Cornell University Library ML 552.H79 1870 The organ.its history and construction: 3 1924 022 263 655 CORNELL UNIVERSITY LIBRARY Gift of A. D. White MUSIC Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022263655 THE ORGAN ITS HISTORY AND CONSTRUCTION. 'IHE EARLY ENGLISH ORGAN BUILDERS AND THEIR WORKS, FROM THE FIFTEENTH CENTURY TO THE PERIOD OF THE GREAT REBELLION, AN UNWRITTEN CHAPTER IN THE HISTORY OF THE ORGAN. A LECTURE DELIVERED BEFORE THE ^ COLLEGE OF ORGANISTS, Nov. 15, 1864. By EDWARD F. RIMBAULT, LL.D. Member of the Royal Academy of Music in Stockholm ; Musical Examiner in the Royal College of Prepeptors ; etc. etc. etc. LONDON : ROBERT COCKS & CO., NEW BURLINGTON ST. By Special Appointmeiit Music Publishers to Her Majesty Queen Victoria, H, R .H: the Prince of Wales, and the Emperor Napoleon III. Limp Cloth, small 8vo, price 3s. 6d. HE R G A N, ITS HISTORY AND CONSTRUCTION: A COMPREHENSIVE TREATISE ON THE STRUCTURE AND CAPABILITIES OF THE ORGAN, WITH SPECIFICATIONS AND SUGGESTIVE DETAILS FOR INSTRUMENTS OF ALL SIZES, INTENDED AS A HANDBOOK FOR THE ORGANIST AND THE AMATEUR BY EDWARD J. HOPKINS. Organist to the Honourable Societies of the Imier and Middle Teitiple. PRECEDED BV AN ENTIRELY Kew Hi^toj^y of the Of^qajm, MEMOIRS OF THE MOST EMINENT BUILDERS OF THE SEVENTEENTH AND EIGHTEENTH CENTURIES, AND OTHER MATTERS OF RESEARCH IN CONNECTION WITH THE SUBJECT, BY EDWARD F. RIMBAULT, LL.D., Member of the Royal Academy of Music in Stockholm; Musical Examiner in the Royal College' of Preceptors, London^ 6^c., &^c. LONDON : ROBERT COCKS & CO., NEW BURLINGTON STREET, Music Publishers to Her most Graciotcs Majesty Queen Victoria, H.R.H. the Prince of Wales, and His I-mperial Majesty Napoleon III., Emperor of the French. SIMPKIN, MARSHALL, AND CO. WHITTAKER ANP CO. H. BAILLIERE, NEW YORK. MDCCCLXX. London : I/endersofi, Raii, and Fenton, General Pnniers^ Bemers Street, Oxford Street. P R E F A C E. HE arts of organ building and organ playing have made such rapid strides in England, during the last few years, that it was felt a new edition of " The Organ ; ITS History and Construction," was urgently needed. The practical portion of the work contains a full and minute description of the- organ in every part of its manufacture. Not only has the material of the first edition undergone a complete and most careful revision, but two new chapters have been added ; /. e., those on Joy's Hydraulic Blower, and the Electric Organ: The Ffteumatic Draw-stop Action has been carefully described, and the chapter on the important question of Temperament, has been entirely re-written. In the preparation of the additional material) my friend, Mr. Hopkins, has been assisted in his labours by some of the most eminent organ-builders, both English and foreign ; and through their co-operation, correct and minute diagrams have been given, 'which will, it is confidently hoped, render the volume of the utmost possible practical use, both to the organist and to the amateur. Special reference must here be made to the chapter and diagrarris upon the most recent introduction — the Electric Action. With regard to the " History of the Organ," I have bestowed some pains upon its revision and correction. Much curious and minute information has been added, the result of considerable vi PREFACE. labour and research. The Treatise of Hero of Alexandria, with its interesting notice of the ancient Greek Organ, has received attention ; whilst the medieval organ-builders and their works form an important and an entirely new chapter. The notices of the builders after the Restoration, have received considerable and valuable additions, and the lists of their works have been carefully revised and extended. For much curious and valuable information I am indebted to my friend Mr. W. B. Gilbert, Mus. Bac, Oxon, late organist of Boston, Lincolnshire. In the preparation of the " Specifications" (forming the Appendix), Mr. Hopkins has spared no time and laljour. The descriptions and details given are the result, not only of much careful collating of the best authorities, but, in addition, a personal inspection of many of the most celebrated Continental instruments. It is only to be regretted that Mr. Hopkins's time has been so much occupied as to render it necessary to finish the work without his revision of the English specifications. It has been found necessary to omit many that were included in the former edition, in order to make room for the insertion of others of a more modern date. These have been furnished to the printers by the respective