Banks made a number of violas and violoncellos. The latter instruments stand pre-eminent for workmanship and tone and are particularly well adapted for the performance of solo and chamber music. This maker adopted a variety of methods for stamping and otherwise labelling his instruments. Below the button was the favourite place. The labels mostly seen are: Made by Benjamin Banks, Catherine Street, Salisbury. Benjamin Banks, fecit Salisbury. Benjamin Banks, Musical Instrument Maker, In Catherine Street, Salisbury. B. Banks, Sarum. “B. B.” stamped under the button. The varnish used by Banks varied from a deep red to a yellow brown. One word of advice, beware of the unredeemed pledge. BANKS, BENJAMIN. Son of the preceding; born at Salisbury, 1754, died in Liverpool, 1820. He worked at first for his renowned father, afterwards removing to London, where, possibly, he assisted in making the Longman and Broderip instruments. He then went to Liverpool and worked there until his death. Very little is known of him or his works, though it is possible that many of his instruments have been passed off as the work of his father. BANKS, JAMES and HENRY, two other sons of the great Benjamin, and successors to the business at Salisbury, where they were both born, James about 1756, died 1831; Henry, 1770, died 1830. James was the violin maker of the concern, while Henry devoted himself to tuning pianofortes and repairing instruments. Sometimes, however, they collaborated in the production of violins and violoncellos. They also extended the sphere of their operations to music selling and dealt in other musical instruments. The fame of the Banks family as violin makers declined at this period. BARRETT, JOHN. A London maker, who worked about 1725. He made some good instruments which are dated from the Harp and Crown in Piccadilly. He followed the Stainer model. His varnish is unsatisfactory. BETTS, JOHN, London, born at Stamford in 1755, died 1823. This excellent maker was a pupil of Duke, and adopted the Amati model. He was not himself a prolific maker, his time being principally occupied in the study of old Italian instruments, the result of which enabled him to become a very successful dealer and connoisseur. Betts, or “old John,” as he was most commonly called, carried on an extensive business in the construction of violins, and employed in his workshop such men as John Carter, Edward Betts, Panormo, Bernhard Fendt, all of whom subsequently succeeded in making good instruments on their own account. Betts’s shop was No. 2 near Northgate of the Royal Exchange, and after his death the business was continued by his descendants till within a few years ago.