name of Charles Auguste de Bériot shines in the musical

he chivalry of high birth and breeding, and a width of intellectual culture which would have dignified the litterateur or scholar. De Bériot was for many years the chief of the violin department at the Brussels Conservatoire, where, even before the revolution of 1830, there was one of the finest schools of instruction for strin

the name of De Bériot famous. Naturally of a contemplative and thoughtful mind, he lost no time in studying not only the art of violin-playing but also acquiring proficiency in general branches of knowledge. His theories of an art ideal even at that early age were far more lofty and earnest than that which generally guides the aspirations of musicians. De Bériot, in after years, attributed many of the elevated ideas which from this time guided his life to the influence of the well-known scholar and philosopher Jacotot, who, though a poor musician himself, had very clear ideas as to the aesthetic and moral foundations on which

ddle height, with fine, dark eyes and hair, a florid complexion, and very gentlemanly appearance. Good blood and breeding displayed themselves in every movement, and ardent hope shone in his face. He resided for several months in Brussels, which was afterward to be his home, and associated with the sc

d one of the last artists who derived instruction directly from the celebrated Italian. Andreas Robrechts was born at Brussels on the 18th of December, 1797, and made rapid progress as a musician under Planken, a professor, who, like the late M. Wéry

. This was soon arranged, and for many years the two violinists were inseparable. He even accompanied Viotti in his journey to London, where they were heard more than once in due

his that De Bériot took lessons from him, and he it was who gave him the letter of introduction to Viotti. The same excellent

s of that large, bold, and exquisitely charming style that in af