The organ lost nothing of real value to itself by this increased significance of other branches of instrumental music. Its sphere became defined, and in Germany quite limited, as to this day it is but rarely employed there in the way of accompaniment beyond supporting the choral song of the congregation. In France and England it has been different, the organ having been employed to accompany many anthems and other extended pieces of music, which in Germany (at least in the larger cities) would be given with the orchestra. It should be noticed that to England we owe one great improvement, which, especially for the _rôle_ the organ is called upon to fill in this country, can scarcely be overrated. I refer to the invention of the swell, and the great variety of effects we are enabled to achieve by its means in both accompaniment and solo playing. [Illustration: A POSITIVE ORGAN. FROM AMBROSIUS WELPHLINGSEDER'S EROTEMATA MUSICES PRACTIÆ. NUREMBERG, 1563.] SECTION III. [Illustration: A CURIOUS ENGRAVING SHOWING AN ORGANIST PERFORMING UPON AN INSTRUMENT WITH BROAD KEYS. FROM FRANCHINUS GAFFURIUS' THEORICA MUSICA. 1492.] SECTION III. In the London "Spectator" of Feb. 8, 1712, is the following announcement:-- "Whereas, Mr. Abraham Jordan, senior and junior, have, with their own hands, joynery excepted, made and erected a very large organ in St. Magnus' church, at the foot of London bridge, consisting of four sets of keys, one of which is adapted to the art of emitting the sounds by swelling the notes, _which was never in any organ before_; this instrument will be publicly opened on Sunday next, the performance by Mr. John Robinson. The above said Abraham Jordan gives notice to all masters and performers, that he will attend every day next week at the said church, to accommodate all those gentlemen who shall have a curiosity to hear it."