many scattered articles; from 1846 by Edward Francis Rimbault of London (d. 1876), an indefatigable student of every phase of old music in England; in 1854-5 by Francesco Caffi (d. 1874), the historian of St. Mark's in Venice; in 1858 by Heinrich Bellermann of Berlin (d. 1903), writing on time-notation.
The development of French music was followed from 1820 by François Blaze ['Castil-Blaze'] (d. 1857), and by Joseph Louis d'Ortigue (d. 1866). After 1860 came the voluminous studies of Arthur Pougin, Antoine Ernest Roquet ['Erneste Thoinan'] (d. 1894), Adolphe Gustave Chouquet (d. 1886), and Félix Clément (d. 1885).
Various topics in dramatic and operatic progress were discussed in 1849-62 by Moritz Fürstenau (d. 1889), writing on Dresden; in 1852-72 by Ernst Pasqué (d. 1892), on Darmstadt and Frankfort; on Berlin in 1852 by Louis Schneider (d. 1878); on early German opera in 1855 by Otto Lindner of Berlin (d. 1867); on both German and French topics from 1863 by Michel Schletterer of Augsburg (d. 1893); and on Munich in 1867 by Karl von Perfall (d. 1907). Here may be added studies from 1867 on music in Bologna by Gaetano Gaspari (d. 1881), and in 1868 on the Imperial Chapel at Vienna by Ludwig von Köchel (d. 1877). On the growth of music in particular countries may be noted works in 1852 on Prussia by Gottfried Döring of Elbing (d. 1869); in 1853-67 on Spain by Mariano Soriano-Fuertes of Barcelona (d. 1880); and in 1859 on Polish opera by Moritz Karasowski (d. 1892).
Concerning special forms there were works in 1841 on the mediæval lais, sequences, etc., by Ferdinand Wolf of the Vienna Library (d. 1866); in 1846, on the keyboard-sonata by Faiszt of Stuttgart (d. 1894); in 1840 on German Hausmusik by K. F. Becker of Leipsic (d. 1877); in 1853 on the oratorio by Chrysander of Berlin (d. 1901); in 1859 on Russian church music by Alexis Lwoff (d. 1871); in 1861 on Gipsy music by Liszt (d. 1886); from 1861 on the German Lied by Reissmann of Berlin (d. 1903) and by K. E. Schneider of Dresden (d. 1893); and in 1863 on piano music by K. F. Weitzmann of Berlin (d. 1880).
Organ-building was handled from 1833 by Töpfer of Weimar (d. 1870); from 1839 by Christian Friedrich Gottlieb Wilke (d. 1848); in 1843 by Johann Julius Seidel of Breslau (d. 1856); in 1849 by Marie Pierre Hamel of Beauvais (d. after 1870); in 1855 by David Hermann Engel of Merseburg (d. 1877); in 1855 by E. J. Hopkins (d. 1901) and E. F. Rimbault (d. 1876); and in 1859 by Jean Bertrand of Paris (d. 1880). Piano-making was similarly discussed in 1853 by Joseph Fischhof of Vienna (d. 1857); in 1860 by Rimbault; in 1868 by Edgar Brinsmead; and in 1869 by Oscar Paul of Leipsic (d. 1898). Somewhat comprehensive studies of instrument-making were put forth from 1857 by the Marquis de Pontécoulant of Paris (d. 1882); by Edmund Schebek of Prague (d. 1895); by Jules Gallay of Paris (d. 1897); and by Karl Engel of London (d. 1882)—all these being drawn out by the Expositions of 1855 and later.
From the work of these many specialists grew undertakings of a more comprehensive character. Here belong works from 1848 by Franz Brendel of Leipsic (d. 1868). But to August Wilhelm Ambros of Vienna (d. 1876)