builders, through the hands of Messrs. CoCKS & Co. EDWARD F. RIMBAULT. St. Mark's Crescent, Regent's Park, N.W., Christmas, 1870. PREFACE TO THE FIRST EDITION, HE following work has been undertaken with the view of supplying what has hitherto been felt to be a great desideratum in this country ; namely, a hand-book describing the construction of the English Organ with the necessary minuteness to enable those not previously conversant with the subject to understand the formation, nature, and operation of every part of that most ingenious, complex, and noble of all Musical Instruments. In proceeding to carry out this design, several plans presented themselves ; but the one that appeared best calculated to place the subject in the most simple shape before the reader, was that of arranging the various systems of mechanism, and the several clever devices for giving speech and vitality to the Organ, into separate divisions, and then of describing the numerous parts which together form those main portions, in the continuous order they are usually met with in modern English instruments. This course has therefore been adopted in the arrangement of the materials forming the following chapters ; and each separate subject — as, for instance, some particular system of mechanism — is traced from its source to its termination, with a slight notice only (at the time) being taken of other portions of the intricate machine towards which it may occasionally approach closely, yet without having therewith any actual connection. The endeavour has been' made, iii the progress of the work, to record the names of the originators of the numerous ameliorations and improvements that have been made from time to time in the details of Organ-building. This part of the design, however, has not been found by any means so easy of accomplishment as at first it might appear to be ; for but few records were ever kept either of the date or the builder by whom such advantageous modifications were effected. An internal examination of numerous Organs, and a com- parison of their dates of construction have been made, with the ,view of arriving at a correct conclusion on all these points, and" the result viii PREFACE. has been given : at the same time, a date or fact may here or there have escaped the research of, the writer, who will therefore be glad to receive any such testimony as may come under th^ notice of others, and which will be gratefully accepted and carefully preserved for future use. To account for the frequent appearance of names and dates in the descriptions of some of the more recent improvements, it may be mentioned that these have in all cases been given, where positively known, in the hope of obviating future uncertainty. Among the most vexed questions of the present time regarding the English Organ, are those relating to the compass and the tem- perament of the instrument. To each of these subjects, therefore, a full chapter has been devoted, which, it is hoped, may have some influence in conducting them nearer towards a settlement. In these discussions, and indeed throughout the work, great pains have been taken to preserve as much simplicity of language and freedom from technicality as seemed practicable. Other matters of importance are those relating to the musical pitch, the composition of the compound stops, and the position of the Organ ; all of which have also been considered at some length. The Appendix will be found to present' a collection of specifications of British and Foreign Organs, more varied in size and details, and more extensive in number, than has ever before been brought together in any similar work in any country. A few of the English specimens are either accounts of instruments of past celebrity, or of such as were made according to a system now being fast superseded ; but most of the continental descriptions, it is confidently hoped, will prove of the highest value to Organists, in exemplifying what are the general principles observed by the foreign artists, to the investigation of which the Organ-builders and Organists of this country, fortunately, are now almost universally turning their attention. The accounts of Foreign Organs have partly been prepared from notes made by the writer and other tourists at the instruments themselves, and partly from previously printed accounts ; the stops, however, being in all cases re-arranged and classified according to one uniform and simple plan, so that they may be more convenient for purposes of reference and comparison. The descriptions of British