The most famous clavecin-makers of Antwerp, and, indeed, of The Netherlands, were the Ruckers, who worked between 1579 and 1667, or later. The name is variously written. The most celebrated was Hans Ruckers, who was admitted a member of the St. Luke’s Guild in 1579 as “Hans Ruyckers, clavisinbal makerre.” His beautiful instruments were bought in France and England, as well as in the Low Countries; and it is thought that Queen Elizabeth owned one. In England they were called virginals. Many of the Ruckers’ instruments are still in existence, owned by collectors and museums. The Museum of the Brussels Conservatory owns an oblong one, dated 1610. This has two keyboards, one above the other, and consists of 4½ octaves, and white naturals. The Museum of the Paris Conservatory has one of 5 octaves, black naturals, and bent side, dated 1590; The Musée du Steen, Antwerp, owns an oblong one dated 1611; and Messrs. Chappell and Co., of London, have an undated oblong of 4 octaves. This stands on an arcade with six balusters and is decorated with fine paintings. A similar instrument on Plate XXIII_a_, by this maker, is in the Steinert collection at Yale University, U.S.A. It is a double spinet of four octaves. The painting on the lid represents the favourite Apollo and Marsyas contest. Above, and below the movable spinet are painted landscapes with children dancing. The little spinet on the left, which sets into the spinet proper, is tuned one octave higher than the one on the right. In performing upon both instruments at once, the smaller instrument is removed and set upon a table. On the jack rails of both spinets may be read: “_Johannes Ruqvers me fecit_.” Martinus Vander Biest entered the St. Luke’s Guild of Antwerp in 1558 as one of the ten clavecin-makers. An oblong clavecin, made by him in Antwerp is in the Museum at Nuremberg, and is signed and dated Martinus Vander Biest, 1580. [Illustration: PLATE XXI.—_Design for Goldsmith’s Work, by Adrian Collaert._ ]