Auditorium, which had been magically transformed into the semblance of a vast fairy garden, illuminated by hundreds of bright-colored Chinese lanterns. The platform, enlarged to hold some fifteen hundred participants, rose against a scenic background of rocks and mountains, forests, caverns and ravines; while in the foreground had been erected a massive and glittering throne for the fairy Queen, with spaces on either side for the Royal Court. Next we were amazed at the size of the audience, which filled the huge building to the limit of its capacity. When we reflected that the children of Mr. Morgan's chorus had only a short time previously given a concert which had crowded the Auditorium, this seemed to us

the more astonishing. But that was because we were strangers and inexperienced in these affairs. We know now that this was the very reason why so many thousands of eager listeners and spectators had gathered. Should we be in Ocean Grove next summer, we shall be many times more keen about the Children's Fairyland because of having seen it this year. For, while making no comparisons as to the quality of the various entertainments given in the Auditorium, there can be no question but that this is the season's one most popular event. A great many other things are doubtless just as good in themselves and just as interesting to certain classes of people. But this is the one in which everybody, old or young, big or little, is interested.

Ocean Grove audiences assemble more promptly, it appears, for the Children's Festivals than for other entertainments. We had supposed we were somewhat overearly in arriving, but already nearly every seat was filled and the aisles were rapidly being cleared. A minute or two more, and, amid a general hush and thrill of expectancy, the wonderful organ struck up a martial strain and at a signal from the conductor the children began to file in-from all the entrances to the building, apparently-and march down the aisles in time with the music.

How many there are of them! A thousand, Mr. Morgan announced; but it seems as if the number must be even greater, as the long lines move rhythmically down from every direction toward the center, then up on the platform, where

they are packed in almost endless rows and tiers. Gallant little Rough Riders in khaki uniforms, demure Japanese maids in flowery kimonos, tiny fairies in a white mist of flimsy frocks, and bright-eyed gypsy girls in gay-colored skirts and bodices sparkling with beads and sequins-on and on they come, while the audience bursts into delighted applause at the bewildering sight as they are massed in front. The program this year was divided into three parts-first, a Concert, in which a number of songs were charmingly rendered by the immense and well-trained chorus of little folks, alternated with solo features by brilliant young artists, some of whose names are already winning fame; second, the Coronation of the Fairy Queen Mab III; and third, a grand Patriotic Finale, in which the enthusiasm of the assembled thousands rose to its highest pitch.

How is it done? At the time, as we sat there, breathlessly looking and listen

ing, we thought little of the processes. The results were too absorbing-the music of the hundreds of clear young voices; the splendid ceremonies of the Coronation, with the rich and gorgeous medieval costumes of the attendant court, its heralds, high lords, ladies-in-waiting, flowermaids, pages, and all the rest; the patriotic tableaux and trooping of national colors; and the marvelous spectacular effects produced by the artistic manipulation of electric lights. But none of this comes to pass of itself. It must mean weeks and even months of preparation, the expenditure of much talent, labor, and patience. Probably no one but Mr. Morgan could tell the whole story of each year's work in design, elaboration, and execution. But the children have their stories too, of drills and rehearsals, of work that is pleasant as play and play that is always making them wiser and richer. And altogether they bring to Ocean Grove every year a glimpse of Fairyland which no one can afford to miss.

Since Mr. Morgan resigned at the close of his engagement in 1915, the Children's Festivals, as conceived by Mr. Morgan, have been discontin

ued and the concerts have been conducted generally under the direction of the artists' managers. Caruso, Galli-Curci, John McCormack and others have been heard in concert. Homer Rodeheaver and J. Lincoln Hall have, respectively, led the congregational singing.

THE OCEAN GROVE ORGAN

The instrumental music at the beginning was such as could be secured. from any melodeon, cottage organ, or piano that might be borrowed for the occasion. Then a cheap reed organ was purchased. Then more organs and some pianos were rented.

