If, on the other hand, we look at Kalkbrenner’s Paris Pianoforte School, which he dedicated “to all the conservatoriums in Europe,” we see--with no heavy artillery--advances of all kinds which in part fill up the perspective of Adam. Where Hummel has ten main classes of fingered passages, he has only six; five-finger exercises for the unmoving hand; scales in all forms; thirds, sixths, and chord-forms; octaves with the wrist; trills; overlapping of the hands. In this there is more thrift, while there is no talk of absolute completeness. The “manieren” slowly cease to occupy important chapters; the pedals again come by their own; for Kalkbrenner as a Parisian hates the dry tone of the Vienna pianoforte. Execution also begins to receive a systematic treatment. Interesting references are made to punctuation in order to illustrate musical phraseology; conclusions on the tonic are a full stop; on the dominant a semicolon; while interrupted cadences are a note of exclamation. This is naive enough, but it is at any rate a beginning. We are thus already standing at the point at which clavier theory decomposes itself into its elements. If Hummel was the great theoretician, Czerny was the great man of practice; a quite unique person, the hero of all piano-teachers, whose practical eye runs equally over all the possibilities of playing, and works them out in separate parts; the genius of the Étude. He it was who discovered the great secret that no separation of methods of fingering is of any avail in practice, but that the perfection of the fingers must be carried out solely on the basis of their mechanical gymnastic. It is useless to try to apply my five fingers to so many theoretically possible permutations; the important question is what practical use can be made of my fingers according to their physical structure. Czerny has no obsolete rules of practice, but a science of mechanism; thus taking the very opposite pole to Hummel. Piano-study, which with Couperin and Philip Emanuel was still a part of a musical training with just the necessary amount of mechanics, became with him primarily the gymnastic of the fingers with the addition of instruction in touch and execution. Long past are the times when the good old clavier was only used to “fill” the song, which was after all the essence of music. From music we have come to the fingers. A science of the fingers is constructed, and the fingers are trained as earlier only the throat was trained. Technique has remembered her own ways, and made the last first. The emancipation of finger-gymnastic was an epoch-marking point in the treatment of the piano, the desired answer of theory to practice, which for a long time had recognised the specific art of the piano. It was perhaps the last important stride in its emancipation when the results of practice were made the groundwork of instruction. Czerny, in his great Pianoforte School,