Of far greater importance to the art of violoncello playing was Duport the younger’s pupil, NICOLAS JOSEPH PLATEL, who was born in the year 1777 at Versailles, and received his first musical instruction in the Institution of royal pages. There was then no attempt at violoncello playing, but about the tenth year of the boy’s age the inclination for it was developed. Louis Duport, who discerned a disposition favourable to it, devoted himself with special zeal to his training. These relations were broken off, when Duport, at the end of 1789, left France in order to seek a position in Berlin. From that period Platel was thrown for a long time upon his own resources. In the year 1793 he was drawn into close relations with Lamare, who sought in every way to forward him. In 1796 Platel became a member of the orchestra of the “Théâtre Feydeau.” He was deprived of his post on account of a love affair with an actress of that institution, with whom he went to Lyons at the end of 1797. When he returned to Paris in 1801, he appeared several times at concerts with great success. He was then reputed the best violoncellist in Paris, and the absence of Duport and Lamare abroad stood him in good stead. Platel might now have made his fortune in the French capital. However, on account of the carelessness of his disposition and his unpractical nature, he knew not how to turn his opportunities to advantage. In 1805 he left Paris in order to undertake a concert tour, but at Quimper, where he made the acquaintance of a cello playing dilettante, he remained quite two years. He then finally came to the resolution of again beginning his wanderings. When he had appeared in concerts at Brest and Nantes with great success, he went North with the intention of visiting Holland and thence Germany. This plan, however, was not carried out. Platel settled himself down, on the way to the former place, at Ghent, remained there giving lessons several years, and then went to Antwerp. An opera troupe was there at the time who engaged him as first violoncellist. About six years later he undertook the same function in the theatre at Brussels. This was the turning-point which decided Platel’s destiny. The Prince of Chimay engaged him for the Royal Music School of the Belgian Court, which was opened in 1831. By accepting this office, to which he devoted himself until his death on August 25, 1835, he became the founder of the Belgium school of violoncello playing, from which emanated, under his direction, such artists as Batta, Demunck, and Servais. Platel’s compositions consist of five Concertos, of which the last is entitled “Le Quart d’heure,” also of three books of Sonatas with bass accompaniment, and eight “Airs Variés” of “Caprices ou Préludes,” and six Romances with piano accompaniment. Besides these he wrote six Duets for violoncello and violin, and three Trios for violin, viola, and violoncello.