sheep, and 10,000 horses. The last are transported into Russia, and the sheep chiefly employed in the production of tallow, which is sent to Petersburg. A pretty considerable branch of trade consists in the sale of golden eagles, which are highly valued by the Kirghises. Long. 52° 31′ 10" E., lat. 51° 46′ N.

ORESTES, in fabulous history, the son of Agamemnon and Clytemnestra. When his father was cruelly murdered by Clytemnestra and Ægisthus, young Orestes was saved from his mother's dagger by his sister Electra, called by Homer Laodicea, who privately conveyed him to the house of Strophius, king of Phocis, who had married a sister of Agamemnon. He was tenderly treated by Strophius, who educated him with his son Pylades. The two young princes soon contracted a most inviolable friendship. When Orestes came of age he visited Mycenae, and avenged his father's death, by kill ing his mother Clytemnestra and her adulterer Ægisthus. After this he was acknowledged king of Mycena; but, being tormented by the Furies for having slain his mother, he exiled himself to Argos, where Apollo purified him, and he was acquitted by the unanimous decision of the Areopagites, whom Minerva herself instituted on this occasion, according to the poet Eschylus. Pausanias says, Orestes was purified of the murder at Træzene, where still was seen a large stone at the entrance of Diana's temple, upon which the ceremonies of purification had been performed. There was also at Megalopolis, in Arcadia, a temple dedicated to the furies, near which Orestes bit off one of his fingers with his teeth, in his insanity. But Euripides says that Orestes, after the murder of his mother, consulted the oracle of Apollo at Delphi, where he was told that nothing could deliver him from the furies, if he did not bring into Greece Diana's statue, from the Taurica Chersonesus, which, as was believed, had fallen down from heaven. Thoas, king of Chersonesus, always sacrificed to the goddess all who entered his country. Orestes and his friend were therefore both doomed to be sacrificed. Iphigenia, the sister of Orestes, was then priestess of Diana's temple, and it was her office to immolate these strangers. The intelligence that they were Grecians delayed the preparations, and Iphigenia was anxious to learn something about her native country. She interested herself in their misfortunes, and offered to spare the life of one of them, provided he would convey letters to Greece. This was a difficult trial; never was friendship more truly displayed.

Ire jubet Pylades carum moriture Crestem; Hic negat; inque vicem pugnat uterque mori. At last Pylades yielded to the intreaties of his friend, and consented to carry the letters to Greece. These were addressed to Orestes himself, and led to a discovery of the connexion of the priestess with the man whom she was going to immolate. Iphigenia, when the cause of their journey had been explained, resolved to fly from Chersonesus with them, and to carry away the statue of Diana. Their flight was discovered, and Thoas prepared to pursue them; but Mi

nerva interfered, and told him that all had been done by the will of the gods. Orestes came to Cappadocia from Chersonesus, and left there the statue of Diana at Comana. After this Orestes reigned at Argos; married Hermione the daughter of Menelaus, and gave his sister to his friend Pylades. Hermione had been promised to Orestes, but Menelaus had married her to Neoptolemus the son of Achilles, who had exerted himself so much in his cause during the Trojan war. Orestes, to recover her, assassinated Neoptolemus. According to Ovid she had always been faithful to her first lover. With her he retired to his kingdom of Argos. His old age was crowned with peace, and he died in his ninetieth year, leaving his throne to his son Tisamenes; who was, three years after, expelled by the Heraclidæ. Orestes died in Arcadia, by the bite of a serpent; and the Lacedemonians, who had become his subjects at the death of Menelaus, were directed by an oracle to bring his bones to Sparta. They were some time after discovered at Tegea, and his statue appeared to be seven cubits, according to the traditions mentioned by Herodotus and others. The friendship of Orestes and Pylades became proverbial; and the two friends received divine honors among the Scythians.

ORESTIDA, a country of Greece, south-west of Macedonia, so named by the subjects and descendants of Orestes, who settled in it, after they were expelled from Argos by the Heraclidæ.

ŎRE'WEED, or Lat. ora, the shore. A ORE'WOOD, N. s. Sweed either growing upon the rocks under high water mark, or broken from the bottom of the sea by rough weather, and cast up by the wind and flood.-Carew's Cornwall.

ORF'GILD, n. s. The restitution of goods or money taken away by a thief by violence, if the robbery was committed in the day-time.

ORFORD, a borough and market-town of Suffolk, eighty-nine miles from London, situated between two channels, where the river Ore, after having joined the Ald, falls into the sea. It was once a large populous town, with a castle and nunnery, of which there are still some ruins. The towers of the castle and its church are a sea mark. The town was incorporated by Henry III., has a mayor, eighteen portmen, twelve chief purgesses, a recorder, a town clerk, &c. It sent members to parliament in the 26th of Edward I., and still sends two. It is an illbuilt town, but was once a place of considerable trade, till, the sea throwing up a dangerous bar at the mouth of the harbour, it was choked up, and the town fell to decay. In it is a townhall, and an assembly-house. It is eighteen miles east by north of Ipswich.

