effects vary according to the size, specifications and voicing of different organs, nevertheless, even in the case of the largest ones, the limit of these effects is soon reached. One reason is that none of the orchestraltoned stops can rival in expression, intensity or volume either the massing of these tone qualities in the orchestra, or even of the individual instruments; hence this reproduction of orchestral tone color is after all only in miniature, the more so as it passes from very soft passages to the full power of the orchestra. Another very apparent limitation is in the matter of crescendo and diminuendo, for the adding or subtracting of stops alters the tone quality, and in the majority of organs these effects obtained by means of swell pedals cannot be compared with those of the orchestra. Nor is this all, for when the organist passes from these orchestral tones to the diapason and other stops which belong alone to the organ and have no counterpart in the orchestra, the ear is at once disillusioned, and one awakens to the fact that after all the organ is noblest when asserting its own individuality. This transition is a severe test of an organist's musicianship. I have heard organists fail so utterly in this that I almost doubted their ever having heard an orchestra. What is said above relative to the limitations of the organ may seem like a contradiction of the following from the pen of that eminent organist and musician, Ch. M. Widor: Cavaillé-Coll's instruments, with their admirable tones and their incomparable mechanism, have attracted and passionately interested a number of composers, who have found in them a genuine orchestra, varied, supple, and powerful, respectful of tradition, yet ready to welcome a new ideal. M. Widor's ideal is Bach, and the ideal of the master organ builder to whom he refers, was to unveil through his wonderful organs "the colossal work of the Master of Eisenach, of hearing Bach as he wished to be heard." When M. Widor speaks of finding in them a "genuine orchestra," he is not referring to the orchestra itself but rather to those possibilities in the realm of organ tone as organ tone which in themselves constitute an orchestra with its own individuality. In playing transcriptions one of two methods can be followed: one to remain within the limitations of these orchestral effects, and the other to translate freely into organ tone the orchestral composition. In some compositions it would be better to adhere strictly to one or the other of these plans, while in others the advantage and even necessity of combining them would be apparent. When one hears an organist play the opening theme from the Pilgrim's Chorus from Tannhäuser on a vox humana stop in a tempo rubato style, one wishes there was an international law consigning all such offenders to exile on some far-away island-offenders to be found in the ranks of organists who consider themselves musicians and who hold good positions even in large cities. This is but one of many illustrations of compositions where the organ reproduces, or at least suggests, the orchestral effects, and where any failure to interpret the true spirit of the composition is utterly unpardonable. In the case of Beethoven's "Coriolanus" overture a free translation on the organ is much better than an attempt to follow the score, for thus interpreted it becomes a noble organ composition—one can almost think that had Beethoven written for the organ he would have composed for it a "Coriolanus" overture. It is interesting to note the attitude of the German, French and English organists in this matter-an attitude influenced by national temperament, often by local conditions, and most certainly by the demands of the church. The conservative musicianship of Germany and France has prevented many serious mistakes; but in England there has been less opposition. While the masterly transcriptions of W. T. Best and a few since are worthy additions to organ literature, unquestionably the mania for transcribing has been allowed to run riot and, especially in America, those organists who so far forget the nature of their instrument as to attempt almost everything in piano literature from Mendelssohn's "Spring Song" to the Rhapsodies of Liszt to say nothing of their devouring hunger for orchestral works-deserve severe criticism. Granting there are temptations in this country to make concessions to a public taste which is far from an understanding of the true organ style, either in composition or performance, and that the organ is too often considered as a concert instrument with no reference to its proper architectural environment, it is still the duty of the organist to remain true to certain ideals, and not to degrade his noble art merely to flatter superficial public taste for selfish personal reasons. In closing I may be allowed to say that much that I have written above was included in a "round table" discussion of organists held at Saratoga, N. Y., in 1900. Among those present were several eminent organists from New York City. Their enthusiastic support of my argument and my own experience during the succeeding years have caused me to maintain with only slight modifications the views I then held. As to piano compositions being played on the organ, they are only satisfactory when by their nature they suggest the organ or orchestra. A long list of such could be made and would be interesting and valuable. Sometimes even a beautiful lyric theme, apparently only suited to the piano, can be most exquisitely interpreted. And again I have in mind. Rubinstein's "Hermit" (from Twelve Piano Sketches) which, played on a large organ containing a fine 32-ft. Bourdon in the pedal and soft 16-ft. string and reed stops in the swell, can be interpreted