chromatic decoration, thereby dispelling in part the Protestant frigidity which pervades the atmosphere of this church, it would have been used to better purpose. What I want to show, however, is the different spirit and sentiment which prevailed in the building of this organ. In the first place, four or five years were spent in the execution of this great work. It was built under the eye of the master-builder, by a few workmen deliberately and substantially, without impatience or any scamping in the least detail. It was made with the intention that it should honestly do its duty for all the time that a human work like an organ ought to last, and German organs are considered to stand about four hundred years. The mechanism works in a strong, straightforward sort of way; and while all reasonable improvements are made use of, the clever mechanical trickiness of modern work is avoided. Then as to the all-important voicing, no pains, no labour, no time and trouble were spared to make the tone perfect in quality and balance." Many and many an hour has the master-builder spent in touching and retouching; many the day's work, perhaps nearly undone the next day; not because it was not admirable to all who heard, but because the artist thought it might be bettered. And what is the result of all this toil and pains spent? I say, without fear of contradiction, the noblest work of organ-building art that England has ever heard or seen. Here is purity combined with grand solemnity of tone, exquisite delicacy in the smaller flue stops, and a prodigious power of diapason and chorus, unassisted by reeds; in short, here we find that religious quality which makes the organ pre-eminently the Church's instrument. I speak of this organ, as of others by the same builder, that in our own parish-church of S. Peter's, for instance, at least those parts which were voiced by him-from no interested or prejudiced motives. I speak thus, because I have experienced emotions in listening to their tones which no English work had before produced; and because I know that others, equally or more sensible of these musical emotions than myself, are also beginning to find that there is a vast deal to be learnt by our builders before they can touch the same chord of tone-feeling.

I account for this inferiority, in modern English organ-building art, partly on the ground of the indifference which exists about organs, and the little interest people professedly musical take in encouraging it; but mainly in the fact, that the great run of organ-builders seem to take even less interest in the matter than their patrons. So long as they get good orders, and make their machine work well, they seem, with few exceptions, to care nothing about tone and quality, satisfied if the average excellence-or mediocrity-is sustained. Speaking more tech. nically, the main deficiency of our English organs is to be found in the "flue-work." Our builders are so unsuccessful in obtaining the requisite power and effect from the diapasons, that they trust almost entirely to their reeds-which it must be said are generally of excellent quality to produce this necessary power to fill a large church or music-hall. And this reedy, brassy quality is quite unfit for the accompaniment of human voices; it does not blend with and sustain them as does the pure diapason tone. It may no doubt be used for

contrast and variety; but to depend so constantly upon it as our organists are continually obliged to do, is destructive of that devotional feeling the church-organ is so eminently calculated to produce.

I was specially struck with this in hearing the great organ in York, Minster lately and in mentioning this instrument I can do no injury to its builders, as their position in public favour is such as to render them quite indifferent to my criticism. The full power of this immense organ seemed so small and poor, and so totally inadequate to fill the vast minster, that it was only when the high-pressure tuba" was added a stop only to be compared in effect to the ranting of an angry bull that anything like a satisfying amount of sound was brought out, and this quality of tone-observe, not the amount of it—was quite unbearable for more than a short time. And if by sheer reduplication of flue stops our builders do obtain a considerable power of diapason— as in a few English organs which might be mentioned the quality is felt to be harsh and vulgar, and the mixtures have that peculiar shrieking effect-I can describe it no better-which is so different to the silvery ring and sparkle of the old mutation stops, and the modern German choruswork. But so long as our builders retain that calm assurance in their own supreme and unapproachable excellence, which seems to be their present state of mind, it is almost useless to protest or criticise. With the scream of the Great Exhibition organs lingering in my ears, I am, perhaps, somewhat uncharitable.

