In 1844, after the decease of his mother, Sainton made his first appearance in London, where his reception at the concerts of the Philharmonic Society was such as to induce his return in the year following;—since which time, he has only quitted our shores to add _one_ more country to his travelling list—namely, Holland,—where new successes, crowned with presents from Royalty, gladdened his career. His residence in England has been followed by various appointments—those of Violin-Professor at the Royal Academy of Music, Leader at the Italian Opera and at the Philharmonic, and (in 1848) Conductor and Violin Solo-player in Her Majesty’s State Band. Monsieur Sainton’s works for the violin, to the present time, comprise:—1. A Fantasia in A.—2. An Air with Variations, in D.—3. A Capriccio, with Piano Accompaniment.—4. A Concert Waltz.—5. A Concerto in A, Op. 9.—6. An Italian _Thema_, with Variations, Op. 10.—7. A Fantasia on Lindpaintner’s “Standard-Bearer.”—8. Fantasia on Lucrezia Borgia.—9. Souvenirs from the “Figlia del Reggimento.”—10. Air with Variations, in G.—11. Concerto in D minor.—12. Concerted Solo in E major. * * * * * Under the French School, as most nearly assimilating with it in character, may be included the able artists who, in recent days, have contributed to the honour of Belgium. At the head of these, stand De Beriot and Vieuxtemps;—of whom, as well as of their compatriot, Artot, some account shall here be introduced. CHARLES AUGUSTE DE BÉRIOT, conspicuous for the perfection of the qualities by which his playing has been distinguished—for remarkably just intonation—grace—refined taste—rich and charming tone—and for elegant bowing and wonderful execution, was born at Louvain, of noble parentage, in 1802. Left an orphan at the age of nine, he found, in M. Tiby, professor of music in that town, a tutor, a second father, and a master who laboured with zeal to develop his happy dispositions for music. Already had he arrived at a certain degree of skill on the violin; and his progress had been so rapid, that he was able to play Viotti’s Concerto in A flat (letter H) in such mode as to excite the admiration of his compatriots. Endued, besides, with a contemplative mind (says M. Fétis), and having no model immediately at hand that he could imitate, he sought within himself for that principle of the beautiful, whereof he could have no notion, except through the spontaneous strivings of his own individuality. As to the report that he was the pupil of Jacotot, it appears that the general attention of the Belgians had been directed for years to the prodigious results which were said to be derived from “Jacotot’s Method;” and that De Beriot, wishing to know what advantage _he_ might obtain from its processes, had some conversations with its inventor, and then learned from it little more than two things, of _gravity_ rather than of _novelty_; viz. that