so, brought with him the
semi-Italian character of work common to the makers who lived so near
Brescia. If the work and style of Rayman be carefully examined, it
will be seen that there is much in common with the inferior Brescian
makers. The outline is rugged, the sound-hole is of that Gothic form
peculiar to Brescia; the head is distinct from that of the early
English type. At the same period Urquhart made instruments of great
merit, the varnish of which is superior to that of Rayman, but is
evidently composed of similar ingredients. Its superiority may have
arisen from a different mode of mixing only. The name of Urquhart has
a North British sound, and it is probable that he was born in
Scotland, and settled in London as an assistant to Rayman, who would
impart to him the style of foreign work.

The semi-Italian character pervading the instruments made in England
at this period seems to have culminated in the productions of Barak
Norman, whose best works bear even a more marked Brescian character
than those of Rayman. The model varies very much, sometimes being
high, at other times very flat; in the latter case the results are
instruments of the Maggini type. Barak Norman frequently
double-purfled his instruments, and inserted a device in the purfling,
evidently following Maggini in these particulars. With Barak Norman
ends the list of English copyists of the Brescian makers.

We now arrive at the copyists of Jacob Stainer and the Amati, a class
of makers who possessed great abilities, and knew how to use them. The
first name to be mentioned is Benjamin Banks, of Salisbury, who may
with propriety be termed the _English Amati_. He was the first English
maker who recognised the superior form of Amati's model over that of
Stainer, and devoted all his energies to successful imitation. Too
much praise cannot be lavished on Banks for the example which he
selected for himself and his fellow-makers.

Next follow the names of Forster, Duke, Hill, Wamsley, Betts, Gilkes,
Hart, and Kennedy, together with those of Panormo, Fendt, and Lott,
who, although not born in England, passed the greater part of their
lives here, and therefore require to be classed with the English
School. The mention of these makers will bring the reader to the
present time.

Upon scanning this goodly list, there will be found ample evidence
that we in England have had makers of sufficient merit to entitle us
to rank as a distinct school--a school of