n a manner far nobler than on the piano. It is possibly less excusable to transcribe songs, violin and other solos, for soloists are usually available even in small cities. Arrangements of choruses, particularly from oratorios and masses, can hardly be objected to, as they are in the original so closely identified with the organ. All transcriptions, especially orchestral, are a severe test of an organist's musicianship. Only one who is a broadly educated musician as well as a master of the technique of his instrument can worthily approach an orchestral work, for the technical difficulties-often almost insurmountable, must have become incidental to such an extent that his imagination is not cramped by the limitations of his instrument. He must be for the time being not only an organist, he must be a director exerting, not over a body of orchestral musicians but over his own other self, so to speak, that concentrated energy of will power and musical personality that is essential to the director of a symphony orchestra. NOTES ON PROTOZOA BY T. D. A. COCKERELL In my paper on "Boulder Protozoa" in these Studies (Vol. IV, No. 4, pp. 261-64, 1907), I most unfortunately overlooked Dr. E. Penard's very important paper in the American Naturalist, December, 1891, pp. 1070-83, entitled "Rocky Mountain Rhizopods." In this paper are listed from the mountains of Boulder County 35 species and two varieties of Rhizopods, and also two Cilioflagellata and three Heliozoa. One species (Diffugia rubescens) is described as new. The following species are to be added to the fauna of Boulder County: Acanthocystis myriospina Penard ?-near Caribou (Penard). Actinophrys sol Ehr.-near Caribou (Penard); University campus, 1908, very abundant (Cockerell; det. Edmondson). Amiba limax Dujardin-near Caribou, 10,000-10,500 ft. (Penard). A. verrucosa Ehr.-near Caribou (Penard). A. sp. (nov. ?)-Bald Mtn., about 12,000 ft. (11,470 according to Rydberg's Flora) — (Penard). A. radiosa Ehr.-Fawcett's Greenhouse, Boulder, 1908 (Cockerell; det. Edmondson). [From the discussion recently published by Dr. E. L. Walker, it appears doubtful whether the names Amiba and Chaos really apply to these animals. The name Ouramoeba Leidy, based on a parasitized state of Amiba auctt. (Penard, Rev. Suisse Zoöl., XIII, p. 585), appears to be available under the rules.] Anisonema acinus Duj.-Fawcett's Greenhouse, Boulder, 1908 (Cockerell; det. Edmondson). Anthophysa vegetans Müll.-Boulder, 1907 (William Winner; det. Cockerell). Arcella vulgaris var. angulosa Leidy-near Caribou (Penard). A. discoides Ehr.-near Caribou (Penard). A. microstoma Penard-near Caribou (Penard), Bald Mtn. (Penard). Assulina minor Penard-near Caribou and Bald Mtn. (Penard). Corythion dubium Taranck.—near Caribou (Penard). C. pulchellum Penard-near Caribou (Penard). Cryptodifflugia oviformis Penard-near Caribou (Penard). Cyphoderia margaritacea Schlumberger-near Caribou (Penard). Difflugia arcula Leidy, D. lucida Penard, D fallax Penard, D. bacillifera Penard and D. constricta Ehr., all near Caribou (Penard). D. constricta was also found by Penard at an altitude of 12,500 ft., which is said to be the highest altitude known for a Rhizopod. D. rubescens Penard-Bald Mtn. (Penard). Peculiar for having the plasma of a beautiful brick-red color. Euglypha ciliata Leidy, E. cristata Leidy, E. compressa Carter and E. laevis Perty-all near Caribou (Penard); E. ciliata also on Bald Mtn. Glenodinium cinctum-near Caribou (Penard). Heleopera rosea Penard-near Caribou, and Bald Mtn. (Penard). Heterophrys sp.-near Caribou (Penard). Lacrymaria truncata Stokes-Boulder, 1908 (R. Keating). I sent a sketch to Dr. Edmondson, who thinks it is L. truncata; it is hardly typical, but he has found that species very variable. Lecquereusia jurassica Schlumberger-near Caribou (Penard). Nebela collaris Leidy, N. longicollis Penard, N. tubulosa Penard and N. dentistoma Penard, all near Caribou (Penard). All except tubulosa also on Bald Mtn. It appears that the prior name for N. longicollis is N. barbata Leidy. Paramoecium trichium Stokes-Fawcett's Greenhouse, Boulder, 1908 (Cockerell; det. Edmondson). Peridinium tabulatum (Ehr.)—near Caribou (Penard). Petalomonas mediocanellata Stein-Fawcett's Greenhouse, Boulder, 1908 (Cockerell; det. Edmondson). Pseudochlamys patella Clap. & Lach.—near Caribou and Bald Mtn. (Penard). Quadrulella (=Quadrula Sch., not Rap.) symmetrica (Wallich)—near Caribou (Penard). Sphenoderia dentata Penard-near Caribou (Penard). Stylonychia sp.-Fawcett's Greenhouse, Boulder (Cockerell). "Seems to be identical with the form mentioned on p. 102, Protozoa of Iowa, and also referred to in Conn's work" (Edmondson). Trinema lineare Penard, T. enchelys var. galeatum Penard and T. complanatum Penard, all near Caribou (Penard). T. lineare also on Bald Mtn. Dr. Penard has very generously presented to the University a series of 43 slides of Rhizopods from Switzerland, for comparison with our Colorado fauna. He writes that as early as 1899 he had discovered a Rhizopod fauna at the bottom of the Swiss lakes, including a number of species totally absent from shallow waters of the plains. He suggested at the time that these might be the remnants of a fauna existing in glacial times, and raised the question whether they might not be found in small lakes and ponds, very high in the mountains. At the time, nobody seemed to attach any value to this theory; but more recently, through the researches of Zschokke, Monti and others, it appears to be confirmed. At least half a dozen of the deep-water species have occurred at very high altitudes, while they have not been found in shallow waters in the lowlands. Dr. Penard therefore raises the question, whether these deep-water species may not also occur in |