of knowledge.  His theories of an art ideal even at that early age were far more lofty and earnest than that which generally guides the aspirations of musicians.  De Beriot, in after years, attributed many of the elevated ideas which from this time guided his life to the influence of the well-known scholar and philosopher Jacotot, who, though a poor musician himself, had very clear ideas as to the aesthetic and moral foundations on which art success must be built.  The text-book, Jacotot’s “Method,” fell early into the young musician’s hand, and imbued him with the principles of self-reliance, earnestness, and patience which helped to model his life, and contributed to the remarkable proficiency in his art on which his fame rests.  Two golden principles were impressed on De Beriot’s mind from these teachings:  “All obstacles yield to unwearied pursuit,” and “We are not ordinarily willing to do all that we are really able to accomplish.”  In after years De Beriot met Jacotot, and had the pleasure of acknowledging the deep obligation under which he felt himself bound.

In 1821 young Charles de Beriot had attained the age of nineteen, and it was determined that he should leave his native town and go to Paris, where he could receive the teachings of the great masters of the violin.  At this time he was a handsome youth with a strongly knit figure, somewhat above the middle height, with fine, dark eyes and hair, a florid complexion, and very gentlemanly appearance.  Good blood and breeding displayed themselves in every movement, and ardent hope shone in his face.  He resided for several months in Brussels, which was afterward to be his home, and associated with the scenes of his greatest usefulness, and then pursued his eager way to Paris with a letter of introduction to Viotti, then director of music at the Grand Opera.  De Beriot’s ambition was to play before the veteran violinist of Europe, and to feed his own hopes on the great master’s praise and encouragement.

“You have a fine style,” said Viotti; “give yourself up to the business of perfecting it; hear all men of talent; profit by everything, but imitate nothing.”  There was at this time in Brussels a violinist named Robrechts, a former pupil of Viotti, and one of the last artists who derived instruction directly from the celebrated Italian.  Andreas Robrechts was born at Brussels on the 18th of December, 1797, and made rapid progress as a musician under Planken, a professor, who, like the late M. Wery, who succeeded him, formed many excellent pupils.  He then entered himself at the Conservatoire of Paris in 1814, where he received some private lessons from Baillot, while the institution itself was closed during the occupation by the allied armies.

Viotti, hearing the young Robrechts play, was so struck with his magnificent tone and broad style that he undertook to give him finishing lessons, with the approbation of Baillot.  This was soon arranged, and for many years the two violinists were inseparable.  He even accompanied Viotti in his journey to London, where they were heard more than once in duets.  The illustrious Italian had recognized in Robrechts the pupil who most closely adhered to his style of playing, and one of the few who were likely to diffuse it in after years.