The number of music-schools has increased specially in the capital cities. In France the Parisian High School has a great repute; in Russia the Moscow and St Petersburg Conservatoriums; in Belgium the Brussels Conservatoire, under the guidance of Dupont, who is also distinguished as the editor of old piano-works; in London the Royal Academy of Music [and the Royal College of Music]. In Germany we have in Frankfort the Hoch Conservatorium under Bernhard Scholz, and the Raff under Max Schwarz; Stuttgart has somewhat declined through the deaths of Lebert and Starck, the editors of the great Theoretical and Practical School; but Cologne has greatly gained in importance under Wüllner. In Leipzig under Mendelssohn, Moscheles and Plaidy, piano-playing took the first place; new technical devices like the pedal-clavier--that is, with organ pedals for the low notes--were freely admitted, as in our days the Janko-keyboard. But with the inevitable reaction, this school has decayed, and its importance in piano-art is not what it was. In Berlin the Royal “Hochschule” with Barth, Raif, Rudorff, and others, at its head, experienced a like fate. Private institutions have come to the front. Tausig’s School for higher piano-playing (1866-1870), was very distinguished. From it went Joseffy to New York and Robert Freund to Zürich. The New Academy, founded by Theodor Kullak, was also famous. It was afterwards replaced by another Institute founded by his son. The Stern Conservatorium, now directed by Gustav Holländer along with Jedliczka; the Klindworth, at which for a time Bülow and Moszkowski laboured; and that of Scharwenka, which, after Xaver Scharwenka’s departure for America, was for a time united with the Klindworth;--are known to all.