ORFORD, CAPE, a point on the north-west coast of North America, formed by the low land, projecting from a high rocky coast a considerable way into the sea, and terminating in a wedgelike cone. It was thus called by Vancouver, in honor of the earl of Orford, and is in long. 124° 31′ W., lat. 42° 52′ N.

ORGAGNA (Andrew), an excellent Italian painter, born at Florence in 1329. In his youth he learned sculpture; he was also a poet and an

architect. His style resembled that of the other painters of his time. Most of his works are at Pisa. The most admired of them is his picture of the Last Judgment, in which he painted his friends among the blessed, and his foes in hell. He died in 1389. OR'GAN, n. s. Fr. organe; Ital. Span. ORGANIC, adj. and Port. organo; Lat. ORGANʼICAL, organum; Gr. οργανον. ORGANICALLY, adv. An instrument of any ORGANISM, n. s. kind, particularly a naORGANIST, tural instrument conORGANISATION, sidered in relation to ORGANISE, v. a. some specific faculty; ORGAN-LOFT, n.s. thus we call the ear OR'GAN-PIPE. J the organ of hearing: a wind instrument of music, of peculiar power: organic is, relating to organs; composed of various co-operating parts; instrumental: organically, by means of organical disposition of parts: organism, organic structure: organist, one who plays upon the organ: organisation, construction by mutually subservient parts; methodical structure or arrangement: to organise is to form, construct, or bring into action organically, or by the mutual co-operation of parts: organ-loft, and organ-pipe, are the loft and pipe of a musical organ.

As the soul doth organize the body, and give unto every member that substance, quantity, and shape, which nature seeth most expedient, so the inward grace of sacraments may teach what serveth best for their outward form. Hooker.

When he shall hear she died upon his words,
The ever lovely organ of her life

Shall come apparelled in more precious habit
Than when she lived indeed.

The thunder,

Shakspeare.

Id. Tempest.

That deep and dreadful organpipe, pronounced The name of Prosper. For a mean and organ, by which this operative virtue might be continued, God appointed the light to be united, and gave it also motion and heat.

Raleigh.

That being then one plant which has such an organization of parts in one coherent body, partaking of one common life, it continues to be the same plant, though that life be communicated to new particles of matter, in a like continued organization. Id. How admirable is the natural structure or organism of bodies. Grew's Cosmologia. Each then has organs to digest his food; One to beget, and one receive, the brood. Prior. they live and move, and are vitally informed by the The organical structure of human bodies, whereby soul, is the workmanship of a most wise, powerful, and beneficent being. Bentley.

While in more lengthened notes and slow, The deep, majestick, solemn, organs blow. Pope. Five young ladies of no small fame for their great severity of manners, would go no where with their lovers but to an organloft in a church, where they had a cold treat and some few opera songs. Tatler.

ORGAN, in music, denotes the largest and most harmonious of all wind instruments; on which account it is called opyavov, the organ, the instrument, by way of excellence; chiefly used for playing a thorough bass, with all its accompaniments.

name.

That organs are the invention of remote antiquity is generally allowed; but the particular time and country in which the discovery was made are uncertain. In ancient authors there are various passages where mention is made of the organ, but it was probably an instrument very different from that which now goes by this by the Latins from the Greeks, but not to have It appears indeed to nave been borrowed been in general use till the eighth century. Vitruvius describes an organ in his tenth book, and St. Jerome mentions one with twelve pairs of bellows, which might be heard 1000 paces, or a mile off; and another at Jerusalem, which might be heard at the Mount of Olives. It has been affirmed that, in France, it was not known till the time of Louis I. A. D. 815, when an Italian priest taught the use and construction of it, which he had learned at Constantinople. By some, however, it has been carried as far back as

Charlemagne, and by others as far as Pepin. See article Music, p. 280.

The Greeks called the organ organum, to indicate instrumental music, which, by uniting several pipes, imitated several voices; and to distinguish the organ from other musical instruments the Romans called it organum pneumaticum, an instrument of air. We do not find, says Mr. Danneley, any traces amonst the ancients which inform us that there was, in their time, an instrument at all assimilating with our organ, excepting the clepsydra, and the instrument invented by Pericles, unless amongst the Hebrews, when in the time of David and Solomon, one amongst others, was made use of in their religi ous ceremonies called the huggab, composed of several pipes of different sizes methodically ar

