Before, however, I touch on that broader expanse, the era of the Flemish School, which began to attain noteworthy prominence in the early years of the 15th century, it would be as well, perhaps, to dwell for a few moments on the history of the noble instrument which is the cause of our foregathering here to-day. In a very early chapter in the Book of Genesis we are told that Jubal was "the father of all such as handle the harp and the organ," and therefore he ranks in history as the first teacher of music. It is commonly asserted, that the emoluments of the modern organist do not come well within the designation of "princely," and, judging from the limited population in those Adamite days, we may well assume that Jubal's living was almost as precarious as those worthy Shetland Islanders who depended for their subsistence on washing one another's clothes. With wise forethought, however, Jubal's brother had devoted himself to engineering. "He was the instructor of every artificer in brass and iron," and therefore, we may conclude there was money in the family, and that the man of commerce was generous to the man of music, even as we of to-day are ever ready to respond to the demands for assistance, on behalf of our local choral societies, and musical organisations. But it must not be supposed, that the organ presided over by Jubal bore any resemblance whatever, to the stately instrument, which will now voice its glorious tone within these walls, for the first time in public. The primitive organ of mankind has its present-day affinity in the charming instrument, which, in the hands and mouth of a precocious juvenile, has such a powerful and stimulating effect on the cultivated ears and sensitive nerves of the modern amateur.