Much more simple was Czerny, king among teachers, whose life and work were taken up with the enforcement of one great principle. Every piece must be played in that manner which is most natural and applicable to the case in hand, and which is fixed partly by the notes before us and partly by the execution. His genius for teaching was so cultivated that in a moment he could devise the right study for a student who exhibited any defect. How precisely he worked in such matters a glance at his “Higher Steps in Virtuosity” will show. The themes of the Études in the third volume are called: (1) seven notes against two or three; (2) five against three; (3) five against three in another manner; (4) passing of the fingers over the thumb; (5) passing under of the thumb with a quick alternation of the stretching and retraction of the fingers; (6) motion of certain fingers while the others remain stationary; (7) broken octaves legato. This is not the grammar of Hummel with its theoretical chess-play of possibilities; it is the method of Toussaint-Langenscheidt, which invents its exercises from the data of experience. In the great Piano School the exercises are always continued in the course of the instruction. The scales are recommended for daily preliminary practice, and duet-playing is drawn into the circle of regular exercise. It is, of course, impossible to review the whole enormous crowd of his works. In addition to the numerous general practice-pieces, which appeared in manifold combinations, there are the special pieces also: the school of velocity, of legato and staccato, of ornaments, of the left hand, of fugue-playing, of virtuoso-performance; the art of preluding, the introduction to fantasia playing, octave-studies, the practice of the full common chord and of the chord of the seventh in broken figures; and everything besides. It is a mighty arsenal of mechanical appliances. His works are numbered up to Op. 856; but all except the Studies are lost in oblivion; they are mere hack-work. Even the greater Studies are, in musical value, inferior to Cramer’s. Czerny’s great collections from previous masters are the work of a practical historian. Such are the arrangement of the Wohltemperiertes Klavier, the edition of Scarlatti, the arrangements of Beethoven, Mozart, or Mendelssohn for two or four hands; and the innumerable selections of the most brilliant passages from the works of masters from Scarlatti and Bach to Thalberg and Liszt. His practical History of Piano-playing--the first that ever appeared--was thrown into a didactic form and appended to the great “Art of Execution.” Every composer is treated from the point of view of playing, under six heads. Clementi is to be played with a steady hand, firm touch and tone, distinct and flowing execution, precise declamation; Cramer and Dussek _cantabilmente_, without glaring effects, with gentle legato and the due use of the pedal; Mozart with