Organs have been drawn up, in some cases, from accounts kindly furnished by their respective organists ; in others, from well-known printed authorities ; while the particulars of the more recently constructed instruments PREFACE. IX have been extracted chiefly from the descriptions issued by their respective builders. It remains for the writer to tender his thanks to those gentlemen who have kindly favoured him with their suggestions and opinions ; and he feels his acknowledgments to be particularly due to Mr. Hill and Mr. Walker, Mr. Robson and Mr. Jardine, for their exposition of certain technical matters ; and to the Rev. Sir Frederic Gore Ouseley, Bart, and to C. Harwood Clark, Esq., for placing their MS. note-books, containing accounts of numerous Foreign Organs, so entirely at his disposal. EDWARD J. HOPKINS. 69, Tachbrook Street, Pimi.ico, June, 1855. CONTENTS. THE HISTORY OF THE ORGAN. FIRST EPOCH. — THE ANCIENT ORGAN, ANTERIOR TO THE INVENTION OF THE KEY-BOARD. 1. Its Invention, i. 2. The Hydraulic Organ, 6. 3. The Pneumatic Organ, 14. 4. Its Introduction into the Church, 17. 5. Organ-building in the Eleventh Century, 22. SECOND EPOCH. — THE MEDIAEVAL ORGAN, AFTER THE INVENTION OF THE KEY-BOARD. 6. The First Key-board, 32. 7. The Bellows, 33. 8. Supposed Origin of the Mixture Stops, 35. g. The First Monastic Organs, 37. 10. The Regal, or Portative, 38. 1 1 . The Positive, 40. 12. The Meaning of " A Pair of Organs," 42. 13. The Improved Key-board, and the Invention of the Pedal, 43. 14. Monastic Organs in England, 45. THIRD EPOCH. — THE FIRST ORGAN-BUILDERS BY PROFESSION. 15. Early German Builders, 53. 16. Early English Builders, 54. 17. Local English Builders, 59. 18. English Builders in the Seventeenth Century, 60, 19. Notices of English Organs, 69. 20. Organs in Scotland, Ireland, and Wales, 70. 21. Improvements by German Builders, 73. 22. Italian Organ-builders, 75. 23. Notices of Foreign Organs, 75. 24. The Ancient Position of the Organ, 77. . 25. The Curiosities of Organ-building, 84. ' 26. The Destruction ^f Organs in England during the Great Rebellion, 88. 27. Existing old English Organs, 95. . FOURTH EPOCH. — THE FOUNDERS OF MODERN ORGAN-BUILDING. 28. Father Smith, 99. 29. John and Renatus Harris, 116. 30. Father Smith's Nephews, 128. 31. Renatus Harris, jun., 129 xii CONTENTS. 32. John Harris and John Byfield, 130. 33. Christopher Schrider, 132. 34. Thomas Schwarbrook, 134. 35. The Jordans, Father and Son, 136. 36. Richard Bridge, 140. 37. John Byfield, junr., 141. 38. Messrs. Glyn and Parlcer, 142. 39. Thomas Griffin, 143. 40. John Snetzler, 143. 41. Messrs. Crang and Hancock, 145. 42. Samuel Green, 146. 43. John Avery, 148. 44. The Englands, Father and Son, 150. 45. Paul Micheau, 151- 46. Organ-builders at the end of the Eightqenth Century, 152. 47. Progress of Organ-building in Germany, 152. 48. Andreas Silbermann, 152. 49. Gottfried Silbermann, 153. 50. Johann Andreas Silbermann, 1 54. 51. Johann Daniel Silbermann, 155. 52. Cotemporaries and Successors of the Silbermanns, 155. Additions, '1 56. I 2 4' 6. 15 21 THE ORGAN, ITS STRUCTURE, &c. Preliminary Observations, 3. DIVISION I. — THE EXTERIOR OF THE ORGAN. CHAPTER I.— THE ORGAN CASE. Its nature and use, and the materials of which it is formed, 5. The general structure of the organ-case, and the means of ingress, 5. The general arrangement of the front pipes, 5. The various figures in which the front pipes are arranged, 6. The arrangement of the front pipes in regard to the sound they produce, 7. Of the decoration of the front pipes, 8. DIVISION II, — THE WIND-COLLECTING PORTION OF THE ORGAN. CHAPTER 11. — THE BELLOWS. 23. Their use, 9. 24. The different kinds of organ bellows ordinarily met with ; which the oldest ; their names ; and why so called, 9. 29. Particulars concerning the diagonal bellows, 10. 30. Their number, 1 1 . 31. Arrangement, 11. 33. Method of operation, 1 1 . 35. Their original defects, 12. 38. How remedied, 13. 42. The horizontal bellows, 14. CONTENTS. xiii 44. Their structural features, 14. 55. The working of the horizontal bellows, and the room which the compressed air makes for itself between the plates and folds of the reservoir, 17- 62. The construction of the reservoir, 17. 65. The construction of the feeder, 18. 66. The blowing action, 18. ■ 68. The action of the inverted folds, 19. 69. The counter balances, 19. 70. The waste pallet, 19. 75. The unsteadiness of the organ-wind arising from 'unskilful blowing, or from irregular consumption, 20. 76. The several kinds of feeder, 20. 