MUSICAL INSTRUMENTS— THE ORGAN. 633 



of more extended effects. It was the original intention of the 

 patrons of the church at that period to have an instrument equal 

 to some of the famous organs abroad ; but Geib and his contem- 

 poraries would not undertake what they looked upon as an im- 

 possibility to them with their limited facilities and limited ca- 

 pacities. There was then talk of bringing over an instrument 

 from London ; but Geib's friends succeeded in putting the con- 

 tract in his hands, satisfied to accept the best results he could 

 produce. In the mean time the money saved was put to other 

 account, so the story goes. Certain it is, however, that the first 

 notable examples of the art of organ-building were produced in 

 New York. Adam Geib, the builder referred to, came to New 

 York in 17C0. In that year he began business on a very unpre- 

 tentious scale, but attained some note soon after the conclusion of 

 the war. He was succeeded by two sons. John E. Geib, the best 

 known, remained in the business until past 1830, and was looked 

 upon as a very skillful builder. 



Loew and Hall were builders of some mark in years past. The 

 first named erected a fine instrument in St. John's Chapel. Hall 

 served his apprenticeship with Loew, and was, in a minor sense, 

 an originator and inventor of note. Hall was in business in 

 New York from 1812 until 1875, when he passed away, at the 

 age of eighty-five. A noted individual came forth from the 

 workshop of Thomas Hall, during the early days of his business 

 career, in the person of Henry Erben. Erben was such a remark- 

 able youth that he was taken into partnership by Hall in 1827, 

 just after concluding his apprenticeship. Separating from Hall 

 in a few years, he established a business of his own in New York. 

 Erben was fortunate enough to secure the contract for the organ 

 in Trinity Church during his first labors, and this brought him 

 reputation and status in his art. It is by no means a remark- 

 able instrument, though of large proportions. Erben's later ef- 

 forts were indicative of more originality. He introduced some 

 improvements in the disposition of the general action of the in- 

 strument about 1860, which, though credited to him largely as his 

 own inventions, were nevertheless adaptations of ideas copied 

 from abroad. 



Jardine & Sons, of New York, have taken out several im- 

 portant patents for organ improvements, besides constructing 

 instruments of rare excellence embodying a hundred features 

 of originality of the unpatentable order. In applying pneu- 

 matics to the action of the organ they have been particularly 

 successful. Their patent pneumatic vacuum and tubular systems, 

 also methods for controlling the registers by piston-knobs, are 

 singularly effective devices. These are intended to facilitate exe- 

 cution, while rendering the manual and pedal actions easy and 



