BARNES, Robert, 1710. Worked with Thomas Smith at the "Harp and Hautboy" in Piccadilly. Afterwards partner with John Norris.
| John Barrett, at the Harp and Crown in Pickadilly, 17— Made by John Barrett at ye Harp & Crown in Pickadilly, London, 17— |
BARRETT, John, 1714. An average workman, who followed the model of Stainer. His shop bore the sign of the "Harp and Crown." Barrett was one of the earliest copyists of Stainer, and in the chain of English makers is linked with Barak Norman and Nathaniel Cross. The wood is generally of a very good quality, the varnish yellow.
BARTON, George, Old Bailey, London, about 1780-1810.
| Jo. Betts, No. 2, near Northgate the Royal Exchange, London, 17— |
BETTS, John, born 1755, at Stamford, Lincolnshire, died in 1823. Became a pupil of Richard Duke. He commenced business in one of the shops of the Royal Exchange, where he soon enjoyed considerable patronage. John Betts does not appear to have made a great number of instruments, but employed many workmen, into whose instruments he inserted his trade label. He was, perhaps, the earliest London dealer in Italian instruments. His quaintly-worded business card runs:—
"John Betts, Real Musical Instrument Maker, at the Violin and German Flute, No. 2, under the North Piazza of the Royal Exchange, makes in the neatest manner, Violins the patterns of Antonius Stradivarius, Hièronymus Amati, Jacobus Stainer, and Tyrols. Equal for the fine, full, mellow tone to those made in Cremona. Tenors, Violoncellos, Pentachords, &c., &c., &c."
The sound-holes of Betts' instruments are rather wide; broad purfling; scroll well cut.
BETTS, Edward, nephew of John Betts; was a pupil of Richard Duke, whose work he copied with considerable skill. Of course, in trying to imitate Duke he was copying Amati, Richard Duke having spent his life in working after the Amati pattern, without attempting to model for himself. The care bestowed by Edward Betts on his instruments was of no ordinary kind. The workmanship throughout is of the most delicate description; indeed, it may be said that neatness is gained at the expense of individuality in many of his works. Each part is faultless in finish, but when viewed as a whole the result is too mechanical, giving as it does the notion of its having been turned out of a mould. Nevertheless, this maker takes rank with the foremost of the English copyists, and in his instruments we have as good specimens of undisguised work as can be readily found. They will be yearly more valued.