84. The concussion bellows, 23. 87. The anemometer, 23. DIVISION III. — THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN. CHAPTER III. — THE WIND-TRUNKS,' 25 . CHAPTER IV. — THE WIND-CHEST. 99. . The wind-chest ; its use, 27. 103. Its attendant parts, 28. CHAPTER V. — THE SOUND-BOARD. 1 10. The formation of a sound-board, 30. 117. How the sound-board-pallets are brought under control, 31. 119. The sound-board bars, 31. 123. The sound-board grooves, 31. 126. The sound-board pallets, 32. 129. The pallet holes, 32. CHAPTER VI. — THE TABLE, 35. CHAPTER VII. — THE UPPER BOARDS, 38. CHAPTER VIII. — THE SLIDERS, BEARERS, AND PIPE-RACKS.' 1 58. The action of a slider, 40. 166. The bearers, 41. 168. The pipe-racks, 41. CHAPTER IX. — THE ARRANGEMENT OF THE GROOVES AND STOPS. 171. The situation of the large and small grooves in the sound-board, 43. 177. First plan of groove arrangement, 44. 180. Second plan, 45. 182. Third plan, 45. 184. The arrangement of the stops on the sound-board, 46. 189. The mechanism of the organ, 46. DIVISION IV. — THE MECHANISM OF THE ORGAN. CHAPTER X.— THE CLAVIERS AND KEY MOVEMENTS. 192. The manuals, 47. 199. The pedals, 49. 200. The situation of the claviers, 49. 205. The key-movement, 50. 214. The action of the key-movement, 51. 222. The roller-board movement, 52. 224. Square and tracker work, 53. xiv CONTENTS. CHAPTER XI. — THE COUPLERS AND SFORZANDO PEDAL. 231. Manual couplers, 54. 236. The sforzando coupler, 56. 238. Pedal couplers, 56. CHAPTER XIL— THE PNEUMATIC ACTION, 59. CHAPTER XIII. — THE DRAW-STOP ACTION. 250. The wooden-trundle draw-stop action, 62. • 251. A description of its several parts, 63. 256. How the draw-stop action operates, 64. 258. The iron-trundle draw-stop action, 64. CHAPTER XIV. — joy's PATENT HYDRAULIC ENGINE, 66. CHAPTER XV. — THE ELECTRIC ACTION, 69. CHAPTER XVI.— THE SHIFTING MOVEMENT AND THE COMPOSITION PEDALS. 309. The shifting movement, 88. 310. The composition pedals, 88. 310. The single-action composition pedal, 88. 314. The double-action composition pedal, 88. 319. The composition pedal action, 89. 320. The way in which the action operates, 89. CHAPTER XVII. — THE ECHO AND SWELL. 330. The Echo, 91. 331. The nag's head swell, 91. 332. The Venetian swell, 91. CHAPTER XVIII.— THE TREMULANT, 94. DIVISION V. — THE SOUND-PRODUCING PORTIONS OF THE ORGAN. CHAPTER XIX.— THE MATERIALS USED FOR ORGAN PIPES, 354- Tin, 96. 364. Metal, 98. 365. Spotted metal, 98. 366. Lead, 98. 367. Antimony metal, 99. 368. Zinc, 99. 369. The casting of the metal, 99. 370. Wood, 100. 372. The seasoning of the wood, 100. CHAPTER XIX* —THE PLAN, OUTLINE, AND STRUCTURE OF ORGAN PIPES. 374. The plan and outline of the pipes, loi . 379. Cylindrical pipes, loi. 380. Open cylindrical pipes, loi. 381. Stopped cylindrical pipes, loi. 385. Half-stopped cylindrical pipes, 102. 385. Perforated cylindrical pipes, 102. 388. Conical pipes, 103. 390. Conical pipes surmounted by a bell or outspreading top 10^ 391. Inverted cone, 103. 392. Inverted cone surmounted by a bell, 104. 393. Wooden pipes, 104. 394. Open four-sided pipes, 104 CONTENTS. XV 395- Stopped four-sided pipes, 104. 396. Half-stopped four-sided pipes, 105. 397. Three-sided pipes, 105. 398. Wooden cylindrical pipes, 105. 399. Pyramidal pipes, 105. 401. Pyramidal and inverted, 105. 403. The classification of the pipes irAoflue and reed pipes, 106. ■ 404. Flue pipes, 106. 405- Reed pipes, 106. 407. The separate parts of a metal flue pipe, 106. 412. The way in which the several parts of metal pipes are united together, 107. 417. Wood flue pipes ; open, stopped, and half-stopped, 108. 421. How the several parts are "worked together, 108. 430. Origin and continuance of the tone in flue pipes, 109. 436. The mouth of a flue pipe ; and the influence of its proportions on the tone of the pipe, no. 437. The voicing of metal and wood flue pipes, in. 449. The influence of the material, form, and scale, on the tone of a pipe, 113. 455. Influence of the strength and quantity of the wind on the character and strength of the tone, 1 14. 460. Formation of a reed-pipe, 115. 468. The formation of the tubes, 116. 469. The different kinds of mouth-pieces or feeds. The open, closed, and free reeds, 117. 473. The influence of the tube, its shape, scale, and material, on the strength and character of the tone of a reed-pipe, 1 17. 474. The influence of the reed and tongue on the tone of the pipe, 118. 47S- How a sound is produced from a reed-pipe, 118. 477. How the pitch of the sound of an organ-pipe is determined, 118. CHAPTER XX. — THE STANDARD LENGTH OF ORGAN -PIPES. 