In 1789, he had the honor to succeed Mestrino as _Chef-d’Orchestre_ of the Theatre of Monsieur; and he afterwards filled the same post at the Feydeau Theatre. On the establishment of the Paris _Conservatoire_, he was appointed Professor of the First Class. The compositions of Lahoussaye are numerous, and have had some celebrity, although, for the most part, they have remained in the manuscript state. PAISIBLE (pupil of Gaviniès) whose gentle name contrasts painfully with his violent end, was born in 1745, at Paris, and was one of those able artists who contributed to give éclat to the _Concert Spirituel_. Full of youthful hope derived from the impression he had there created, he made a musical “progress” through a part of France, the Netherlands, Germany, and as far as St. Petersburg. Here, however, the tide of his success was suddenly turned. His desire to exhibit his talents before the Russian Empress was baffled, owing, as it has been supposed, to the intrigues of Antonio Lolli, who was then in the service of the Imperial Court. Failing also in his endeavour to obtain notice by means of public concerts, Paisible engaged in the service of a Russian Count, with whom he went to Moscow. This resource did not last long; and the concerts he attempted at Moscow were even more discouraged than those at St. Petersburgh. Distracted by misfortune and debt, he closed his career in 1781, by the act of his own hand—having written a touching letter of farewell to his friends, in which he desired them to sell his violin (a valuable one), with the object of defraying the claims against him. SIMON LEDUC, another distinguished pupil of Gaviniès, and one of the directors of the _Concert Spirituel_, was born in 1748. Two books of Solos, and several Concertos and Symphonies, are his works as a composer. There is extant, in connection with his name, a little anecdote of some interest. About a month after his decease, in 1777, there was a rehearsal of one of his symphonies for the _Concert des Amateurs_. In the middle of the adagio, the Chevalier de St. George, who had been his friend, and was then leading the orchestra, was so affected by the expression of the movement, combined with his recollection of the composer, that he let fall his bow, and burst into tears!