Monsieur Fétis has recently referred[49], with a just exultation, to the days wherein the triple force of Rode, Kreutzer, and Baillot, threw its lustre over the French School of Violin-players. He characterizes the talent of Rode as subtle, delicate, brilliant, and frequently suggestive, in its effects, of the great master who had called it forth. “There are few living,” he observes, “who have heard that admirable talent in all its beauty, as it was displayed at the concerts of the Rue Feydeau, and at those of the Opera; but the artists who _have_ enjoyed that pleasure, will never forget the model of perfection which then astonished them.” As a writer for his instrument (it has been remarked), Rode merits a distinguished place. His musical education, as regards the principles of composition, had been neglected, so that he was at first obliged to derive from his friends the accompaniments to his Concertos; but his melodies are remarkable for sweetness; the plans of his compositions are well conceived; and he is not without originality. His Concertos are well known and admired, wherever the violin is played. Paganini has performed them at his concerts. His quartetts—which, are, in fact, brilliant solos for the first violin, accompanied by a second violin, tenor and bass—have also had great success, especially when his own skilful hand lent its aid to their execution. Ten Concertos,—four Quartetts for two violins, tenor and bass,—three Airs with variations, for a full orchestra, and the same arranged as quartetts—three sets of violin Duetts—and a share in the compilation of the celebrated “_Méthode d’Instruction_,” adopted for the violin-students at the French Conservatory—are the principal labours of this master. He also wrote some detached pieces, as Andantes, Rondos, &c.