RELIGIOUS ENCYCLOPEDIA
Ordination Organ.
OREGLIA, o-re'gli-a, DI SANTO STEFANO, LUIGI: Cardinal; b. at Bene Vagienna (55 m. n.w. of Genoa), Piedmont, July 9, 1828. He was educated at the Jesuit college in Turin and at the Accademia dei nobili ecclesiastici, Rome, and, after being canon in the Lateran and domestic prelate, was appointed referendary of the Segnatura in 1858. Later sent to Holland as internuncio, he was consecrated titular archbishop of Damiathis in 1866, and was papal nuncio at Brussels and Lisbon successively. In 1873 he was created cardinal priest of Santa Anastasia, and after being prefect of the Congregation of Indulgences for several years, became chamberlain of the Holy Roman Church in 1885. In 1884 he became cardinal bishop of the suburbicary see of Palsestrina, and is also commendatory abbot of Santi Vincenzo ed Anastasio. From 1889 to 1896 he was subdean of the College of Cardinals and suburbicary bishop of Porto and Santa Rufina, which he exchanged in 1896 for Ostia and Velletri, when he was promoted to be dean of the College of Cardinals. As chamberlain of the Holy Roman Church, he is also archchancellor of the Roman University and presides over the Congregation of Rites.
ORELLI, HANS CONRAD VON: Swiss Protestant; b. at Zurich Jan. 25, 1846. He was educated at the universities of Lausanne, Zurich, Erlangen, Tubingen, and Leipsic; was chaplain at the Zurich orphan asylum for two years (1869-71); became privat-docent at the University of Basel (1871); associate professor of Old Testament, the history of religion, and Arabic (1873), and full professor (1881). He served as president of the international congress of religions at Basel, 1907. He has written Die hebraischen Synonyma der Zeit und Ewigkeit (Leipsic, 1871); Durchs heilige Land, Tagebuchbldtter (Basel, 1878); Die alltestamentliche Weissagung von der Vollendung des Gottesreiches (Vienna, 1882; Eng. transl. under the title of The Old Testament Prophecy of the Consummation of God's Kingdom traced in its Historical Development, Edinburgh, 1885) ; Die Propheten Jesaja und Jeremia (Nordlingen, 1887; Eng. transl., 2 vols., Edinburgh, 1889); Das Buch Ezechiel und die zwolf kleinen Propheten (1888); contributed the part on Theologie des Alten Testaments to Handbuch der theologischen Wissenschaften, 3d ed., Munich, 1889; Christus und andere Meister (Basel, 1893) ; Handbuch der allgemeinen Religionsgeschichte (Bonn, 1899); La Valeur religieuse de I'Ancien Testament (Paris, 1905); Die Eigenart der biblischen Religion (Gross-Lichterfelde, 1906) ; and Der Knecht Jahve's im Jesajabuche (1908); and translated into German J. Robertson's Early Religion of Israel as Die alte Religion Israels (Stuttgart, 1896). He has likewise contributed a large number of articles to the Hauck-Herzog RE, and since 1881 has been the editor of the conservative Kirchenfreund.
ORGAN.
Early History (§1).
The Organ in Roman Catholic Churches (§ 2). The Organ in Protestant Churches (§ 3). Organists and Composers (§ 4). The Modernizing of Organ-Style (§5). The organ, as treated in this article, is a musical wind instrument used in religious worship. The VIII.— 17
term organ, from the Greek organon, was at first applied to instruments of all kinds, then was restricted to musical instruments, and finally came to apply (according to the description i. Early of Cassiodorus, 489-570) to an instru- History. ment of at most ten pipes pitched according to the tones of the diatonic scale. The inventor is given by Tertullian (De anima, xiv.; Eng. transl., ANF, iii. 193-194) as Archimedes (d. 212 b.c), but by Vitruvius and Pliny as Ctesibius (d. 170 b.c). Because the organ was a means of enjoyment by society in general, its use was rejected in early Christian circles. Smaller organs were at first employed before singing classes, especially in cloisters, to fix the correct tone, and the first large organ of which there is certain knowledge was that erected under Charlemagne in the cathedral at Aix-la-Chapelle. The first organ enlarged to eight chromatic keys, besides fourteen diatonic, belongs probably to the thirteenth century, and the addition of the pedal, about 1426, marked an important advance. It was used in the churches, first, to give the key-tone, then to accompany vocal music alternatively, and finally, also to prefix a prelude to the hymn. The accompaniment of the organ contributed especially, in great songs of thanksgiving, to the festal effect.
At the Councils of Constance (1414) and Basel (1431) the Te Deum was sung with organ accompaniment. It was an abuse when whole passages of the mass were taken from the singers and assigned to the organ, whether to relieve the 2. The former or to supply their place when Organ in absent; or when the organ interrupted Roman the chanting priest, in order to shorten Catholic the mass, and thus deprived it of long Churches, passages, such as the Credo, Prazfatio, and the Pater Noster. (For examples and citations cf. G. Rietschel, Die Aufgabe der Orgel, pp. 11 sqq., Leipsic, 1893). Sebaldus Grave of Nordlingen, in 1474, was required " to play the organ at St. Jiirgen with godly zeal at all weddings and feasts, and, when ordered, at mass and vespers and at other times." To arrest its excessive use, a series of synods were forced to take steps against the undue preponderance of the organ (Treves, 1549; Augsburg, 1567; Roermund, 1570; Thorn, 1600; and others). The directions of the Cazremoniale of 1600 must be taken as concessions to the use of the organ, which had indeed become widely established. These regulations permitted the employment of the organ in the rendition of various chants of the mass (e.g., in the litany, the Christe Eleison, the Gloria in excelsis, and others). In a strict sense of the term, the organ neither was nor is now regarded as a necessary liturgical instrument; but as an auxiliary of liturgical song it has its place in public worship just so far as this requires. As an instrument for artistic music, whether alone or in combination with technical choral music, it is subject to the same restrictions as the music of the Mass (q.v.).
According to the Evangelical view also, the organ is not a strictly liturgical instrument, and is not essential. As artistic culture, organ music is for the Evangelical conception on the same plane as technical church music or indeed as art in general;
Org-an Organization