PARKER, Daniel, London, 18th century. This is another maker of the English school, who was possessed of exceptional talent, and whose instruments are well worthy of attention from those in search of good Violins at a moderate cost. To Parker belongs, in conjunction with Benjamin Banks, the merit of breaking through the prejudice so long in favour of preference for the Stainer model.

The dates of his instruments extend from the year 1740 to 1785. He left his Violins thick in wood, which has certainly enhanced their value now that time has ripened them. He used excellent material, which is often very handsome. The varnish is of a mellow quality, and fairly transparent. A large number of these Violins have been passing under other makers' names, and have been but little noticed.

PEARCE, James, London, 18th century.

PEARCE, W., London, contemporary.

PEMBERTON, Edward, London, 1660. This maker has been often mentioned as the author of a Violin said to have been presented to the Earl of Leicester by Queen Elizabeth, and to suit this legend Pemberton's era has been put back a century. The date given above will be found in the Violins of this maker.

PERRY AND WILKINSON, Dublin, 17— to 1830. The instruments bearing the labels of these makers are frequently excellent in tone, material, and finish.

POWELL, Thomas, London, 18th century.
Made by Thomas
Powell, No. 18, Clemens
Lane, Clare Market.
1793.

PRESTON, London, about 1724. Appears to have used his trade label in the instruments he sold, made by makers he employed.

PRESTON, John, York, 18th century.
John Preston, York,
1791. Fecit.

RAWLINS, Henry, London, about 1781. He appears to have been patronised by Giardini, the Violinist, according to the label here given. Giardini held the post of leader at the Italian Opera at this period.
Restauratus Henricus Rawlins
Auspicio Giardini
Londini 1781.

Jacob Rayman dwelling in
Blackman Street, Long—Southwark.
1641.

Jacob Rayman, at ye Bell
Yard in Southwark,
London, 1648.

RAYMAN, Jacob, London, 17th century. The subject of this notice was probably a German, from the Tyrol, who settled in England about 1620, and may be considered as the founder of Violin-making in this country, there being no trace of any British Violin-maker previous to that time. His work is quite different from that of the old English Viol-makers. The instruments of Rayman are of a somewhat rough exterior, but full of character. The form is flat, considering the general style of the work. The sound-holes are striking, although not graceful in any way. The scroll is diminutive, but well cut. The varnish is very fine. In the catalogue of the effects of Tom Britton, mention is made of "an extraordinary Rayman."