With the publication of this news the maestro was besieged with applications from those who were desirous of becoming pupils. He was at once regarded as the foremost professor in the capital, and his house in George Street, Hanover Square, not only saw numbers of students anxious to enter the profession, but was equally sought out by the aristocracy and wealthy classes of society, as had been the case in Paris. On November 10, 1848, he was appointed a member of the professional staff at the Royal Academy of Music. The institution had only been founded twenty-five years previously, when Garcia was eighteen, receiving its charter of incorporation seven years later. It was very different from the Academy as we know it now. Up to the January of the year in which Garcia joined, it had had in all 767 pupils. It may be of interest to those who have been connected with it during recent years, to learn that the total number of new pupils admitted to the Academy during 1847 were forty, of which thirteen only were members of the sterner sex. Assuming that every pupil stayed at the Royal Academy of Music for a three years' course--the assumption is rather more than doubtful--we should find the average number of pupils per term during the first twenty-five years of its existence to have been exactly ninety. Compare that with the five hundred or more who attend at the present day. The principal of the Academy at that time was Cipriani Potter, and we find some strangely bygone names upon the staff of professors. Sir Henry Bishop, Mons. Sainton, Moscheles, Goss, George Macfarren, Signor Crivelli, Sir George Smart, Mme. Dulcken, J. B. Cramer, Julius Benedict, Lindley, Chatterton, J. Thomas (the harpist), Signor Puzzi, and as an assistant professor of the pianoforte, Walter Macfarren. These were some of the colleagues with whom Garcia found himself associated when he commenced his work at the Academy. At the beginning of 1849 there came a reminder of the scenes of revolution through which the maestro had passed a few months before, for Julius Stockhausen followed him to England, to pursue in the quieter atmosphere of London those studies which were so rudely broken up by the alarums and excursions of his duties with the French National Guard. Stockhausen continued to have lessons from the maestro till 1851, and during this period sang at various concerts, by means of which appearances he quickly began to make his mark. During the last year of his studies he sang for the Philharmonic Society no less than three times.