ranged. But since the Jews were dragged into captivity and the destruction of their temple under Titus, nothing is known either of their instruments or of their music. The invention of the modern organ is generally attributed to Archimedes, who flourished 200 years before the Christian era; and he is said to have made the bellows act by a hydraulic machine, but we are ignorant of the substitute for the clavier (see CLEPSYDRA) and of the number of notes of which his organ was composed. This species of mechanical organ was in use till the sixth century; but since that epoch this instrument has been enlarged and brought to perfection; and in the eighth century the clavier comprised only two octaves. Matheson, in his Perfect Organist, says that the English had their first organ in 650. In the tenth century there were several organ builders in Italy, and in the eleventh organs were built in the churches belonging to the monasteries; from the twelfth to the fifteenth the art of constructing organs increased, particularly in Germany; the clavier comprised already three octaves, and in the year 1480 the pedal was introduced by a person named Bernard; in the sixteenth century organs were made with two claviers or rows of keys, comprising four octaves and with a greater number of stops. Since that time this instrument has become not only one of the principal ornaments in churches, but it has also contributed to the perfection of the musical art; and this art, as well as that of poetry, painting, architecture, eloquence, and literature in general, is much indebted to religion for its advancement and support.

Bellarmine says that the organ began to be used in the service of the church about 660. Ammonius thinks, however, that this happened after 820, in the time of Louis the Pious. The learned Bingham, in his Origines Sacræ, affirms that organs were not used till after the time of Thomas Aquinas, and he adds these words: "Our church does not use musical instruments, as harps and psalteries, to praise God withal, that she may not seem to Judaize.' Hence it has been concluded, by the learned Gregory, that they were not used in churches in his time, about A.D. 1250. It appears, however, from the testimony of Gervas the monk of Canterbury, who flourished A. D. 1200, that organs were introduced upwards of 100 years even before that time. If Gervas's authority be held good, it will give countenance to a pretty general opinion, that in Italy, Germany, and England, they became frequent about the tenth century. See MUSIC. But it is certain that the use of the organ was very common in the latter ages of the church, and the propriety of it was undisputed. In the seventeenth century, however, during the civil wars, organs were removed from the churches in England; and so generally reprobated that, at the Restoration, there could scarce be found either organists, organ builders, or singers. Organs have never yet been used in the establishment of Scotland since it became Presbyterian; but they are used in Holland, where that form of church government also obtains.

ORGANS, REMARKABLY LARGE. 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 sixteen feet long, and of the pedals thirty-two. One of the largest organs in Germany is at Gorliz in Upper Lusatia. The upcommon merit of Handel as an organist is well known. The organ in the cathedral church at Ulm in Germany is ninety-three feet high and twenty-eight broad: its largest pipe is thirteen inches diameter, and it has sixteen pairs of bellows.

ORGAN, THE CHURCH, consists of two parts; the main body, called the great organ; and the positive or little organ, which forms a small case or buffet, commonly placed before the great organ. The size of an organ is generally expressed by the length of its largest pipe: thus they say, an organ of eight, sixteen, thirty-two feet, &c. The several parts of the church organ ale as follow:-HIH, plate ORGAN fig. 1, is the sound-board: which is composed of two parts, the upper board or cover H H H, and the underboard H I, which is much thicker than the other; each of these consists of several planks laid with their edges to each other, and joined very close together. In the under side of the lower board there are made several channels, which run in the direction LL, M M, &c., and are continued as far as there are stops in the organ, and come almost to the edge H K. These channels are covered over very close with parchment or leather all the way, except a hole that is commonly at the fore end next H K, upon which a valve or puff is placed. These channels are called partitions. When this valve or flap is shut, it keeps out the air, and admits it when open.. On the upper side of the lower board there are likewise cut several broad square channels, lying across the former, but not so deep as to reach them; these lie in the direction LN, P Q, &c. To fit these channels, there are the same number of wooden sliders or registers f,f,f, &c., running the whole length; and these may be drawn out or thrust in at pleasure. The number of these is the same as that of the stops in the organ. IK K K is the wind chest, which is a square box fitted close to the under side of the lower board, and made air-tight, so that no air can get out but what goes through the valves along the partitions. V, V, are the valves or puffs which open into the wind-chest; they are all enclosed in it, and may be placed in any part of it, as occasion shall require. One of these valves, with the spring that shuts it, and the wire that opens it, is represented by fig. 2. C, D, E, F, &c., are keys on which the fingers are placed when the organ is played: these keys lie over the horizontal bar of wood W, in which are stuck a usual number of wire pins 2, 3, on which keys are fixed; and the keys move up and down on the ear, as on a centre. There is another bar, against which the keys fall when put down, and which is here marked 3: on this also are several wires, which go through the keys to guide them; and on this bar a list is fastened to hinder the keys from knocking against the wood. The keys are made to communicate with the valves several ways, as