The dulcet tones of our old church-organs are, alas! to be no longer heard, or in very rare instances. They have almost invariably been "rebuilt," or "revoiced," or spoilt in some way, as the author of A Short Account of Organs," &c., so justly deplores. The fact that they were intended for a specific purpose, i,e., the accompaniment of a small body of voices in the Church Services, seems never to have struck these" restorers ;" and modern builders, under the pressure of ambitious organists, have attempted, by the addition of thundering "pedal pipes," and in other ways, to adapt them to the performance of heavy organ-music. Would that it had occurred to these men, that the work of Father Smith, Harris, or Snetzler, is as precious to the musician as an untouched "Cimabue," or " Fra Angelico," is to the connoisseur in, painting! Reverently to be repaired, if necessary, no doubt, not to be repainted or added to. If they had only built their own organs in addition, these might have been removed at any time. But it is useless repining, the deed is done. Not that the feeling, and wish for a grand organ-tone is wrong, the contrary; but the want must be satisfied in another way. The chancel-organ is one thing—an açcompanimental-organ for the use of the choir alone-and the great western naye organ, yet to be built in our cathedrals, is another; a want not yet perhaps adequately felt anywhere, but which will be a necessity when our "special services" have developed themselves into a regular and orderly worship of the ALMIGHTY.

Sir, I have a vision of the future, a dream that we, perchance, may yet see realised; when our renovated cathedrals shall glow and burn with more than by-gone glory of fresco, mosaic, and colour; when the 1 Not on the stupid plan recently adopted at York.

"

Bishop shall be restored with ancient dignity and authority to his cathedra; when the incense of the Blessed Sacrifice shall daily ascend before the Eternal FATHER, accompanied with all the pomp an adoring Church can add; when from the chancel-gate shall issue the whispered query, Who is the King of Glory?" and from the triumphant multitude without, the ready antiphon shall arise, commingled with the ponderous tones of the great western organ, in one vast rolling wave of sound-"The LORD of Hosts, He is the King of Glory;" when from those same willing pipes the organist shall bring forth the music which flows from a full heart and ready fingers, or shall roll along the vaulted roof some mighty fugue of the Giant Musician, whose majestic subject thundered forth by the great diapasons, then caught up by the silvery chorus, anon re-echoed by the pealing trumpets, is finally gathered up into one stupendous climax of gorgeous harmony; an echo of the celestial anthems lent to man. Such glories, I say, we may yet

see; for though the Church on earth be militant, yet is " 'the King's daughter all glorious within." GOD hasten the time.

Leeds, December, 1863.

I am, sir, yours truly,

LYNDON SMITH. (Hon. Organist, S. Saviour's.)

STRAY NOTES IN THE SOUTH OF FRANCE.

Perigueux, S. Front.-What is going on at this church amounts to little, if at all, less than the rebuilding of the entire fabric. The restorations have now been in progress for ten years, under the direction of M. Abadie. The grants hitherto made have been enormous; and the clerk of the works expressed to me his very grave doubts whether money would be found to finish the work. The existence of such doubts makes the destructive character of the restorations even more reprehensible than it would otherwise be. Should anything occur to interrupt the works, the condition in which the church would be left is this. The northern arm of the cross is completed, and walled off from the rest of the building; the cupola has been entirely rebuilt, and the wooden roof which formerly concealed it externally has been demolished. The central and southern cupolas no longer exist, and the church beneath is open to the sky, with the difference that in the central dome the work has begun, while the southern dome is only just cleared away. The western arm of the cross is given over to the masons, but has not yet been touched, though the dome there, as well as in the eastern arm, is to be reconstructed like the rest. At present the eastern dome is walled off temporarily, and with the apse is used for the Divine service.

This church has been the cathedral only since the Revolution, up to which time the exceedingly interesting domical church of S. Etienne de la Cité enjoyed this dignity.

S. Sernin, Toulouse.-The vastest and most impressive church in the South of France; interesting, as exhibiting, with the smaller church of Cinques, the earliest example of the chevet. The Romanesque nave of this church was rebuilt in the fifteenth century, after the original designs-an instance which deserves to be compared with the nave of Westminster Abbey. Another peculiarity of this church is, that having no clerestory, the triforium is made to do double duty, precisely as (to compare small things with great) in the Norman chapel of S. John in the Tower of London. Above the aisle runs a

deep triforium gallery; and in the wall of this gallery are set roundarched windows, through which considerable light is admitted into the church. M. Viollet le Duc is now restoring the exterior of this church.

