NICHOLAS MORI, who, in certain respects, is entitled to rank high among English Violinists, was born in London, in 1796. The instrument that became the medium of his success in maturer years, was the object of his regard even in infancy—for, at three years of age, he was clutching a contracted specimen of it in his little grasp, and receiving some initiatory hints from Barthélémon. At eight, prepared and advertised as a prodigy, he was publicly playing that Professor’s difficult concerto, styled “The Emperor.” A few years later, his aspiring hand was conspicuous at the Concerts given by Mr. Heaviside, the Surgeon. To add the solid to the showy, the aid of Viotti (then almost a seceder from the profession) was wisely invoked; and nearly six years of his valuable guidance were obtained. Meanwhile, the active youth, still boyishly habited in jacket and frill, was careering through an engagement in the Opera orchestra. There, at the age of twenty, he became leader of the Ballet, on the retirement of Venus, which post he held until, in 1834, he succeeded to that of the silvery Spagnoletti. The _Philharmonic Concerts_, which commenced in 1813, had opened a new field for the display of high talent in almost every department of the musical art. The interest and advancement of Mori, in that quarter, were zealously undertaken by Viotti; and he became one of the Directors of the Society, for several seasons. In 1819, he married the widow of Mr. Lavenu—an alliance which made him the successor to a lucrative business. Another native Establishment, instituted in his time, afforded further opportunity for the indefatigable exertions of Mori. The _Royal Academy of Music_ received him within its walls, as one of its principal teachers of the violin. Among his pupils there, were Oury, Patey, Richards, Musgrove, and his own younger son, Nicholas. The success of his Concert-speculations, meanwhile, was attested by the overflowing audiences they constantly drew together; but such a result was not accomplished without great attendant labour and anxiety. His Classical Chamber-Concerts, commenced in 1836, in sequence to those of Blagrove’s party, kept his name still prominent before the public until his death, which took place on the 14th June, 1839.