PETER HOLMAN 1978 sees the three-hundredth anniversary of the death ofJohn Jenkins. In recent years scholars have gradually realized that they have been helping to restore one of England's great composers to his rightful position in musical history, and it is to be hoped that the activity generated by the tercentenary will do the same thing for Jenkins's works on the concert platform and in the record catalogues. Until recently, his music was very neglected, partly because so much of it waited to be sorted out, partly because so little of it has ever been printed, and partly because much of it is so difficult for viol players that it is only now beginning to be tackled with confidence. The modern revival of Jenkins's music can be dated from the publication in 1950 of Helen Sleeper's pioneer edition of selected Fancies and Ayres.1 More recently, the work of the English Viola da Gamba Society in general, and Andrew Ashbee in particular, has resulted in a number of important articles and a Musica Britannica volume devoted to the four-part music.2 This has been followed by two sumptuous volumes of fiveand six-part viol consort music published as part of a series by the Society in conjunction with Faber Music with assistance from the Gulbenkian Foundation. Yet, this activity has merely served to show the enormous amount of work still to be done before even Jenkins's major works are available in print. New pieces are still coming regularly to light among the very large number of miscellaneous manuscripts of 17th-century English consort music that remain to be investigated thoroughly. My purpose in this article is to draw attention to one of these manuscripts, and to a series of pieces it contains which I believe to be hitherto unnoticed music by Jenkins. Until 1967, it was generally accepted that a large group of manuscripts in the British Museum (now the British Library), formerly in the possession of Julian Marshall, were in the handwriting of Jenkins himself. But in that year, Pamela Willetts revealed3 that they were not autograph, and suggested that they were largely written by Francis North (1637-85), brother of the famous musical antiquary Roger North, and the grandson of Dudley, 3rd Baron North of Kirtling in Cambridgeshire, who employed Jenkins for many years as a household musician. The contents of these manuscripts point strongly to an association with Jenkins, as his music is given a pre-eminent position in them, although there is a good deal of the lighter sort ofJacobean and Caroline consort music-for instance, byJohn Ward, Simon Ives, Richard Deering and William Lawes-that was fairly popular in the more remote country houses until well after the Restoration. Roger North describes the sort of musical establishment that his grandfather ran at Kirtling:4