If we don’t know how Francois Devienne, or Tulou, or Quantz played, we at least know how they studied, thanks to the numerous methods published from 1700 onwards. These methods are interesting because they shed light on teaching methods, that is, on how these eminent musicians practiced and the terrible exercises they tortured their students with. A general observation is how teaching methods became increasingly demanding: while the first treatises were essentially collections of pieces, often in the form of duets, later technical exercises began to prevail, making them indispensable for the notable virtuosity of nineteenth-century flute compositions. In this section of the site I propose the main nineteenth-century treatises.