rofessor of violin at the Paris Conservatoire,
where his energy, care, exactness, and thoroughness brought him an
immense reputation. Lotto, Wieniawski, Teresina Tua, and a host of other
distinguished violinists studied under him: among them also was Charles
M. Loeffler, of the Boston Symphony Orchestra.

Massart was also an excellent quartet player and gave many delightful
chamber concerts, with his wife, who was a pianist. He died in Paris,
February 13, 1892.

Charles Auguste de Beriot, who holds a position of great importance in
the history of violin playing and composition, was born in 1802 at
Louvain. He had the misfortune to be left an orphan at the age of nine.
His parents were of noble extraction, but at their death he was left
entirely without fortune, and was taken in charge by M. Tiby, a
professor of music, who had noticed the little boy's love of the musical
art, and had already taught him to such good purpose that he was able
even at that time to play one of Viotti's concertos in public so
skilfully that he received the hearty applause of the audience. He also
took lessons of Roberrechts, one of Viotti's most noted pupils.

De Beriot was a youth of contemplative mind and of high moral character.
He formed the acquaintance of the scholar and philosopher Jacotot, who
imbued him with principles of self-reliance, and exerted an influence
over him which lasted throughout his life.

De Beriot learned from his guide, philosopher, and friend that
"perseverance triumphs over all obstacles," and that "we are not willing
to do all that we are able to do."

At the age of nineteen De Beriot went to Paris, taking with him a letter
of introduction to Viotti, who was then the director of music at the
Opera, and he succeeded in gratifying his greatest ambition, which was
to be heard by that illustrious violinist.

Viotti gave him the following advice: "You have a fine style. Give
yourself up to the business of perfecting it. Hear all men of talent,
profit by everything, but imitate nothing."

De Beriot applied himself assiduously to his studies, entering the Paris
Conservatoire and taking lessons of Baillot. In a few months, however,
he withdrew from the Conservatoire and relied upon his own resources. He
soon began to appear in concerts, generally playing compositions of his
own, which won him universal applause by their freshness and originality
as much as by his finished execution and large style of cantabile.