work is remarkably like that of Stradivari in almost all points, except finish. Powerful and good quality of tone.
7Baestrieri, P., Cremona. Brother of preceeding. Poor work.
9Barnia, Fidele, Venice, 1760. A Milanese trained maker, who was established in Venice. Fairly good, neat work, yellow varnish.
11Banks, Benjamin, Salisbury, 1727—1795. One of our finest English makers. Quite equal in style, finish, and tone to many of the fine Italian makers. His margins are splendid. His edges beautifully rounded. His corners full, and of true Nicolas Amati early style. His arching is exquisite, and the tone of his violins fine and ringing. The grain of the wood is generally remarkably equal, and of medium width. His varnish is decidedly rich, of a beautiful purplish cherry colour, and fairly transparent. His bigger instruments are also superb, and grand in tone.
13Belosio, Anselmo, Venice, 1720—1780. A pupil of Santo Serafino, but a mediocre worker. Dull, thicker varnish than his master's.
15Barrett, J. London, 1714—1725. A copyist of Stainer whose model he has much exaggerated, like
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