Dismissing, with the tribute of a simple mention, the names of Mondonville, Bertheaume, Jadin, and Grasset, we come now to the more recent time when the genius of _Viotti_, diffusing its influence over the whole modern system of violin performance, lent an especial lustre to a number of musical _satellites_ who are marked in the _French_ nomenclature. The Italian Viotti infused new life into the French School, which, seeking its resources more from fancy than from feeling, and (with few exceptions) relying rather upon the small excellencies of nice execution, than upon the sympathies which _expression_ can command, had become somewhat exhausted. Viotti communicated to the French Violinists a share of the vigour and the intellectual character that animated his own style, and taught them “To fill the languid pause with finer joy.” LOUIS JULIEN CASTELS DE LABARRE, one of the pupils who were modelled by the above great master, was born at Paris, 1771, of a noble family of Picardy. When finished as an instrumentalist, from the hands of Viotti, he went, at the age of twenty, to Naples, where he studied composition under Sala, at the Conservatory of La Pietà, as he did afterwards in France, under Méhul. After two years of success as “premier violon” at the Théâtre Français, he entered the orchestra of the Grand Opera. The published works of Labarre for his instrument are of the lighter kind. Of a year later in date of birth than the preceding artist, is PIERRE JEAN VACHER, also of Paris. At eight years of age he commenced his labours on the violin, under Monin, of whom fame is nearly silent; and a few years later, his _second_ master (albeit “nulli secundus”) was Viotti. From the age of fourteen to nineteen, Vacher was engaged as violinist at the great Theatre at Bordeaux. In the early part of the French Revolution, he went to Paris, where he remained several years in the orchestra of the Vaudeville Theatre, and became known as a composer by means of some popular airs, suited to the demands of that establishment. He was afterwards employed in the orchestras of the Théâtre Feydeau, and of the Académie de Musique, &c. He published several operas (or works) of violin music.