483. The names of the sounds produced from organ-pipes, 120. 486. The classification of those sounds into octaves, and the different methods by which the several octaves are distinguished from one another, 121. 496. The size of the pipes mostly used for stop measurement, 123. CHAPTER XXI. — THE SIZE OF TONE OF ORGAN-PIPES. 525. The scale of organ-pipes ; and the influence which an alteration in the proportion exercises on the length, 127. CHAPTER XXII. — ORGAN-STOPS. 531. Definition of a stop, and an explanation of the various kinds, 106. 540. The size of the stops ; how ascertained, 130. 543. The classification of the stops, in regard to their tone — producing part, into reed-stops and flue-stops, 130. S4S- Classification of the flue-stops ; in regard to certain peculiarities in their structure, into diapason-work, covered-work, and flute- work, 130. 551. Classification of organ-stops, in regard to the sound they produce, into foundation, mutation, and compound stops, 131. CHAPTER XXIII.— THE NAMES OF ORGAN-STOPS. 561. The name and description of stops f(;und in English organs, together with their length or size of tone on the manual and pedal, 134. 621. Compound-stops, 142. 638. Reed stops, 144. xvi CONTENTS. CHAPTER XXIV. — THE ORIGIN AND NECESSITY OF FOUNDATION, MUTATION, AND COMPOUND STOPS. 657. The introduction of stops of various sizes, founded on a phenomenon in nature, 147. 666. How the sizes of the harmonic-corroborating stops are deduced and fixed, 148. 672. Reasons for making the length of the stops on the knobs, 149. 673. Theoretical exceptions sometimes taken to certain organ-stops, 149. CHAPTER.XXV.— PARTICULARS CONCERNING THE SCALE AND THE BALANCING OF ORGAN-STOPS. 676. The comparative scale of the foundation and mutation stops, and ranks of pipes, 151. 706. The increase of scale in a stop as the pipes become shorter, and why necessary, 157. 711. A variation is made in the scale of the stops of the same name on the different claviers, and also in the duplicates on the same clavier. The reason and necessity thereof, 158. DIVISION VI. — THE TEMPERAMENT, TUNING, AND PITCH OF THE ORGAN. CHAPTER XXVI.— THE TEMPERAMENT OF THE ORGAN. 727. The union of perfect attunement with the power of transposition impos- sible, 161. 728. The susceptibility of certain intervals being tempered discovered, 161. 729. Unequal temperament, and the practicable scales it introduced, 161. 730. The introduction of unequal temperament strongly opposed, but nevertheless established, 162. 733. The musical art progressing, required other scales beyond those provided by unequal temperament, 163. 735. The defects of the unequal tuning known in the sixteenth century, 172. 737. Enharmonic organs, 173. 738. Perfect attunement, 173. 740. A simple practicable manual scale required, 174. 741. Equal temperament, 174. 745. The part Bach took in the establishment of equal temperament, 175. 746. Equal temperament opposed, as unequal tuning had been before it, 176. 750. Equal temperament recommended, on the score that it preserves 'a distinct character of key, 177. 752. Temperament, as the only source of distinction of key, questioned, 178. 753- Pitch, supposed to exercise an influence in establishing the character of key, 178. 754. The internal resources of the musical art capable of giving any character to any key, 179. 755. Characteristics of equal temperament, 179. CHAPTER XXVII.— THE TUNING OF THE ORGAN. 760. Laying the bearings ; and extending their influence to the stops generally 183 764. How the pitch of the several kinds of organ-pipe is altered 184 ' 773- The pitch of the organ altered by the heat and cold in'different seasons, The extent of this alteration, 185. CONTENTS. xvii CHAPTER XXVIII.— THE PITCH TO WHICH AN ORGAN SHOULD BE TUNED. 781. The question a most interesting one, 187. 782. The presumed lower pitch of two centuries since, 187. 783. The difficulties inseparable from that theory, 187. 786. The compass of the human voice supposed to have changed, 187. 787. The old composers supposed not to have consulted the convenience of the voices they wrote for, 1 88. 788. The early English composers supposed to have wriften without regard to any definite pitch, i88. 789. Everything questioned except the presumed lowness of the old pitch, 188. 790. Strong grounds for believing 'in the former existence of a high ecclesiastical pitch, 189. 791. The sixteenth and seventeeth century organs in Germany a whole tone sharp, 189. 792. A high ecclesiastical pitch believed to have existed formerly in England as well as in Germany, 189. 