MARIA LUIGI CARLO ZENOBIO SALVADORI, was born at Florence 8th Sept. 1760, and died at Paris 15th March 1842. On the 19th of that month the funeral service was performed for him at the church of St Roche, and the requiem which he had composed for himself was sung. He received his earlier musical education at Florence, under the Felici, and Bizarri and Castrucci. In 1778 he was placed under Sarti at Bologna, with whom he studied four years, and to whose excellent method he owed his profound knowledge of counterpoint and fugue, and his taste and skill in the ideal style of composition. In 1784 he visited London, and brought out there two operas; and again in 1787, when he wrote some pieces for an opera by Cimarosa, and for one by Paisiello, which were produced at the King's Theatre. In 1788 he returned to Paris, where his new and superior style of music was at first not understood by the French; but in 1791 his Lodovika at once wrought a revolution in the French school of composition, and the original genius of Cherubini was acknowledged and appreciated. His Elisa and his Médée added to his fame. Notwithstanding his superior talents and high European reputation, his position as an inspector of the conservatory at Paris was unworthy of him. Napoleon neglected him shamefully, and from a very mean motive—personal pique. At a private party, when Bonaparte was only general of the French army, he and Cherubini happened to make two of the company. The conversation turning upon music, Bonaparte contradicted Cherubini rudely, and attempted to dogmatise on the subject. Cherubini coolly said to him, "Citizen Bonaparte, in the art of war your knowledge is pre-eminent; but you should leave music to those who understand it." Napoleon never forgot or forgave this well-merited reproof; and, when master of France, could never be induced by those about him to do justice to Cherubini. In 1805 Cherubini went to Vienna, where he produced his Fanius with the greatest applause. Soon afterwards he composed a mass in F. for three voices, in a style quite new and admirable. After the restoration of the Bourbons he composed a number of masses and motets for the Royal Chapel, all of such excellence that even Beethoven, so chary of praise, declared Cherubini to be the greatest living composer of sacred music. Besides a great many operas and church compositions, &c., Cherubini produced some admirable instrumental music. His quartets for violins, viola, and violoncello have lately been heard and admired in London. His last work, published in 1835, was his Cours de Contrepoint et de Fugue, a summary of the lessons on strict composition which he had given for several years at the Paris conservatory of music. The writer of this article was personally acquainted with Cherubini at Paris in 1819, and through him received free access to the valuable library of the conservatory.