erected for the direction of ships. Lon. 1.6 E. Lat. 52. 4 N.

ORGAL, among dyers, lees of wine dried. ORGAN, a wind instrument blown by bellows, and containing numerous pipes of various kinds and dimensions, and of multifarious tones and powers. Of all musical instruments this is the most proper for the sacred purpose to which it is most generally applied in all countries wherever it has been introduced. Its structure is lofty, elegant, and majestic, and its solemnity, grandeur, and rich volume of tone, have justly obtained it an acknowledged pre-eminence over every other instrument.

An organ, when complete, is of three-fold construction, and furnished with three sets of keys: one for what is called the great organ, and which is the middle set; a second (or lower set) for the choir organ; and a third (or upper set) for the swell. In the great organ, the principal stops are the two diapasons, the principal, the twelfth, the fifteenth, the sesquialtra, the mixture or furniture, the trumpet, the clarion, and the cornet. The choir organ usually contains the stopt diapason, the dulciana, the principal, the flute, the twelfth, the bassoon, and the vox humane. The swell comprises the two diapasons, the principal, the hauthoy, trumpet, and cornet. Besides the complete organ, there are other organs of lesser sizes, and more limited powers, adapted to church, chapel, and chamber use. There is also the barrel or hand-organ, consisting of a moveable, turning cylinder called a barrel, on which, by means of wires, pins, and staples, are set the tunes it is intended to perform. These pins and staples, by the revolution of the barrel, act upon the keys within, and give admission to the wind from the bellows to the pipes. The barrel-organ is generally portable, and so contrived that the same action of the hand which turns the barrel, supplies the wind by giving motion to the bellows,

The invention of the organ, which is attributed to the Greeks, is very ancient, though it is generally allowed to have been little used before the eighteenth century.

It has been a subject of debate at what time the use of organs was first introduced into the church. Some writers say, that they were first applied to sacred use in the time of pope Vitalian, about the year 660, others that they were not employed in that way till the ninth century. A learned author has, however, shown that neither of these dates can be just: and Thomas Aquinas expressly says, that in his time (about the year 1250) the church did not use musical instruments; and Bingham says, that Marinus Sauntus, who lived about the year 1990, first introduced the use of them into churches. But if we may give credit to the testimony of Gervas, the monk of Canter bury, who flourished at the beginning of the thirteenth century, organs were introduced more than one hundred years before his time. Bede, who died in 735, says nothing of the use of organs, or other musical instruments in our

churches or convents, though he minutely describes the manner in which the psalms and hymns were sung; yet Mabillon and Muratori inform us, that organs, during the tenth cen tury, became common in Italy and Germany, as well as in England; and that about the same time they had admission into the convents throughout Europe.

The organs in Germany (says Dr. Burney), in magnitude, and the organists in abilities, seem unrivalled in any other part of Europe, particularly in the use of pedals. In Marpurg's Essays, vol. iii. there is a minute account of a variety of organs in Germany; of all which the longest pipe of the manuals is 16 feet long, and of the pedals 32, One of the largest organs in Germany, but which Marpurg has omitted in his list, is at Gorliz in Upper Lusatia.

Among the modern improvements of the organ, the most remarkable are the swell and the tremblant: the former, invented by an English artist, consists in a number of pipes placed in a remote part of the instrument, and inclosed in a kind of box, which, being gradually opened by the pressure of the foot, increases the sound as the wind does the sound of a peal of bells, or suppresses it in like manner by the contrary action. The tremblant is a contrivance by means of a valve in the portvent or passage from the wind-chest, to check the wind, and admit it only by starts; so that the notes seem to stammer, and the whole instrument to sob, in a manner very offensive to the ear. There is a tremblant in the organ at the German chapel in the Savoy. See Hawkins's History of Music, and Burney.

ORGAN (Hydraulic), denotes a musical ma chine that plays by water instead of wind. Of these there are several in Italy, in the grottos of vineyards. Ctesebes of Alexandria, who lived in the time of Ptolemy Euergetes, is said to have invented organs that played by compressing the air with water, as is still practised. Archimedes and Vitruvius have left us descriptions of the hydraulic organ. In the cabinet of queen Christina is a beautiful and large medallion of Valentinian, on the reverse whereof is seen one of these hydraulic organs; with two men, one on the right, the other on the left, seeming to pump the water which plays it, and to listen to its sound. It has only eight pipes, placed on a round pedestal. The inscription is PLACEA SPETRI, if it be not wrong copied, which we suspect to be the

case.

Construction of the Organ. This may be understood by the following description of one made by Messrs. Flight and Co. St. Martin's Lane, London, and which, besides many other improvements, is so contrived as to serve both for a finger-keyed organ, and a barrel organ,

Plates 125 and 126 exhibit this instrument in different positious, the same letters of reference being employed in both figures. The instrument is represented as having all parts of the ornamental case removed, to explain the