=The English School=.—England has furnished a long line of 19th century organists of ability, prominent among whom are: =Sir John Goss= (1800-1880), =Henry Smart= (1813-1879), =E. J. Hopkins= (1818-1901), =S. S. Wesley= (1810-1876), =Dr. Wm. Spark= (1825-1897). Foremost among English organists stands the name of =Wm. T. Best= (1826-1897). He was one of the most famous concert organists of his time, but is best known to organ students by his “Arrangements from the Scores of the Great Masters,” in which he demonstrated that the organ is in itself capable of reproducing certain orchestral effects without transcending its proper functions or descending to trickery. “The Organ,” by =Sir John Stainer= (1840-1901), is one of the most widely used elementary works for instruction in organ playing. Dr. Stainer was the successor of Sir John Goss, at St. Paul’s, London, and was appointed Professor of Music at Oxford University in 1889. =Frederic Archer= (1838-1901) has been considered one of the greatest of organ players. After a successful career in England, he came to America in 1880. He did much towards popularizing and elevating the art of organ playing in this country. Prominent among contemporary English organists stands =Edwin H. Lemare= (1865-——), who succeeded Frederic Archer as organist of Carnegie Hall, Pittsburg, in 1902. He is a skilful virtuoso, a composer of originality, and a leading representative of the modern English school. =Modern Organ Music=.—Organ playing and composition have kept pace with the mechanical and artistic evolution of the instrument, and the lines between the various schools are becoming less closely drawn. The tendency of builders to imitate orchestral tone and effects has had influence on composers and players alike. This tendency is less noticeable in the works of the German school, where a modified polyphony still flourishes, based on the principle of the classic treatment of the chorale and growing out of the music of the Lutheran Church. The organ compositions of the modern French school are characterized by grace, refinement and originality, coupled with a certain dignity and elegance. They combine free harmonic treatment and modern polyphony, together with certain ornate characteristics, growing out of the elaborate ceremonial music of the Latin Church, and bringing into play all the resources of tone color and expressive treatment of the modern instrument. Much the same may be said of the modern English school, which nevertheless still shows traces of the early English style, based on the dignity and purity of cathedral use and tradition. The orchestral tendency, both in composition for the organ and in the transcription of orchestral works for the instrument, shows itself more or less in all schools, and the organ, in addition to its position in the church, is becoming more and more a concert instrument. The compositions of the American organists reflect, in a measure, the