After the great auditorium was built, the Washington Square Methodist Episcopal Church, of New York city, which was then about moving, in 1895, presented its organ for use in the auditorium. This organ was used for some years until through use and damage from atmospheric changes, no further dependence could be placed upon it, and it was moved to the Young People's Temple. Then the Hope-Jones Organ Company proposed to install an organ in the Auditorium at a price very much below the usual cost, recognizing the great advertising advantage to be gained. The Association accepted the proposal, and ordered that it be a memorial to the late president of the Association, Bishop James N. FitzGerald.

In order to accommodate an organ of suitable size without lessening the seating room for the people or destroying the design of the choir gallery, it was found necessary to make some alterations in the front of the auditorium.

The price of the organ as originally contracted was about $13,000 (total cost to be $26,000, one half donated by Hope-Jones). An Association report says that Tali Esen Morgan, the musical director, "has already privately raised the largest part of its cost." Later on a number of friends of Mr. Yatman, previously referred to as the leader of the Young People's Temple for twenty-five years, desired to connect his name with the organ, so, at the instance of Miss Imogene Fields, the sum of $1,200 was raised, and a set of chimes were placed in the organ, to be known as the "Yatman Chimes."

The first recital on the new organ was given before it was fully completed, on Friday evening, July 3, 1908, by Mark Andrews, of New York. Edwin Lenare, of England, an organist of renown, succeeded Mr. Andrews in presiding at the instrument and during the ten days of a recital convention.

Thus the greatest feature of musical Ocean Grove is the great HopeJones organ, installed in 1908. The problem at that time was to secure an instrument which would stand atmospheric conditions, in an auditorium

unheated and closed for nine months during the year.

Robert Hope

Jones, the organ builder, had been attracting much attention in England at the time, by means of his new and novel method of constructing organs inclosed in cement and brick chambers. Mr. Tali Esen Morgan, then musical director of Ocean Grove, believed that an instrument built in this manner would stand the severe climatic test, and the contract was accordingly given to Hope-Jones. The wisdom and judgment to this type of instrument and style of construction has been proven season after season, when upon opening the Auditorium the organ has been found to be in excellent condition, practically unaffected by the weather.

In many respects the Ocean Grove organ is the most wonderful instrument in the world. In its arrangement the old plan of dividing and classifying an organ into Pedal, Great, Swell, Choir and Solo organs is abandoned in favor of Fountain, String, Wood, Brass and Percussion departments, each inclosed in its own independent cement chamber. On top of these chambers or swell boxes are swell shutters, in laminated form, so that when opened the tones are thrown upward and are directed into the Auditorium by means of parabolic reflectors. By means of this new division of the stops the performer is able to mix and blend tone qualities, by the opening or closing of one or more of the swell boxes, with a delicacy of coloring which was hitherto unknown in other organs. There are four manuals and a pedalboard of the usual compass. Instead of drawstops, the tone is controlled by means of stop-keys, arranged in an inclined semicircle around the manuals. There are no bellows, the wind being supplied by electrically-driven fans and compressors, which furnish wind at pressures of ten, twenty-five, and fifty inches. These high-wind pressures give an immense volume of tone, which it is possible to control by means of the swell shutters, so that almost any stop can be used to accompany the human voice. A stop entirely new to this country, called the diaphone, under fifty inches wind pressure, occupies a fifth box, open at the top without shutters. The largest pipe is thirty-two feet long and three feet across at the top end. This tone is produced by what is termed a resonator and vibrating valve, which yields a majestic volume of firm, diapason tone, and also provides a glorious pedal bass.

In addition to the wonderful power and dignity of tone the Ocean Grove organ is notable for its remarkable orchestral qualities and effects. There are installed two sets of chimes, one in the roof of the Auditorium, a set of ceiling bells, harmonic gongs, xylophone, castanets, tambourines, orchestral bells, drums, singing birds, and rain effects. No organ in the world has the great variety and quality of tone colors that this instrument possesses. The tone combinations are inexhaustible, ranging from the distant vox humana to the thundering diaphones.