793. The very low notation of ancient church music favourable to this view, 189. 797. Father Smith's pitch flatter than the presumed ecclesiastical pitch of pre- ceding centuries, 190. 798. The flattened pitch accompanied by a raised notation, 191. 799. The pitch lower again, at the commencement of the eighteenth century in England, 191. 800. A similar alteration of pitch, at the same period, in France and Germany, 191. 801. The lower pitch in the last century accompanied by a further ascent in the notation, 192. 803. To which of the thfee church pitches formerly in use should a church organ be tuned ? 192. DIVISION VII. CHAPTER XXIX. — ON THE CORRECT USE OF THE STOPS. 807. General rules for the use of the stops, 193. 814. The character of tone of some of the leading stops ; and the purposes to which they may be applied, 194. 824. On the combyiation of the stops for the production of any required strength of tone, 196. , 838. On the adaptation of the organ-tone to the true purposes of choral accom- paniment, 199. DIVISION VIII. — THE CAUSE OF MANY OF THE FAULTS WHICH ARISE IN AN ORGAN, TOGETHER WITH THEIR REMEDIES. CHAPTER XXX.— THE CAUSES OF CIPHERING. The unbidden Sounding of a Pipe from causes in the Region of the Pallets. 842. Ciphering caused by dirt on the pallet, 201. 844. Ciphering from a pallet-spring being too weak, 202. 845. Ciphering caused by the pallet catching on a direction-pin, 202. 846. Ciphering from damp loosening the leather, or heat warping the pallet, 202. 848. Ciphering caused by a pull-down being rusty, 203. xviii CONTENTS. The unbid'den Sounding of a Pipe from Faults in the Key-Movement. 849. Ciphering from some adhesive substance falling between the keys, 203. 850. Ciphering caused by a key warping, 203. 851. Ciphering from a sticker binding, 203. 852. Ciphering caused by a backfall getting off the sticker, 203. 853. Ciphering from grit in the centre-holes, or by a swelling of the movement, 204. The unbidden Sounding of a Pipe from Defects in the Sound-board. 855. A running caused by an upper-board being too loose, 204. 856. A running caused by a sound-board bar separating from the table, or by an unsound bar, 204. ' 857. A humming caused by one slider touching and partly drawing a second, 205. 858. A humming caused by pipes standing in too close proximity, 205. Defects in the Key-Movement. 859. A springing in the key-movement, 205. 860. A dead resistance opposed to the finger by the key-movement, 205. 861. A thumping at the keys, 206. 862. A rattUng in the key-movement, from the noisy nature of the materials, 206. 864. A rattling sometimes caused by trackers flapping together, 206. 865. A key down without producing any sound, 206. 866. The touch of the manuals too shallow at certain seasons, and too deep at others, 207 868. An unevenness in the level of the keys of the manual, 207. 869. A key screwed up too high, sometimes causes the speech of the pipes to tremble, 207. 870. A ciphering caused by the breaking of a pedal-spring, 208. • Disarrangements connected with the Draw-stop Action and Sliders. 871. A draw-stop rod will sometimes come out too far, or go too far in, 208. 872. A draw-stop sometimes very stiff, 208. Defects in the Bellows and the Winding of the Organ. 873. A creaking from friction at the centres, 208. 874. A clacking caused by hard valves, 209. 875. A gasping from the valves being too few and small, 209. 876. Bellows work quicker in hot weather, 209. 877. Bellows produce a cracking sound after damp weather, 209. 878. Tremulousness, from the length and elasticity of the column of wind, 209. 879. Tremulousness from shortness of supply, 210. 880. Unequal intonation caused by small grooves and pallet holes. A robbing, 210 881. A hissing arising from an escape of wind, 210. Faults connected with the Speech of the Pipes. 883. Small pipes are frequently dumb, ti-emulous or weak in their speech, 211. 884. Hue pipes become unequal in their strength and quality of tone from various causes, 211. 885. A pipe sometim'es sounds its octave, from the effects of dirt, or over-blowing 211. 886. The tone of wood-pipes influenced by change of temperature, 212. 887. Stopped wood-pipes sometimes deranged by heat and droughts, 212. CONTENTS. xix DIVISION IX. — SUGGESTIONS FOR THE CONSTRUCTION AND ERECTION OF AN ORGAN. CHAPTER XXXI. — THE COMPASS OF THE CLAVIERS, AND OF THEIR SEPARATE DIVISIONS OF THE ORGAN. 891. Precedents for nearly every variety of clavier range, 213. 