Of more value for our present purpose than Duport’s work just mentioned are his Twenty-one “Exercices,” which contain much that is worthy of consideration and of acquisition. Duport left a son who, for a long time, belonged to the orchestra at Lyons, but then opened a piano manufactory in Paris. The splendid Stradivari cello, which he inherited from his father, he disposed of to the violoncello virtuoso, Franchomme, for 25,000 francs. Amongst Duport’s pupils, FREDERICK ROUSSEAU, born January 11, 1755, at Versailles, must be mentioned. He was member of the Parisian Opera Orchestra in 1787. In 1812 he retired from his position and established a music school in his native town. He was of special importance in the musical life of Paris as having been one of the founders of the Concert Institute of the “Rue de Cléry,” formerly so popular. Amongst his compositions he published six “Duos concertants” (Op. 3 and 4) as well as a “Potpourri” for two violoncellos. Taking up the chronological thread from Berteau, we have next to mention the cellist CHARLES HENRI BLAINVILLE, who was born in a village near Tours, in the year 1711, and died in Paris, in 1769. The intimate circumstances relating to his life are unknown. Only so far is certain, that he enjoyed the protection of the Marquise de Villeroy, who received musical instruction from him, and that apparently through the influence of this lady he obtained the position of a creditable “Maître de Musique” in Paris. Blainville published several theoretical works and a few compositions, amongst them two Symphonies, but nothing for his own instrument. The cellist NOCHEZ, born between 1720 and 1730, is known as a pupil of Cervetto and Abaco.[92] In his early years he travelled in Italy and was then member of the comic opera in Paris, from which he went to the orchestra of the grand Opéra in 1749. In 1763 he received the appointment of royal chamber musician. He died in 1800 after a year spent in retirement. Nochez is the author of an article on the violoncello which appeared in print in de La Borde’s “Essai sur la musique ancienne et moderne” (Paris, 1780). Concerning the violoncellist EDOUARD, only the following notice is found in Gerber: “A violoncellist living in Paris, in 1737, was an extraordinary artist on his instrument, and was much commended by Telemann” (Ehrenpforte, 367). CLAUDE DOMERGUE, born at Beaucaire in 1734, seems to have been remarkable among French violoncellists, although he never left his home. That Duport, when he was travelling in the South of France, stopped at Beaucaire solely in order to make Domergue’s acquaintance is sufficient proof of his unusual skill in execution. During the disturbances of the Revolution he unhappily ended his days, with thirty of his fellow citizens, on the scaffold, in 1794.