This group represents the early English school and the principal makers existing during the seventeenth century. It may reasonably be inferred that they were more at home with the viol than with the violin as known to-day. Little can be said concerning their early productions, as they are now all but extinct; a great portion of them probably perished in the great fire of London in 1666, in which city some of them were supposed to have worked. Christopher Wise is said to have made some fairly good instruments of a highly decorative nature. Jacob Rayman was the better artist, and some instruments attributed to him reflect great credit on this early school. Thomas Urquhart was a still further advance, his outline and varnish places him in the front rank of the period. Edward Pamphilon made instruments of a very tubby appearance, but they are said to possess a clear and penetrating tone; age, too, has imparted a very rich colouring to the varnish. Several other names have been handed down, but as they are minus the instruments, nothing of importance can be said on the subject. Aldred and Bolles are mentioned in Mace’s “Musick’s Monument.” ADDISON, WILLIAM, was a maker of viols and early violins in the middle of the seventeenth century. He worked in Moorfields, London. AIRETON, EDMUND. A London maker about the middle of the eighteenth century. He copied successively the instruments of Stainer, Amati and Stradivarius, but those on the Amati model are most admired. BANKS FAMILY. They rank among the best makers of English violins, and genuine specimens are eagerly sought after and realise good prices. BANKS, BENJAMIN. Born July 14, 1727, died February 18, 1795. Accounts differ as to the place of his birth, but as his parents were living in Salisbury in the year 1725, it is generally supposed he was born in that town. Banks has been justly termed “the English Amati,” and this comparison is well deserved. His fiddles are faithful copies of the great Italian, both as to model and varnish. These instruments are, however, very rare, and fiddles of this model offered as genuine Benjamins should only be purchased with the advice of experts. Benjamin also made instruments for the then well-known music-firm of Longman and Broderip in London. These were made on a different model, somewhat after the Stainer model, and they are greatly inferior to his favourite Amati fiddles, the finish and varnish indicate hurry and carelessness. These fiddles are labelled with the name of the firm for whom he worked. I have seen many fiddles bearing the name of Longman and Broderip and said to have been made by Benjamin Banks. The majority of them are, however, spurious. It has been the custom of many dealers to cut off the name of Longman and Broderip from the bottom of the published music of that firm and insert these in fiddles, and as Benjamin Banks was known to have worked for them, some show of genuineness is thereby implied.