The French school of organ playing is usually light, sensational, often pleasing, but too often frivolous and unworthy of the instrument. Yet in a certain direction they have had their great men. No one who has had the opportunity of hearing Lefebure Wely extemporize on that great organ at the church of Saint Sulpice, in Paris, but must acknowledge that the performance was masterly, although widely different from the German school. In fact, these extempore performances of Wely's were far better than his published compositions. The prevailing tone of the French organ-playing is dramatic, and, as before said, too often sensational. As might be expected from the national character, it forms a great contrast to the German style. The use of the pedal for melodic phrases is rare, it being more generally employed simply to give the fundamental support of the harmonies and passages executed upon the manuals. On the other hand, much attention is paid to registration, and frequently much talent displayed in this direction; besides, their organs are built in a manner calculated to assist the player in this respect. Of course the Romish ceremonial, the universally dominant religion in France, gives much opportunity for display of this kind. To judge any of these varieties of organ-playing, it will be seen that the standpoint of use to which the instrument is to be put must be carefully borne in mind. Although this school is by no means devoid of excellencies, it is not to be recommended to the American student who is seeking a solid foundation in organ-playing. Still it may be employed to advantage, both in the way of recreation, general culture, and especially as studies in registration, after the "weightier matters of the law" have received due attention. The English school, as a _distinctive_ method of treatment, can hardly be said to exist. It forms a sort of middle ground between the two schools of which I have just spoken, and their organs may be described in the same manner as to characteristics of building. In America, of late years, we have followed suit, copying Germany in the voicing of most of our open and stopped pipes, both metal and wood; copying France in the main characteristics of their reed voicing (in which they were long pre-eminent), and copying England in the general plan of our organs, together with their conveniences of mechanism and effects of combination.