MUSICAL INSTRUMENTS-THE ORGAN. 



631 



vice requisite for bringing their immense resources under control 

 of the organist. Mr. Hastings, while adopting many innovations 

 from European sources, improved upon them materially m his 

 method of application ; his coupling and draw-stop system, in par- 

 ticular, being most sympathetic and effective in operation. These 

 organs possess remarkably well-balanced tonal qualities also, be- 

 ing free from the prevailing acoustic defects apparent in large 

 instruments of some makers. 



Organ-building, like all the arts, was encouraged in New York 

 to a greater extent than elsewhere in the years preceding the 

 Revolutionary War and immediately afterward The spirit of 



A 



h 



Fig. 



11. 



Fig. 12. 



Fig. 13. 



Figs 10 and 11.— Flue-stop Pipes, showin^r general features of construction : body of pipe 

 '{A), foot (6), mouth (0, lower lip {d), upper lip (e), air passage (/), languette which 

 divides the body of the pipe from the foot (gr), wind entrance (h), ears for steadying the 

 wind (i), and tuner (J). Figs. 12 and 13 represent section of a wood pipe of the same 

 order: the difference Ls shown in block {K), cap (0, tuner (m), exterior bevel (»), in- 

 verted mouth (0). 



liberalism found its expression in the practices and observances 

 of church bodies, too, and a desire to erect imposing organs in 

 keeping with the custom obtaining in English communities was 

 manifest. Geib, who built the old Grace Church instrument, was 

 censured severely at the time of its construction for his inability 

 to complete an organ of more massive proportions and capable 



