sooner or later his works would be
highly esteemed, and would survive base imitations, and that by
carefully branding them he might prevent any doubt as to their author.
Many of his best instruments are found to have no brand: it would
seem, therefore, that he did not so mark them for some time. He
appears to have early shown a preference for the model of Niccolo
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 are 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 workman who has failed in head-cutting. He made Violins,
Tenors, and Violoncellos, all excellent; but the last-named have the
preference. His large Violoncellos are the best; those of the smaller
pattern are equally well made, but lack depth of tone. The