893. The compass of the manuals ; the confused state in which the question is involved in England ; and the importance of a correct view of the subject, 214. 894. How the true manual compass is to be ascertained, 215. 897. Arguments against the C C manual compass, and in favour of a longer range, 216. , 903. Much room and a great expenditure of funds required to extend the compass of a manual organ below CC, 217. 905. The true method of increasing the resources of a manual organ, 218. 906. How it may be ascertained whether certain keys are essential or not as manual ones, 218. 909. The ameliorations that might be effected on a given specification, by regulating the outlay otherwise than in the construction of unessential manual notes, 219. 924. Other views in favour of GG manuals, and against CC, considered, 222. 935. How the CC manual compass was first exceeded, 224. 937. The confusion in the size of the stops caused by their elongation, 225. 942. The upward range of the manuals, 226. CHAPTER XXXH. — OF THE PEDALS AND PEDAL ORGAN ; THEIR GRADUAL INTRODUCTION INTO ENGLAND ; AND THEIR CORRECT COMPASS. 950. The insufficiency and incorrectness of GG pedals for practical purposes, 228. 951. The wrong pitch in which GG pedals execute on the manual stops such passages as do come within their range, 229. 952. The impossibility of satisfactorily uniting CCC pipes to GG pedals ; and the false pitch in which the pipes sound when they are so united, 229. 953. The false readings which the CCC pedal pipes create, 229. 969. The introduction of " Double Pedal Pipes " as the first pedal stop, not in accordance with the laws of organ-building, 232. 973. The premature introduction of double pedal pipes often a hindrance to the introduction of more important pedal stops, 233. 974. The arrangements of a CC organ contrast favourably with those of GG compass 234. CHAPTER XXXIII.— THE SITUATION FOR THE ORGAN. 978. Acoustical facts to be consulted, 235. 978. How sound is produced and propagated, 235. 980. How brief sounds disperse, 235. 981. How sustained sounds more completely occupy space, 235. 982. The distribution of a sound that cannot travel backwards, 236. 985. Sound weakened by divergence, 237. 986. Echo, 237. 987. Resonance, 237. 996. Impediments to the equal distribution of sound, 238. 997. Absorbents of sound, 238. 998. Church arrangements that are favourable to sound, 239. 999. Absorbents sometimes introduced to subdue excessive echo, 239. b 2 XX CONTENTS. 1000. Velocity of sound, 239. .. 1003. The apparent strength of a sound dependent on the position of the auditor, &c., 240. 1005. Penetration of sound, 240. 1007. The west end of a church, as the situation for the organ, 240. 1008. Old examples of west-end organs in continental churches, 240. loio. The merits of the west-end, as the situation for the organ, considered, 241. 1020. An architectural objection to the organ occupying the west-end, 242. 1021. Examples of divided west-end organs in continental churches, 242. 1027. Smith and Harris's parish church organs usually placed at the west-end, 243 . 1028. Their cathedral organs usually placed on the choir screen, 243. 1029. Harris's proposal for a grand west-end organ in St. Paul's Cathedral, 244.^ 1030. The erection of Father Smith's organ on the choir screen of St. Paul's opposed, 244. 1034. The comparative merits of the several side situations considered, 245. 1043. The east-end of an aisle, or a chancel chapel, as the situation for the organ considered, 247. 1049. The chancel an eligible position for a divided organ, 248. 1050. The relative position of the vocal choir and organ, 249. 1051. Recent arrangements in cathedrals, 249. CHAPTER XXXIV.— THE SIZE OF THE ORGAN. 1056. The organ should be proportioned to the congregation and church, 252. 1057. Certain influencing circumstances to be taken into account, 252. 1058. An approximate calculation of the number of Stops necessary for an organ to have, 252. 1059. Too small an organ in a church most undesirable, 253. 1060. The strength of the human voice, as compared with that of the organ- wind, 253- 1061. The general requisites of a church organ, 253. 1062. An organ of sufficient dimensions in a church a great acquisition, 254. 1064. The power of an organ partly due to its extent of tone, 255. 1066. How the acoustic capacity of a Manual organ is increased to adapt its tone to a large building, 256. 1067. The acoustical grounds on which double Stops are introduced into an organ, 256. 1069. The effect of a large organ not constructed on acoustic principles as well as on harmonic, 257. CHAPTER XXXV.