LOUIS PIERRE MARTIN NORBLIN was the son of the French painter, Norblin de la Gourdaine, of some repute in his time, who, in 1772, selected Warsaw as his permanent residence and there married a Polish lady. The artist just now mentioned, born on December 2, 1781, was the offspring of this union. In 1798 he went to Paris for the sake of the Conservatoire and was first Baudiot’s and then Levasseur’s pupil. In the year XI., according to the reckoning of the French Republic--that is, 1803--he received the first prize at a competition of the directors of the above-named Institution for his performances in solo playing. Six years later, 1809, he was appointed to the orchestra of the “Théâtre Italien,” and, in 1811, solo violoncellist in the orchestra of the Grand Opéra. In this position he remained until 1841. Besides this, he gave instructions at the Conservatoire from January 1, 1826, as successor of his master, Levasseur; on June 5, 1846, he gave this up, in order to withdraw into private life. He died on July 14, 1854, at Château Connautre, in the Department of the Marne. Norblin was highly estimated, not only as a soloist, but also as a delicate, tasteful quartet player. For many years he took the violoncello parts in the Baillot String Quartets. He gained special distinction from the musical world of Paris, for having assisted in the foundation of the Conservatoire Concerts, called into existence by Habeneck, in 1828. His son and pupil, EMILE, born April 2, 1821, was a skilful violoncellist, who received the Conservatoire prize. He, however, devoted himself more to teaching than solo playing. Cupis’s pupil, JEAN BAPTISTE BRÉVAL, already mentioned, born, in 1756, in the Department of the Aisne, so quickly developed his talent that he was able very early to appear at the “Concert Spirituel” with brilliant success. He was a member of the Paris Opera orchestra from 1781 to 1806. In 1796 followed his nomination as teacher of violoncello playing at the Conservatoire. From this he was released in 1802, as the number of the pupils at the Institution was not large enough to keep him employed. Towards the end of his life Bréval retired to Chamouille, a village in the neighbourhood of Laon. He shortly after died there, at the end of the year 1825. Bréval published for the violoncello seven Concertos, five sets of Duets, three Sonatas with bass, and twelve “Airs variés.” Besides these he wrote two Concertantes, Quartets, Trios, and an instruction book under the title “Méthode raisonnée de Violoncelle,” which appeared in Paris in 1804. His cello pieces were formerly much in request, but have been long obsolete. As a player Bréval had a finished style, but in his rendering lacked force and energy.