Carcassone, S. Nazaire.-Until the Revolution this was the cathedral church. It is situated near the south-western extremity of the mediæval fortress; indeed, until S. Louis extended the line of defence, it stood on the line of the fortifications: consequently, the western façade is nothing but a very thick wall without openings, built at the end of the eleventh or beginning of the twelfth century, and constructed for defence, as it commanded all the neighbouring walls. The nave dates from the same period; the choir and transepts, with their magnificent windows, from the beginning of the fourteenth century. The massiveness of the nave is in pointed contrast with the wall of glass which encircles the choir and transepts. The grisaille glass, which has been put into some windows from which the old glass had disappeared, is poor and unworthy. A subvention of from 40,000 to 50,000 francs is granted annually by the government for the restoration of this church, but it is still far from completion. The architect is M. Viollet le Duc.

Nismes. The presence of a numerous and wealthy Protestant population seems to give an impulse to the work of the Church here. Externally, at all events, there is great activity. The large Romanesque church of S. Paul, by M. Questel, was consecrated about fourteen years ago. The internal decoration of this church is very rich. The choir, with its aisles and apse, are painted by M. Flandrin. Figures of our LORD seated in Majesty, with SS. Peter and Paul, fill the ceiling of the central apse. The high altar, of white marble, stands beneath a baldachin richly gilded. The colouring of the roof of the nave is certainly not happy-stars, of a washy, dull red, upon a white ground. The windows are all filled with painted glass, manufactured at Metz. Now another costly church, in Pointed Gothic, with a lofty tower and spire, is almost ready for consecration. The interior is richly adorned. The windows are by M. Martin, of Avignon. This church, dedicated to S. Perpetua, has already cost 2,000,000 francs.

Avignon.-The Papal Palace has been placed in the hands of M. Viollet le Duc, in order to its complete restoration. He has spent two months at Avignon, for the purpose of making his plans, &c., and the work will be begun as soon as the huge barrack which is being built near the Railway Station is ready for the troops. It is proposed to convert the Salle du Consistoire (which is at present destroyed by

being divided by floors into three stories) into a church, for the offices of the Chapter. The Archbishop will occupy another part of the palace, and the collections of pictures and natural history, with the museum, will all be removed here. Although it is melancholy to think how many years must elapse before the restoration of this magnificent building can be completed, if the rate of progress is to be that of most French restorations, yet it will be no small gain to rid the palace of its present occupants, and to throw open the great halls, which have been broken up into sleeping chambers for the soldiers.

S. Pierre.—This church, which is situate to the south-east of the Papal Palace, and is well known for its florid western façade in Late Gothic, suffered the loss of its south aisle at the Revolution. This is now being rebuilt by M. Geffroi.

Valence, S. Apollinaris.-The title of "Basilica," with other privileges, has been granted by the present Pope to this cathedral, in acknowledgment of kindness shown by the canons to Pius VI., who died here in exile in 1799. To the traveller descending the Rhône this is the first of the "dark, cavern-like churches," so numerous in this corner of France. It is not, however, so mysteriously gloomy as Notre-Dame des Doms at Avignon, but more interesting architecturally than this latter church, which has lost almost every original feature under successive mutilations.

The very fine Romanesque tower of S. Apollinaris is being restored.

CONTINENTAL NOTES.

To the Editor of the Ecclesiologist.

SIR,-Here follow a few notes lately brought from the Continent. Vienna. S. Stephen (Cathedral). Considerable works are in progress here. The prince of all spires is enveloped in scaffolding as elaborate and substantial as though intended for a permanence; the object being the taking down and rebuilding the upper part of the stone-work. Its present appearance strongly reminds one of some ancient painting of the building of the Tower of Babel.

The interior of the great chapel running along the south side of the choir has been thoroughly cleaned, and new stained glass inserted in its apse windows. These windows are of three lights, and very tall; the glass comprises one figure under a lofty canopy in each light, the centre of the three being placed higher up in the window than the others; the motif evidently furnished by the canopies over the piers. of the nave; all the rest of the space is filled in with pattern-work and grisaille, and thus the colour of the figures and canopies is quite detached from that in the head, and the general effect produced is very unsatisfactory, although the design of each part separately is not bad, and the colours are brilliant. The contrast between these windows and the old glass in the choir apse is very striking; the latter you