Today, the Consort of Viols is considered the quintessential ensemble of English music. While its use certainly continued until the mid-17th century, this current view of English musical life has overshadowed the importance of the violin during this period. This is hardly surprising, given the significant role played by numerous Italian musicians both at court and in other musical centers.

It is a very varied repertoire of fantasies, sonatas or dances that was written in England for violin ensembles, the most typical formula being that which brought together three violins and basso continuo.

With compositions by John Dowland, Thomas Simpson, and Maurice Webster, this genre established itself during the reign of James I (1603-1625). While Italian influence and the role of the violin intensified during the reign of Charles I (1625-1649), during the Restoration, under Charles II (1660-1685), the supremacy of the Italian instrument became even more pronounced, reaching its zenith with Henry Purcell after the works of composers like Jenkins and Matteis.