[116] Not to be confounded with Georg Eduard Golterman, to be mentioned farther on. [117] Also the two Maras (father and son) had an important effect on Violoncello playing in Berlin, though not so great as that of the brothers Duport. Concerning the elder and younger Mara, the necessary details will be given in speaking of the Bohemian violoncellists. [118] Fétis contests this, for he says: “The German biographers of Kelz affirm that he (Kelz) was advised by Duport; but this is erroneous, as at this time (1811) Duport was no longer in Berlin.” This could only refer to L. Duport, for his brother remained until his death in the Prussian capital. [119] At Breitkopf and Härtel’s. [120] See p. 79 of this book. [121] See amongst the Belgian Cellists. [122] See p. 153. [123] See p. 138. [124] See p. 138. [125] See p. 130. VI.--FRANCE, BELGIUM, AND HOLLAND. The prominent position which the French attained in respect to Violoncello playing in the second half of the last century was maintained by them subsequently. They exercised, however, with few exceptions, no real influence in Germany after the period signalised by Romberg’s appearance. On the contrary, this master influenced in a certain way French Cello playing, as appears from a remark in Baudiot’s school, mentioned on page 104, that Romberg had introduced the use of the fourth finger in the thumb position. The sign Ϙ, by which Romberg denoted the thumb position, also was adopted in France, where, as in other places, it had been necessary until then to use a variety of indications for it. In other respects the aim of the French Violoncellists greatly inclined in the virtuoso direction, as was the case with regard to violin playing, whereas in Germany greater stress was laid on the more solidly musical aspect, without neglecting the virtuoso side. Taking up the thread again from the preceding section with France, the first to be mentioned is AUGUSTE FRANCHOMME. This artist, who belongs to the most important masters of his department, was born at Lille on April 10, 1808, and learnt the first elements of his instrument from a mediocre teacher of his native town, whose name was Mas. In 1825 he went to the Paris Conservatoire as pupil of Levasseur, and, after the latter retired from his professorship, Norblin undertook his further instruction. Franchomme’s great talent developed so rapidly, under the guidance of these two masters, that immediately, during the first year of his attendance at the Conservatoire, he gained the first prize at the musical competition of the pupils of the establishment. He understood how to extract from the instrument a full, sympathetic tone, and possessed with an extraordinary intonation the rare gift of an expressive and tasteful reading. He specially distinguished himself by a charming _Cantilena_. It is easily understood that on his public appearances he always aroused the greatest enthusiasm.