In 1794 he succeeded Sperati at the Opera and was principal Violoncellist at all the concerts of any importance in London. In the following year began the intimacy with Dragonetti, the celebrated double-bass player, which lasted for fifty-two years. Forster quotes Chorley’s remark that “Nothing could be compared with the intimacy of their mutual musical sympathy.” They played together at the same desk at the Opera and every orchestral concert of any importance, and Lindley’s performance of the accompaniment to Recitative from figured bass was most “elaborate and ingenious.” Concerning Lindley’s playing, he was probably the greatest violoncellist of his time; he was distinguished for the beauty, richness, and extreme purity of his tone, and his great technical skill was remarkable, though probably in this and his manner of rendering he did not equal Romberg. The story is well-known how, when Romberg, during his residence in England, heard him play, and was asked by Salomon what he thought of his performance, replied: “He is the devil.” He retired in 1851, and died June 13, 1855. His son, William, born in 1802, was also a violoncellist, and gave promise of future excellence, but nervousness and delicate health prevented his attaining to any great distinction, and he was compelled to withdraw from public appearances. Lindley is less remarkable as a composer. He wrote four Concertos, Duets for Violin and Violoncello (Op. 5), Duos for two Violoncellos (Op. 6, 8, 10, and 27), Solos for Violoncello (Op. 9), and several Variations on Airs, as well as Potpourris. Amongst Lindley’s pupils, CHARLES LUCAS, born 1808, in Salisbury, was the most remarkable. He received his first musical instruction as chorister of the Cathedral, under Arthur Thomas Corfe, after which he attended the Royal Academy of Music in London. In 1830 he was named Composer and Violoncellist to Queen Adelaide, and performed the duties of Organist at St. George’s Chapel. Two years later he was entrusted with the duties of Orchestra Conductor at the Royal Academy of Music, and succeeded Cipriani Potter as Principal in 1859. He had already taken the place of his master, Lindley, as first Violoncellist of the Italian Opera. He died on March 23, 1869, in London. His successor in the Opera was the cellist, Collins. To Lindley’s contemporaries must be added Cudmore, Crouch, and Powell.