A second violoncellist of the same name, who was commonly called AUBERTI, worked in the orchestra of the Paris Commédie Italienne. He died in the year 1805. Of his compositions six Solos for the violoncello (Op. 1) appeared, and six Duets for two violoncellos. F. CARDON was a member of the Paris Opera orchestra in the middle of the last century. He educated his nephew, PIERRE CARDON, born in 1751, who at the same time studied singing under Richer. The latter seems to have been his chief occupation, since he became a singer in the Royal Chapel in 1788, and gave singing lessons. He was, however, also engaged as a teacher of cello playing. ESPRIT AIMON, born at Lisle (Vaucluse), in 1754, is also distinguished as a clever violoncellist. He conducted for a long time the music of the Danish Minister, Count Rantzau; he then settled down in Marseilles. In the year 1828 he died in Paris. The cellist, PIERRE FRANÇOIS LEVASSEUR, born at Abbeville, in 1753, was intended for the church, and received for that end a liberal education. He decided, however, in the eighteenth year of his life for art. A certain Belleval directed for three months his practice on the violoncello. This instruction, however, does not seem to have satisfied him, for he preferred to be his own master. When he came to Paris, in 1782, he received a few lessons from Duport the younger,[94] whose tone and style he adopted. In 1789 he played at the “Concert Spirituel” some of his master’s solo pieces, and later he appeared at the concerts of the “Théâtre Feydeau.” From 1785-1815 he was a member of the Opera orchestra. Soon after his retirement from this he died. The compositions which he published were twelve Duets for two violoncellos in two volumes. There was another cellist, LEVASSEUR, about ten years younger, who sprang from another family so-called, and whose Christian name was JEAN HENRI. He seems to have been more remarkable than his namesake mentioned above. He was born in 1765 in Paris, was a pupil of Cupis, and belonged consequently to Berteau’s school. After he had pursued his studies with the former artist, he profited for some time by the instruction of the younger Duport. He was then received into the Paris Opera orchestra, to which he belonged as first violoncellist until 1823, the year of his death. He was also for some time active as a teacher at the Conservatoire. He likewise had a place at the Court Music of Napoleon, and from 1814 in the Royal band. That he was amongst the first in rank who belonged to the violoncello school of the Conservatoire, under the direction of Baillot, is a proof of the repute in which he was held in Paris. Of his own compositions, he only left a set of Sonatas with bass, two sets of Duets, and a volume of “Exercices.” Levasseur’s most prominent pupils were LAMARE and NORBLIN.