Although domestic music appears to have flourished in England during the Madrigalian Period, i.e., from 1588 to 1638, as witness well-known and often-quoted passages from Morley's “Plaine and Easie Introduction,” 1597, and Peacham's “Compleat Gentleman,” 1620 (a work, by-the-bye, just reprinted by the University of Oxford), any idea of a public performance does not appear to have suggested itself. The professional musician of that day was either a member of a Cathedral choir or was attached to some family of distinction, as, for instance, Christopher Simpson to that of Sir John Bolles. The pursuit of music as a relaxation was of necessity confined to those who possessed means and leisure. The political troubles effectually put a stop to such pursuits, with the result that several well-known musicians, among them Captain Cook and Wm. Lawes, found their occupation gone, and from a feeling of loyalty actually took up arms in the Royalist cause, in which the latter lost his life.