The influence of the work already done by the aforenamed pioneers in this country is being manifested in a general improvement in organ tone and mechanism throughout the United States. Musical men, hearing the new tones and musical effects now produced, realize for the first time the grandeur and refinement and amazing variety of musical effects that the organ is capable of yielding; on returning to their own churches they are filled with "divine discontent," and they do not rest until a movement for obtaining a new organ, or at least modernizing the old one, is set on foot. The abandonment of old ideas as to the limitations of the organ is begun, new ideals are being set up, and a revolution which will sweep the whole country has now obtained firm foothold. Until recently England unquestionably led in the development of the organ, and Hope-Jones led England. Now that his genius is at work in this country, who shall set limit to our progress? Even when expressing himself through other firms, his influence entirely altered the standard practice of the leading builders, and now, since direct expression has been obtained, improvements have appeared with even greater rapidity. It is the author's opinion (based on a wide knowledge of the instruments in both countries) that in the course of the last ten years this country has made such great strides in the art that it may now claim ability to produce organs that are quite equal to the best of these built in England. And he ventures to prophesy that in less than another ten years, American-built organs will be accepted as the world's highest standard. At a banquet given in his honor in New York in 1906, the late Alexandre Guilmant complained that no organ that he had played in this country possessed majesty of effect. The advent of Hope-Jones has entirely changed the situation. Tertius Noble, late of York Minster, England, who has just come to this country, asserts that organs can be found here equal to or superior to any built in England, and the celebrated English organist, Edwin Lemare, pronounced the reeds at Ocean Grove, N. J., the finest he had ever heard. [Illustration: ARISTIDE CAVAILLE-COLL.] CHAPTER XIII. THE CHIEF ACTORS IN THE DRAMA. We now purpose to give a brief account of the leaders in revolutionizing the King of Instruments, the men whose genius and indomitable perseverance in the face of prejudice, discouragement and seemingly insurmountable obstacles, financial and otherwise, have made the modern organ possible. First of all these comes CHARLES SPACHMAN BARKER,