Books › The history of the Violin, and other instruments played on with the bow from the remotest times to the present: also, an account of the principal makers, english and foreign, with numerous illustrations, 1864 › scan 382
Scan 382
The history of the Violin, and other instruments played on with the bow from the remotest times to the present: also, an account of the principal makers, english and foreign, with numerous illustrations, 1864
4 lines. Read by computer on 29 August 2026. Printed page 361. See the scan on archive.org.
1vibrating plate, under the button, "B. Banks, Sarum." This maker was not successful with the varnish put on the various instruments; there is a want of brilliancy in the colouring, and a sad defect in the method of application, which destroyed the grain of the upper vibrating plate and gave it a white appearance, or, as the trade would pronounce, "the grain was killed." The colours of his varnish were a deep red with a blackish tinge, and a yellow brownish red; the latter seemed preferred for those instruments of special make or order. One of the writers of this book has a violoncello of this maker, having the latter coloured varnish, and the quality of tone is very fine: it is of the Steiner model, but rather long, and the Steiner sound hole is used. It was a present to him from his valued friend, that eminent performer, the late Robert Lindley. A violin by the same maker is in possession of Mr. Charles Lucas, the varnish on which has rather more red in it. No contra-basso or double-bass has been seen of this maker, and it is doubtful if he or any of the family ever made one.
3There is a class of instruments, more particularly violoncellos, which were made for Longman and Broderip, the music publishers, by this Benjamin Banks, and probably assisted by his sons or other workmen; the pattern of which is long and more of the Steiner model; the work much inferior, and a red varnish used having all the appearance of the tint being produced by an aqueous extract. The names of Longman and Broderip are stamped on the back, under the button, but no writing or label to indicate by whom the instruments were made; the style, however, even in these instruments is easily recognized. The average price of this maker's best violoncellos, between 1790 and 1794, was from ten to twelve guineas; and in the first half of the present century some
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