of more extended effects. It was the original intention of the patrons of the church at that period to have an instrument equal to some of the famous organs abroad; but Geib and his contemporaries would not undertake what they looked upon as an impossibility to them with their limited facilities and limited capacities. There was then talk of bringing over an instrument from London; but Geib's friends succeeded in putting the contract in his hands, satisfied to accept the best results he could produce. In the mean time the money saved was put to other account, so the story goes. Certain it is, however, that the first notable examples of the art of organ-building were produced in New York. Adam Geib, the builder referred to, came to New York in 1760. In that year he began business on a very unpretentious scale, but attained some note soon after the conclusion of the war. He was succeeded by two sons. John E. Geib, the best known, remained in the business until past 1830, and was looked upon as a very skillful builder.
Loew and Hall were builders of some mark in years past. The first named erected a fine instrument in St. John's Chapel. Hall served his apprenticeship with Loew, and was, in a minor sense, an originator and inventor of note. Hall was in business in New York from 1812 until 1875, when he passed away, at the age of eighty-five. A noted individual came forth from the workshop of Thomas Hall, during the early days of his business career, in the person of Henry Erben. Erben was such a remarkable youth that he was taken into partnership by Hall in 1827, just after concluding his apprenticeship. Separating from Hall in a few years, he established a business of his own in New York. Erben was fortunate enough to secure the contract for the organ in Trinity Church during his first labors, and this brought him reputation and status in his art. It is by no means a remarkable instrument, though of large proportions. Erben's later efforts were indicative of more originality. He introduced some improvements in the disposition of the general action of the instrument about 1860, which, though credited to him largely as his own inventions, were nevertheless adaptations of ideas copied from abroad.
Jardine & Sons, of New York, have taken out several important patents for organ improvements, besides constructing instruments of rare excellence embodying a hundred features of originality of the unpatentable order. In applying pneumatics to the action of the organ they have been particularly successful. Their patent pneumatic vacuum and tubular systems, also methods for controlling the registers by piston-knobs, are singularly effective devices. These are intended to facilitate execution, while rendering the manual and pedal actions easy and
