The research carried out by the late Gerald Finsi in the late 1940's and early 1950's into the life and works of the eighteenth century English organist and composer, John Stanley (1713-1786), resulted in a paper read to the Royal Musical Association in May, 1951 and the publication of Stanley's Op. 2 Concertos. Subsequently, Stanley's Opp. 5, 6 and 7 voluntaries have also been re-issued. However, despite the high regard with which Stanley was held by his contemporaries as a leading figure in London's musical activities, and despite the beauty and skilled craftmanship of his compositions, there has been no serious attempt at evaluating his worth as a musician and composer. This study, therefore, attempts to give a picture of the man and a stylistic appreciation of his instrumental works. The first chapter is devoted to Stanley's life and his musical output, Stanley's vocal works being included for the sake of completeness. During the course of this chapter, all of Stanley's works known to the writer are mentioned and their principal locations given. In the second chapter Stanley's voluntary movements (both published and un-published) are analysed under the categories of Diapasons, Prelude, Fugue and Solo Stop movements, with reference to the styles adopted by his con- temporaries in this field. In addition, the organs performed upon by Stanley are described. Stanley's chamber music is also discussed in some detail in the third chapter. The fourth chapter is devoted to an investigation of Stanley's concertos, section A dealing with his string concertos and section B with his organ concertos. Apart from analyses of his works in this field there is an account of the concertos of his English contemporaries and an outline of the social setting for the performance of such works. Chapters II-IV are copiously illustrated with musical quotations. The appendix section includes photographs of institutions with which Stanley was associated, contemporary maps of London, photocopies of Stanley's court appointment documents, a photograph of his coat of arms, reproductions of his portraits, extracts from his will, and transcriptions of several of his unpublished instrumental works.