PIERRE ALEXANDRE FRANÇOIS CHEVILLARD, born on January 15, 1811, at Antwerp, received--after he had been prepared for the musical profession in the parental home--his higher education, as a pupil of Norblin, in the Paris Conservatoire, to which he belonged from March 15, 1820, until the year 1827. Dismissed from thence with the first prize, he undertook the duties of solo cellist in the orchestra of the “Théâtre Gymnase.” In this position, which afforded him abundant leisure for pursuing the study of composition under Fétis’s direction, he remained until 1831. He then became member of the orchestra of the Italian Opera. In the year 1859 he undertook the Professoriate at the Paris Conservatoire in Vaslin’s place. Chevillard distinguished himself not only as a trained virtuoso player, but also as a musician animated by a high artistic aim, which he proved by his efforts to introduce the last String Quartets of Beethoven into Parisian musical circles, for whom these magnificent “tone poems” had until then been an unknown world. After repeated fruitless attempts, which failed on account of the insufficient intelligence of his associate players, he at length succeeded by means of the artists Maurin, Sabattier, and Mas, who had the same aim in view, in gaining the requisite force by which he was able to carry out his ideas. At first the quartet confederates established private performances before a few connoisseurs only. By degrees, however, the number of the audience increased, so that they ventured on a public hearing, which took place in the Pleyel Saloon. During the years 1855 and 1856 the four players undertook tours in Germany in order to perform the last Beethoven Quartet at Cologne, Frankfort, Darmstadt, Leipsic, Berlin, and Hanover. Everywhere they found the appreciation which they deserved. In the year 1868 Demunck the younger joined the Quartet in the place of Chevillard, who died at the end of 1877. Chevillard’s cello compositions were a “Concerto, Quinze Mélodies, Morceaux developpés pour Violoncelle et Orchestre ou Piano,” a “Fantasia” on Themes from Marino Falliero “Lamenti, Adagio and Finale,” and “Andante et Barcarolle.” Besides these he published a Cello school which bears the title: “Méthode complète de Violoncelle, contenant la théorie de l’instrument, des gammes, leçons progressives, études, airs variés et leçons pour chacune des positions.” CONSTANT NOËL ADOLPHE WAROT, born on November 28, 1812, at Antwerp, began early the practice of music on the violin, but gave up this instrument in favour of the violoncello. In 1852 he was appointed teacher at the Brussels Conservatoire. Besides a Violoncello School, which was introduced as a work of instruction to the Art Institute mentioned, he wrote Duets for two Violoncellos, and an “Air Varié” with piano accompaniment. He died on April 10, 1875, at the place of his work.