the Bohemians, and which they retain to the present day, arrived at a high stage of development during the last century.[3] The zealous attention bestowed upon church music both in town and country, and the cultivated taste of the nobility, gave to talent an easy recognition, and no available forces, either vocal or instrumental, were suffered to remain in neglect. It was the "custom and obligation" for every head of a school to write at least one new mass during the year, and to perform it with his scholars. Any youth who distinguished himself was placed in an institution where he was able to continue his musical education; there was no lack of patrons ready to support him until he found a situation in the musical establishment of a prince, a prelate, or a monastery.[4] "The families of Morzini, Hartiggi, Czemini, Mannsfeldi, Netolizki, Pachta, &c., were the patrons of many young men; they took them from the village schools on their territories and brought them to the capital to swell the ranks of their private musical establishments; they wore a livery, and formed part of their retinue of servants. Riflemen were not allowed to wear a uniform until they could blow the bugle perfectly. Many noble families in Prague required their livery servants to have a knowledge of music before being considered competent for service." Under these circumstances, music and all connected with it must have been held in high estimation at Prague, where the aristocracy were wont to congregate during the winter. A permanent Italian opera, especially intended for opera buffa, was founded by Bustelli, who had also obtained a license in Dresden in 1765. From that time until 1776 he gave performances at both places with a select {MOZART IN PRAGUE.} (120) company, and acquired great fame thereby.[5] His successor was Pasquale Bondini, who afterwards gave performances in Leipzig during the summer,[6] and who was able to uphold the ancient fame of the Italian opera in Prague. First-rate artists, such as Jos. Kucharz and Jos. Strobach were engaged as operatic conductors; and other distinguished musicians were engaged, as, for instance, Joh. Kozeluch (a relation of Mozart's opponent living in Vienna, Leopold Kozeluch), Wenzel Praupner, Vincenz Maschek, &c. There was, however, one artistic couple in Prague of peculiar interest from their influential position and their intimate friendship with Mozart. These were the Duscheks, whose name we have already had frequent occasion to mention.[7]