The circumstances under which the remarkable tract here reprinted, was written and published are described by Sir Dudley North's brother and biographer, Roger North.1 It is doubtful whether the essay, as originally printed, received any attention or served any use. For a considerable period, indeed, it was supposed to be entirely lost. Writing in 1744, Roger North intimated that the tract was designedly suppressed, and declared "it is certain the pamphlet is, and hath been ever since, utterly sunk, and a copy not to be had for money."...

In the seventeenth century, England saw Holland as an economic power to learn from and compete with. English Economic Thought in the Seventeenth Century: Rejecting the Dutch Model analyses English economic discourse during this period, and explores the ways in which England’s economy was shaped by the example of its Dutch rival. Drawing on an impressive range of primary and secondary sources, the chapters explore four key areas of controversy in order to illuminate the development of English economic thought at this time. These areas include: the herring industry; the setting of interest rates; banking and funds; and land registration and credit. The links between each of these debates are highlighted, and attention is also given to the broader issues of international trade, social reform and credit. This book is of strong interest to advanced students and researchers of the history of economic thought, economic history and intellectual history.

In 1677 a slim quarto volume was published anonymously as A Philosophical Essay of Musick. Written by Francis North (1637-85), chief justice of the Common Pleas, the Essay is in the form of a legal case argued from an hypothesis. Utilising the pendulum as his hypothesis, North provided a rationale from mechanics for the emerging new musical practice we now call 'tonality'. He also made auditory resonance the connecting link between acoustical events in the external world and the musical meanings the mind makes on the basis of sensory perception. Thus began the modern philosophy of music that culminated with the work of Hermann von Helmholtz. As a step towards understanding this tradition, Jamie C. Kassler examines the 1677 Essay in its historical context. After assessing three seventeenth-century criticisms of it and outlining how one critic developed some implications in the Essay, she summarises the basic principles that have guided the modern philosophy of music from its beginnings in the 1677 Essay. The book includes an annotated edition of the Essay as well as the comments of the three critics.