Although there were several Violinists in France of average ability between the time of Gavinies and that of Rode, they scarcely claim attention in this somewhat hasty sketch; and I will, therefore, pass to the players linked with Viotti to his pupil Rode. He was born at Bordeaux in 1774. Fetis remarks, "From Corelli to Rode there is no _hiatus_ in the school, for Corelli was the master of Somis, Somis of Pugnani, Pugnani of Viotti, and Viotti of Rode." His twenty-four Caprices, and his Concertos and Airs, are much admired by all Violinists for their elegance and effectiveness. Paganini played the concertos of Rode publicly upon several occasions; Baillot and Kreutzer were associated with Rode at the Paris Conservatoire, and likewise in the compilation of the well-known Instruction Book written expressly for the use of the pupils at the Conservatoire. Baillot was famed for his admirable bowing and refined playing. Kreutzer is, of course, better known from his Forty Studies than from anything else that he has written. His concertos partake more of the study than of the name they bear, and are valued accordingly. Lafont was instructed by both Rode and Kreutzer, and held a high position among the Violinists of his time. Francois Antoine Habeneck was a pupil of Baillot at the Paris Conservatoire, where he distinguished himself, and became a professor. Among his pupils were Alard, Sainton, and Deldevez. M. Alard was born in 1815. He succeeded Baillot at the Conservatoire in 1843, holding the position for many years, and retiring shortly after the death of his father-in-law, M. Vuillaume. M. Alard was the master of Sarasate. M. Sainton was born in 1813 at Toulouse. He took the first prize at the Conservatoire in 1834. He settled in London in 1845. Shortly afterwards he became principal professor of the Violin at the Royal Academy of Music, and leader under Signor Costa. It now remains for me to notice the Belgian school. The first to name is Charles de Beriot, one of the most delicious players we have had. As a composer for his instrument, he opened up entirely fresh ground; he banished all that was dry, and gave us those fresh and pleasant Airs with Variations, and Morceaux de Salon, teeming with novel effects. It can never be said that De Beriot alarmed the amateurs with outrageous difficulties; on the contrary, he gave them passages comparatively easy to execute, full of effect, and yet withal _astonishing_ to the listener. De Beriot probably made more amateur Violinists than any composer of his time.