ALBERT BOUBÉE, born in 1850, at Naples, was originally destined for commerce, and failing to persevere in this, it was intended he should devote himself to teaching. But neither in this could he succeed, and Boubée finally decided for the musical profession. The enthusiasm excited in him by his cello teacher, Gaetano Ciandelli, and later on by Servais and Piatti’s playing, really induced him to pursue the study of music. In 1867 Boubée chose London as his residence, where since then he has become completely naturalised, though from time to time he has accepted engagements abroad. He worked on several occasions with the orchestras at Spa and Scarborough, and travelled in Sweden, Norway, and Denmark as a concert player, but he devotes himself chiefly to the sphere of work which he has made for himself in the English capital. Of his Cello compositions, which consist of several solo pieces, the best known in England is “La Gymnastique du Violoncelliste.” France possessed also a Violoncello virtuosa of reputation about the middle of the century in LISA B. CRISTIANI, whose name really points to an Italian descent. She played with delicate intonation charming little pieces, pleasantly and gracefully, and performed them on her journeys through Germany and Denmark to Russia, and also on October 18, 1845, at Leipsic. The general approbation which was everywhere lavished upon her was substantially increased by her beautiful and imposing appearance. Felix Mendelssohn considered it worth while to accompany her performances on the piano at her Leipsic Concert, and to compose a “Song without Words” for her. She was appointed Chamber Virtuosa by the King of Denmark. In 1853 she died at Tobolsk, of cholera. She was born at Paris, on December 24, 1827. At the present time the best French cellists are: JULES DELSART, RABAUD (both teachers at the Paris Conservatoire), LIÈGEOIS, LOEB, and BECKER. Information regarding them is lacking up to the present time. * * * * * In Belgium and Holland the Violoncello was introduced about the same time as in France, though it made, indeed, but slow progress in both these countries. This may be concluded by the very modest number of Belgian and Dutch Cellists worthy of mention in the last century, of which there are only four to notice. The oldest of these,