Tonally, the modern organ has also made great strides. It cannot be said that voicers are more skillful in their art, nor that the quality of the materials used is better than in the past. We must, however, note the great advantage of being able to supply and control wind of any pressure desired in the modern wind chest. It is quite common to voice the chorus solo reeds on a wind pressure of twenty-five inches, for which the scales used, the thickness and weight of the metal, and the voicing, are greatly modified. The Diapasons and Flutes have not changed so much as the chorus and solo reeds, and the stops of string tone. Artistic voicing has completely changed the character of these stops, and has adjusted itself to the new conditions of expression. A few men have achieved fame in this direction, though their work has not always received the recognition it deserves. Among them were George and Charles Englefried and others, whose work was found on many Roosevelt organs; John W. Whiteley, of the English family of organ builders; and W. E. Haskell, whose development of string tones and especially the allied flue stops of reed character has attracted attention. The inventions of Robert Hope-Jones have given a great stimulus to the high-pressure reeds, and he also introduced the Diaphone (1894). Among American builders the names of George S. Hutchings, Hilborne L. Roosevelt and Ernest M. Skinner are conspicuous for their high ideals in artistic voicing, while in Europe the noble instruments constructed by Henry Willis and Aristide Cavaillé-Coll are most conspicuous. VI No account of the modern organ would be complete without reference to three new developments of the instrument. Its origin and traditions are ecclesiastical, but our civilization has at first hesitatingly, and now boldly, appropriated the organ for other uses. It was introduced into various private residences, and the resulting type is known as the Chamber Organ. Then, particularly in England, it was employed as a means of public instruction and entertainment in town halls and other public buildings. Notable examples are the organs at Liverpool (St. George’s Hall), London (Albert Hall, etc.), and Sydney, N. S. W. These instruments are known as Concert Organs. A typical modern concert organ scheme is as follows: SPECIFICATION OF A CONCERT ORGAN By CLIFFORD DEMAREST, F. A. G. O. _Organist, Church of the Messiah, New York City_ GREAT ORGAN