After his return from Italy, the sound and excellent qualifications he evinced were the cause of his succeeding Rode, about the year 1795, as Professor of the violin at the Paris Conservatory. He was the editor, and (with Rode and Kreutzer) a joint compiler, of the noted System of Instruction which has contributed so important an aid towards the successful formation of, perhaps, all the living French violinists. The System for the Violoncello, in use at the same institution, was likewise produced under his editorship. Fine taste, variety of manner, admirable bowing, and forcible tone, marked the performance of Baillot. In playing solos, to accompany the dancers at the Opera, Baillot was, consciously, out of his element; but at the annual quartett-meetings, where the business was that of giving manifestation to the genius of Boccherini, Haydn, Mozart, and Beethoven, his soul was kindled, and his powers came forth.—His pupils have been many—including Habeneck and Mazas. ALEXANDRE JEAN BOUCHER, born, “comme tant d’autres” of his class, in fiddler-fostering Paris, came into the world in 1770, and arrived at early excellence on “the leading instrument.” When seventeen years old, he went to Spain, where he was appointed Violinist of the Chamber and Chapel of Charles IV. During the time that monarch resided in France, Boucher was also in his suite. His mode of obtaining introduction to the “Majesty of Spain” was as remote from all the prescriptions of courtly etiquette as can well be imagined. It forms the subject of a good anecdote, thus translated from the “Souvenirs” of Blangini, the well-known musical composer:— “Boucher, when a very young man, at Madrid, was without friends, nor had anything to depend on, save his bow and his strings. He knew that the King of Spain was passionately fond of music, and he was anxious that his Majesty should hear him play; but, having no friend who could help him to obtain an introduction at Court, he fell upon the following scheme for the attainment of his object. One day, he stationed himself in the doorway of the palace gate-keeper’s lodge. The man at first scrupled to allow him to remain there; but he at length consented, and Boucher began to play in his most exquisite style. After a little time, the rolling of the King’s carriage was heard at a distance; his Majesty was going out to take a drive, and, as he approached, Boucher played with increased energy and delicacy. The King, surprised at what he heard, stopped and enquired who was playing. On being informed, he ordered that Boucher should be presented to him. He directed him to go to the palace on the following day. Boucher of course obeyed the mandate. The King was enchanted with his talent, and, shortly after, he was appointed first violin of his Majesty’s Chamber Band.”