S. Sowiński: Słownik muzyków polskich dawnych i nowoczesnych [Dictionary of Polish musicians past and present] (Paris, 1874)
J. Prosnak: Kultura muzyczna Warszawy XVIIIw. (Kraków, 1955)
L.T. Błaszczyk: Dyrygenci polscy i obcy w Polsce działający w XIX i XX wieku [Polish and foreign conductors working in Poland in the 19th and 20th centuries] (Kraków, 1964)
J. Siwkowska: Nokturn, czyli Rodzina F. Chopina i Warszawa w latach 1832–1881 [Nocturne, or The family of Chopin in Warsaw 1832–81], i (Warsaw, 1986)
(fl c1610–67). English maker of string instruments. He was one of the earliest and best English makers and the first of several generations of makers by that name. He had his workshop in Southwark, London, where he made treble, tenor and bass viols and also lutes and pochettes. Jaye is mentioned in Thomas Mace's Musick's Monument (1676) as being one of the best of the older generation of viola da gamba makers, and in the list of instruments left by the small-coal merchant Thomas Britton one of the viols is described as ‘the neatest that Jay ever made’. Jaye's instruments are finely cut, light in construction and of small dimensions (see Viol, figs.11a and 11b). Beautifully executed heads and open scrolls are usual, the varnish is often a dark cherry, and an ornamental oval rose hole is sometimes carved in the belly. The tone is soft and velvety. The earliest extant example of Jaye's work known, a bass viol that formerly belonged to Galpin, is in the Gemeentemuseum in The Hague. Its label reads ‘Henrie Jaye in Southwarke.1611’ (photograph in Galpin). Galpin also reported having seen one that was made in 1610. The latest example known, a tenor viol, dates from 1667 and is in the Victoria and Albert Museum, London. Other Jaye instruments are in the Paris Conservatoire museum (no.106, dated 1624) and privately owned. Examples of his labels are shown in Vannes (no.1004) and Lütgendorff (no.385).