JEAN MARIE LE CLAIR (or LECLER), who was born at Lyons, in 1697. This artist may, perhaps, be regarded as presenting, in his performance and his compositions, a distinct commencement of the French Violin-school, as divaricating from that of Italy. His father was a musician, and, from his instructions, aided by assistance from other masters (and from Somis, in particular), he became an excellent performer. He went abroad for several years, to reap improvement from the professors and performances in other countries; after which, on an invitation from the Duke de Grammont, who had been his pupil, he went to Paris, and was allowed a handsome pension from him. By the recommendation of this nobleman, Le Clair obtained the situation of symphonist to Louis the Fifteenth, in which he laboured incessantly to improve the practice of the violin among his countrymen. With this view, he composed, and published in the year 1723, a collection of _solos for the violin_; and soon afterwards another of the same kind, in both of which he has displayed much knowledge of the instrument, combined with the resources of a well-regulated fancy. Besides these two Collections of Solos, Le Clair was the author of _Six Sonatas for two violins and a bass_; two books of _Duos_, two of _Trios_, two of _Concertos_, and two under the title of _Recreations_. The character and conduct of Le Clair were of a nature to attract the attention and esteem of all who knew him. He lived, for the most part, a retired and contemplative life; yet, he at last fell a sacrifice, as it has been supposed, to envy. He was assassinated whilst walking alone in the streets of Paris, in the evening of the 22nd of October, 1764. Le Clair was celebrated for the spirit and energy of his performance; and his compositions afford, in some measure, a proof of his powers. At least, it may be said, that, for boldness and dignity of style, there are no instrumental compositions by any of the older French authors, not excepting those of Lully, which can be compared with them. It is true that they are difficult of execution, and this, for some time, was an obstacle to their currency. The modern school, which laughs at any impediments in the way of execution, would do ample justice of hand to his hardest passages, were it _now_ the fashion to present them to the public ear. JEAN BAPTISTE SENAILLÉ, who may also be considered as having had some share in the foundation of the French Violin School, was a contemporary of the artist just recorded; and drew his first breath in Paris. His early lessons were received from Queversin, one of the four-and-twenty who formed the King’s band of violinists. His next instructor was Baptiste Anet; but the completion of his studies took place in Italy, whither he was attracted by the high celebrity of the artists there. He returned to Paris in 1719, with a well-earned reputation, and subsequently formed some good pupils, among whom were Guignon, and (probably) Guillemain.