Scan 279
The violin, its famous makers and their imitators, 1887
2 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1model of Niccolò Amati, and laboured unceasingly in imitation of him, until he copied him with an exactness difficult to surpass. Now that time has mellowed his best works, they might pass as original Amatis with those not perfectly versed in the characteristics of the latter. Many German makers excelled as copyists of Amati; but these makers chiefly failed in their varnish, whereas Banks was most happy in this particular, both as regards colour and quality. If his varnish be closely examined, its purity and richness of colour is readily seen. It has all the characteristics of fine Italian varnish, being beautifully transparent, mellow, and rich in its varieties of tints. It must be distinctly understood that these remarks apply only to the very finest works of this maker, there being many specimens which bear the label of Banks in the framing of which he probably took but a small share, leaving the chief part to be done by his son and others. Banks cannot be considered as having been successful in the use of his varnish on the bellies of his instruments, as he has allowed it to clog the fibre, a blemish which affects the appearance very much, and has been the means of casting discredit on the varnish among those unacquainted with the real cause. The modelling is executed with skill. Fortunately, sufficient wood has been left in his instruments to enable time to exert its beneficial effects, a desideratum overlooked by many makers of good repute. The only feature of his work which can be considered as wanting in merit is the scroll, which is somewhat cramped, and fails to convey the meaning intended, viz., the following of Amati; but as this is a point having reference to appearance, and therefore solely affecting the connoisseur, it may be passed over lightly, and the more so when we consider that Banks was not the only clever work-
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