axis nn, nn. Each of these bellows consists of two boards, the lowest of which is immoveable; and in this there is a valve r, opening inwards, and a tube leading to it, called the conveying tube. There is also a hole in this under board, from which a tube leads to the port-vent, which is a square tube marked 4, rising upward, and inserted into the under side of the wind-chest at 2. In the tube leading to the port-vent there is a valve that opens towards the port-vent, and suffers the air to go up the port-vent, but not to return. Now the handle O, being pulled down, raises the upper board T, and the air enters through the valve r; and, when the handle is let go, the weight of the upper board, which carries three or four pounds to every square foot, continually descending, drives the air through the port-vent to the sound board: and, as the bellows work alternately, one pair is constantly descending, which occasions a continual blast through the port-vent. In chamber organs there is but one pair of bellows; but they are formed of three boards, in the manner of a smith's bellows, and so have a continual blast. All the internal structure of the organ is concealed from the sight by the front of the instrument, which stands upon the part between the numbers 3 and 6 (fig. 1). In every organ the number of partitions LL, M M, &c., there are in the sound-board (fig. 1) that of the valves V V, that of the rollers ss, or of the levers ry, or 89, and their wires, and that of the keys A, B, C, &c., must be always equal. Large organs have commonly four or five sets of keys, besides those that belong to the pedals or large pipes, the stops of which are played by the feet. These command certain pipes, which, to increase the harmony, are tuned below the diapason. The keys of an organ are usually divided into four octaves; which are the first sub-octave, second sub-octave, middle octave, and first ocEach octave is divided into twelve stops or frets, of which seven are black and five white; the former mark the natural notes, and the latter the artificial, that is, flats and sharps. The number of keys, therefore, when there are four octaves, must be forty-eight. Some organists add one or more stops to the first and second sub-octaves. The pedals have two or three octaves, at the option of the organist: so that the number of stops is indeterminate. The keys are placed between GG, (fig. 1), but the figure could not contain them all. There are also as many handles 1, 1, &c., rollers R, R, &c., sliders ff, &c., as there are stops upon the organ; and it must be observed, that between the sliders f,f, &c., there are as many sliders on the right hand and the same number of handles and rollers, and other rows of pipes placed between LN, PQ, which could not be expressed in the figure. The least pipes and partitions are placed toward the middle of the organ, and the greatest on the outside. The stops of an organ have various denominations, according to the sounds they are to produce; some of which are diapason, principal, fifteenth, twelfth, tierce, cornet, trumpet, French horn, vox humana, flute, bassoon, cremona, &c. The foreign organs especially, those of Germany, have many more: particularly that in the cathedral of Mersbourg in Suabia, which has seventy

tave.

five stops, and contains no fewer than 7500 pipes. The organ at St. Paul's has only 1976 pipes. The organ at Haerlem is said to have sixty stops, many of them but little known to the English workmen, and distinguished by names that express the sound which they produce. When this magnificent instrument is played the handle O of the bellows is first put down, which raises the upper board T, and gives room for the air to enter by the valve r. Then the other handle O is put down; in the mean time the board T, belonging to the first handle, descending, and shutting the valve r, drives the air through the other valve, up the port-vent, and into the windchest. Then drawing out any handle, as that of the flute-stop pl, which draws out the slider fg, all the pipes in the set LN are ready to play, as soon as the keys C, D, E, &c., are put down; therefore, if the key D be put down, it opens the corresponding valve m V, through which the air enters into the pipe X, and makes it sound. In the same manner any other pipe in the set LN will sound when its key is put down; but no pipe, in any other set, will sound till the slider be drawn out by its corresponding handle. Among the modern improvements of the organ, the most remarkable are the swell, the tremblant, and the horizontal bellows; the first, invented by an English artist, consists in a number of pipes placed in a remote part of the instrument, and enclosed in a kind of box, which, being gradually opened by the pressure of the foot, increases the sound. There is a tremblant in the organ at the German chapel in the Savoy, the principles of which, together with those of the horizontal bellows, are explained in our description of the celebrated organ of St. Sulpice in Paris.

ORGAN, THE HYDRAULIC, denotes a musical machine that plays by water instead of wind. Of these there are several in Italy, in the grottoes 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 hydrauic 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 PLACEAS PETRI.

An eight feet is a term used to describe an organ the lowest pipe of which measures eight feet in length. A stopt eight feet is one of which the pipes of four feet, being stopt, produce the effect of an open eight feet; because in that case the column of air of four feet has double the distance to make before it finds an issue; it has therefore eight feet instead of four, and gives the unison of the open pipe of that size. A pipe measuring sixteen feet and stopt, therefore, will produce the unison of an open pipe of thirty-two feet.

The pipes of organs are distinguished by their sound: some are soft, brilliant, and some of a piercing or shrill nature, and extend throughout the clavier; some imitate the flute, hautboy,