Scan 59
The Fiddle Fancier's Guide: A Manual of Information Regarding Violins …, 1892
8 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1its original, but the sound holes appear rather weak, and the volute of the scroll just a little topheavy. Anything I have seen of the original John Betts was good, solid, square work, without any great display of taste, and with rather bad sound holes. There was an Edward Betts, who did better work as far as concerns appearance. They were both pupils of Richard Duke, but they chiefly employed other people to make for them, and, as far as I can judge, a considerable quantity of rubbish passed through their shop along with a great deal that was good, and much that was splendid, and which will be referred to under the actual makers.
3Boquay, J., Paris, 1705—1735. This maker was famous in his day, and many people like him yet. His model is high, and his varnish is not bad, of a reddish brown, tending to yellow. I do not think much of the tone.
5Bachmann, C. L., Berlin. Born 1716. Died 1800. One of the best German copyists in Amati and Stainer models. He was a professional musician at the Prussian court, a distinguished connoisseur of his time and the inventor of the system of screwing the double bass pegs, which led to the adoption of machine heads. His instruments are soundly made, and covered with a kind of oil varnish.
7Breton, F. "Breveté de S. A. R. Me La Duchesse D'Angouleme à Mirecourt," so runs the ticket of this maker who seems to have worked in Mirecourt from about 1800 to 1830, or later. His instruments frequently have a light brownish yellow varnish, not unpleasant to look at, though of rather common type, and such as one might expect to see on a good class of trade instru-
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