460 The Architectural Review and American Builders' Journal. [Jan., designing and erecting of a church, the subject of the organ is not kept in view ; perhaps, from the fact of there not being funds available for the purpose ; and there is no provision made for its subsequent attainment in the design de- termined upon • consequently, the in- strument, when it does- arrive, has to be located without any reference, either as to acoustic 01 architectural effects, be- yond what the nature of the building may permit. The enrichment and augmentation produced by resonance, and the inex- pressible, charming, buoyant, and lin- gering effect imparted by echo, must depend upon the building, the nature of the materials of which it is composed, and its surroundings, and cannot be given by the organ builder. A most remarkable, and at the time well known illustration of the truth of this, was afforded by the enormous organ built by Mr. Willis, which stood at the west end of the first Crystal Palace, in London. Although this instrument contained three sets of manuals, a very large number of stops, and a large pedal organ, from the fact of the immense quantity of glass, of which the building was composed, almost entirely destroy- ing reverberation, or resonance, it was not in effect so powerful, as another organ in a church in London, with only one row of keys, and eight stops. The best position is where the organ can be central, elevated, unconfined, and have ample room. On account of the difficult}^ that is generally experienced, in allowing sufficient space for a central location, behind the pulpit, the almost universal custom has been adopted of locating the organ at the opposite end of the church, facing the pulpit, and ad- mittedly with great success and happy results. But there can be very little question, that for Protestant churches, and, indeed, in every church, of what- ever denomination, where congregational singing is regarded as an indispensable feature to congregational worship, the most appropriate place for the organ would be in front of, and not behind, the congregation ; as, if the people are expected to join in the singing, they must be in a measure dependent on the choir, who, in that case, are organized to sing, not to, or for them, but with, them ; and the choir and organ should be so placed, as to be in the best position to enable them to be of the service re- quired. There is, we believe, a growing feeling among Protestant churches, in favor of having the organ located in front of the congregation ; but still this subject must alwa r s be regulated more or less by the size and shape of the church. We have said the organ should be ele- vated. By this means the tone is more generalhy diffused throughout the church, and is not so overpowering to that por- tion of the congregation, which may happen to be seated in its immediate vicinitj*. A height above the galleiy or platform, should be provided, sufficient for the construction of the organ, and allow space above, when possible, as this gives a mellowing, and highly ad- vantageous effect. On the other hand, when the instrument is, as is too often the case, crowded under a low ceiling or roof, its tones smothered, and its whole action impeded, it has a severe and dis- integrated tone, alike displeasing to or- ganist and singers. Where the obstacles to the diffusion of the sound are so nu- merous, and so close to the organ, it is almost impossible to produce a proper quality of tone, especially from large pipes. An organ so placed is more liable to be out of tune, by the effect of the higher temperature, which surrounds the pipes standing close up against the ceding. A free circulation of air is desirable through and around an organ, not only to prevent dampness, but to have an even temperature throughout all its parts. The effect upon the tones, where an organ occupies a recess, is to some- what subdue its power ; but, >y skill and
