In the year 1834 Servais went to London. He acquired there also remarkable success; but the applause of the public did not excite in him self-satisfied content, for when he returned home he gave himself up to renewed study, by means of which he attained to the highest degree of masterly performance. In the beginning of 1836 he went to Paris--the following year he travelled in Holland, and in 1839 visited St. Petersburg, where he met with a brilliant reception. Such was the case also when he re-appeared in his native land, and performed at Brussels and Antwerp, after his return from Russia. In the beginning of 1841 he undertook a second journey to the East, in which he aroused great applause at St. Petersburg, Moscow, Warsaw, Prague, and Vienna by his performances. In 1843 he gave concerts again in Holland, and the following year in Germany, after which he again went to Russia. In the winter of 1847 he was in Paris and later on he travelled into Scandinavia. Now a quieter time was in store for him, for in 1848, after he had been nominated solo violinist to the King of the Belgians, he undertook the Professorship at the Brussels Conservatoire, which for a time attached him to the place. At the beginning of 1866 he made another journey to Russia, which he extended to Siberia. It is supposed that by these unceasing efforts Servais laid the seeds of his death, which took place on November 26 of the same year, at his birthplace, whither he had resorted to recruit his health. Servais was not only a virtuoso of the first rank, but also a thoroughly original artist who was the means of effecting an important advance in Cello playing, by opening out for it new lines. His performance was distinguished by broad, energetic, and rich intonation, as well as by the most careful finish and effective manipulation, for he understood how to bring out into the clearest light all the advantages of his instrument. Many connoisseurs consider him the first cellist of his time; in any case, he competed successfully with his French colleagues, and raised the Belgian school of Violoncello playing to extraordinary reputation. Servais as a composer for his instrument is well-deserving of notice. Besides three Concertos, he wrote ten Fantasias, with orchestral accompaniment. He united with J. Grégoire in composing fourteen Duets for Piano and Violoncello, and with the violinist Léonard three Duets for Violin and Violoncello, upon opera themes. In conjunction also with Henri Vieuxtemps, a Duet of the same kind was produced. Finally, he composed six Caprices in the Etude form, which, however, are not so attractive as many of his other Cello pieces. Amongst these the “Souvenir de Spa” and Variations on Schubert’s Sehnsucht Valses have had the widest circulation. Of the numerous pupils whom Servais formed, the best known are--Meerens, Deswert, Fischer, and Bekker.