The term "grain elevator" is often used to include buildings as well as machinery, and it is not unusual in Europe to hear a flour-mill, with its system of motor machinery, mills, elevator and storage departments, spoken of as an "American elevator" (see GRANARIES). ELF (O. Eng. _aelf_; cf. Ger. _Alp_, nightmare), a diminutive supernatural being of Teutonic mythology, usually of a more or less mischievous and malignant character, causing diseases and evil dreams, stealing children and substituting changelings, and thus somewhat different from the Romanic fairy, which usually has less sinister associations. The prehistoric arrow-heads and other flint implements were in England early known as "elf-bolts" or "elf-arrows," and were looked on as the weapons of the elves, with which they injured cattle. So too a tangle in the hair was called an "elf-lock," as being caused by the mischief of the elves. ELGAR, SIR EDWARD (1857- ), English musical composer, son of W.H. Elgar, who was for many years organist in the Roman Catholic church of St George at Worcester, was born there on the 2nd of June 1857. His father's connexion with music at Worcester, with the Glee Club and with the Three Choirs Festivals, supplied him with varied opportunities for a musical education, and he learnt to play several instruments. In 1879 he became bandmaster at the county lunatic asylum, and held that post till 1884. He was also a member of an orchestra at Birmingham, and in 1883 an intermezzo by him was played there at a concert. In 1882 he became conductor of the Worcester Amateur Instrumental Society; and in 1885 he succeeded his father as organist at St George's, Worcester. There he wrote a certain amount of church music. In 1889 he moved to London, but finding no encouragement retired to Malvern in 1891; in 1904 he went to live at Hereford, and in 1905 was made professor of music at Birmingham University. To the public generally he was hardly known till his oratorio _The Dream of Gerontius_ was performed at Birmingham in 1900, but this was at once received as a new revelation in English music, both at home and by Richard Strauss in Germany, and the composer was made a Mus. Doc. at Cambridge. His experience in writing church music for a Roman Catholic service cannot be overlooked in regard to this and other works by Elgar, who came to be regarded as the representative of a Catholic or neo-Catholic style of religious music, for which an appreciative public was ready in England at the moment, owing to the recent developments in the more artistic and sensuous side of the religious movement. And the same interest attached to his later oratorios, _The Apostles_ (1903) and _The Kingdom_ (1906). But Elgar's sudden rise into popularity, confirmed by his being knighted in 1904, drew attention to his other productions. In 1896 his _Scenes from the Saga of King Olaf_ was recognized by musicians as a fine work, and in