no mean order. We may
therefore assume that the Continental writers who from time to time
have published lists of makers of the Violin, and have invariably
ignored England, have erred through want of information regarding the
capabilities of our makers, both ancient and modern.

The following list will be found to enumerate nearly the whole of the
English makers, and indicate the distinctive character of their
respective works.

SECTION XII
English Makers

ABSAM, Thomas, Wakefield, 1833.

Made by
Thomas Absam,
Wakefield, Feb. 14,
1833.

ADAMS, Garmouth, Scotland, 1800.

ADDISON, William, London, 1670.

AIRETON, Edmund. Was originally employed in the workshop of Peter
Wamsley, at the "Harp and Hautboy," in Piccadilly. He made a great
many excellent Violins and Violoncellos, and chiefly copied Amati.
Varnish of fair quality; colour yellow. He died at the advanced age of
80, in the year 1807.

ALDRED, ----, about 1560. Maker of Viols.

ASKEY, Samuel, London, about 1825.

BAINES, about 1780.

BAKER, ----, Oxford. Mention is made of a Viol of this maker in the
catalogue of the music and instruments of Tom Britton, the small-coal
man.

BALLANTINE, Edinburgh and Glasgow, 1850.

BANKS, Benjamin, Salisbury, born 1727, died 1795.

Benjamin Banks,
Musical Instrument Maker
In Catherine Street, Salisbury.
1780.

To this famous maker must be given the foremost place in the English
School. He was a thorough artist, and would not have been thought
lightly of had he worked in Cremona's school, and been judged by its
standard. This may be considered excessive praise of our native maker;
but an unprejudiced judge of work need only turn to the best specimens
of Banks's instruments, and he will confess that I have merely
recorded a _fact_.

Banks is, again, one of the many instances of men who have gained a
lasting reputation, but whose histories have never reached the light
to which their names have attained. How interesting would it be to
obtain the name of his master in the knowledge of making instruments!
No clue whatever remains by which we could arrive at a satisfactory
conclusion on this point. That he was an enthusiast in his art is
certain, and also that he was aware to some extent that he possessed
talent of no mean description. This is evidenced by the fact that many
of his instruments are branded with the letters B. B. in several
places, as though he felt that