e great towers, the harp-like figure
of the connecting wings, the clustering reeds of the columns--fill the
mind with musical suggestions, and dispose the wondering spectator to
become the entranced listener.

The great organ would be but half known, if it were not played in a
place fitted for it in dimensions. In the open air the sound would be
diluted and lost; in an ordinary hall the atmosphere would be churned
into a mere tumult by the vibrations. The Boston Music Hall is of ample
size to give play to the waves of sound, yet not so large that its space
will not be filled and saturated with the overflowing resonance. It is
one hundred and thirty feet in length by seventy-eight in breadth and
sixty-five in height, being thus of somewhat greater dimensions than the
celebrated Town Hall of Birmingham. At the time of building it, (1852,)
its great height was ordered partly with reference to the future
possibility of its being furnished with a large organ. It will be
observed that the three dimensions above given are all multiples of the
same number, thirteen, the length being ten times, the breadth six times
and the height five times this number. This is in accordance with Mr.
Scott Russell's recommendation, and has been explained by the fact that
vibrating solids divide into _harmonic lengths_, separated by _nodal
points_ of rest, and that these last are equally distributed at aliquot
parts of its whole length. If the whole extent of the walls be in
vibration, its angles should come in at the nodal points in order to
avoid the confusion arising from different vibrating lengths; and for
this reason they are placed at aliquot parts of its entire length. Thus
the hall is itself a kind of passive musical instrument, or at least a
sounding-board, constructed on theoretical principles. Whatever is
thought of the theory, it proves in practice to possess the excellence
which is liable to be lost in the construction of the best-designed
edifice.

* * * * *

We have thus attempted to give our readers some imperfect idea of the
great instrument, illustrating it by the objects of comparison with
which we are most familiar, and leaving to others the more elaborate
work of subjecting it to a thorough artistic survey, and the rigorous
analysis necessary to bring out the various degrees of excellence in its
special qualities, which, as in a human character, will be found to mark
its individuality. We s