We must mention here three French cellists of the second half of last century, whose master is not known--namely, Chrétien, Haillot, and Raoul. GILLES LOUIS CHRÉTIEN, born in 1754 at Versailles, and died in Paris, March 4, 1811, at the age of twenty-two found a position as Royal band musician. He possessed great readiness and a good tone, though he played without expression. He lost his place by the Revolution, but was indemnified in 1807 by being received into the Imperial orchestra. He does not seem to have occupied himself with composition, but as a writer on music, though without much success. HAILLOT belonged to the orchestra of the “Comédie Italienne,” and was also engaged in private teaching. By his arrangements of operas in the form of duets he supplied the wants of amateur cello players. Finally, JEAN MARIE RAOUL, an enthusiastic friend of art--who besides his official position as crown lawyer and, later, as Justice at the Paris Cour de Cassation, cultivated zealously the violoncello, on which he distinguished himself--must be mentioned in this place as the author of a violoncello school. It appeared under the title of “Méthode de violoncelle, contenant une nouvelle exposition des principes de cet instrument.” Raoul composed also some Sonatas and “Airs variés” for his favourite instrument. His efforts, supported by Vuillaume, the well-known Parisian violin maker, to restore the gamba to practical use were in vain. Raoul was born in Paris, in 1766, and died there in 1837. When we survey the progressive development of violoncello playing from its commencement to the close of the eighteenth century under all aspects, the following facts are presented to us: violoncello playing was taken up, as we saw, in the first half of the seventeenth century, and even before, by the Italians. It was at first used only as an orchestral instrument and as a harmonised accompaniment of recitative singing in the place of the gamba. But in the second half of the seventeenth century there were some Italian artists, as GABRIELI, ARIOSTI, and BONONCINI, who endeavoured to elevate the violoncello to the rank of a solo instrument. Then appeared FRANCISCELLO, who worked with uncommon success to the same end. By the last three named artists violoncello playing was presented to the German nation with the idea of artistically treating it, while in France Giov. Battista Struck, called Baptistin, exercised an influence in the same direction.