— VARIOUS MATTERS CONNECTED WITH THE DIVISION OF THE STOPS, AND THEIR SELECTION ACCORDING TO SIZE. 1071. The proportionate division of a given number of Stops among the several departments, 258. 1076. The size of Stop that should form the basis of the Manual and Pedal tone, 259. 1077. Stops of one size only, for Manual or Pedal, incorrect, 259. 1078. The proper size for the Stops, and the order in which they should be selected, 259. 1080. The Stop from which the Harmonic corroborating Stops must be measured, 259. 1087. The meaning of the German terms, 16 feet Manual, 8 feet Manual, and 4 feet Manual, 261. 1088, Stops of one class alone not sufficient to produce the best organ effect, 261. J089, The proportion to be observed in the number of Stops of different sizes, 261 . CONTENTS. xxi CHAPTER XXXVI.— THE COMPOSITION OF THE MIXTURES. 1 102. Why should there be breaks in a compound Stop ? 265. 1 103. A compound Stop without a break, not in accordance with the suggestions of nature, 265. 1 104. The same compound not productive of the same effect in different parts of the scale, 265. 1 105. Might not a rank " die out," instead of presenting a break ? 266. 1 106. The valuable aid rendered to the treble of an organ by the return ranks, 266. 1 107. On what keys the breaks had better take place, 267. H08. Where the broken ranks should return to, 267. nil. Plans for compound Stops, 268. I. Composition for a full mixture of III ranks, 268. II. Ditto for a clear mixture of IV ranks, 269. III. Ditto for a sharp mixture of IV ranks, 269. IV. Ditto for a quint mixture of IV ranks, 269. V. Ditto for a full mixture of IV ranks, 270. VI. Composition for a sharp mixture of V ranks, 271. VII. Ditto for a full mixture III ranks, and a sharp mixture III ranks, 272. VIII. Ditto for a full mixture III ranks, and a sharp mixture, IV ranks, 272. IX. Ditto for a full mixture III and IV ranks, and a sharp mixture, V ranks, 272. X. Ditto for a Sesquialtera II ranks, a full mixture III and IV ranks and a sharp mixture V ranks, 274. CHAPTER XXXVI. — THE EXTERIOR ARRANGEMENT OF THE ORGAN. 1 143. The organ case, 278. 1 1 50. The manuals and pedals ; their width ; and their proper situation in re- gard to each other, 279. 1164. The organ-stool, 282. 1166. The swell pedal, 282. 1 168. The music-desk, 282. 1 169. The composition pedals, 282. 1 170. The arrangement of the draw-stops, 283. CH^TER XXXVIII.— THE INTERIOR ARRANGEMENTS OF THE ORGAN. 11 9 1 . The building-frame, 287. 1 192. The platform, 287. 1 194. The distribution of the sound-boards, 287. 1 199. The cause of the bad proportions of many English organs, 288. 1202. Much room conducive to the orderly arrangement of the organ, 288. 1204. The advantages of large sound-boards, 289. 1 2 12. " Unoccupied space" in an organ not " lost room," 290. 1 213. The Abbe Vogler's symplification system, 290. 1221. Passage-boards advantageous in more ways than one, 292. 1222. The pipes should be so arranged that the small ones are accessible, 292. 1224. Double grooves in the bass of large sound-boards advisable, 293. 1225. The roller-boards, 293. 1226. The bellows, 293. 1230. The wind-trunks, 294. 1 23 1. The swell-box, 294. 1232. The scale for the pipe-work, 294. 1250. The materials fo;r the pipe- work, 300. 1261. The price of the organ, 303. CHAPTER XXXIX.— PLANS FOR ORGANS OF VARIOUS SIZES, 307. CONTENTS. APPENDIX. Comprising an Account of Foreign and British Organs. 1. Haarlem— the Cathedral Church of St. Baven, 33:. 2. Rotterdam— the Cathedral Church of St. Lawrence, 332. 3. the Octagon Church, 333. 4. Amsterdam — the Old Church, 334. 5. the New Church, 335. 6. Nymengen — St. Stephen, 336. 7. Gouda— St. John the Baptist, 337. 8. The Hague — Lutheran Church, 338. 9. Delft — the New Church, 338. 10. Utrecht — the Principal Protestant Church, 339. II.' Triebel — the State Church, 340. 12. Paris — the Abbey of St. Denis, 341. I2A. St. Vincent de Paul, 342. 13. the Madeleine, 343. 14. St. Eustace, 344. 15. St. Sulpice, 345. 16. Amiens — the Cathedral, 346. 17. St. Remy, 347. 18. Tours — the Cathedral, 347. 19. Rouen — St. Ouen, 348. 20. Abbeville — the Cathedral, 349. 21. Beauvais — the Cathedral, 350. 22. Antwerp — the Cathedral, 351. 23. St. Paul, 351. 24. Brussels — the Cathedral Church of St. Gudule, 352. 25. Liege — St. Martin, 353. 26. Cologne — the Cathedral, 353. 27. the Minoret's Church, 354. 28. the Jesuit's Church, 355. 29. St. Marii de Capitol, 355. 30. St. Columba, 356. 31. St. Ursula, 357. 32. Bonn — the Cathedral, 357. 33. the Protestant Church, 357. 34. Coblentz — the Church of Castor, 358. 35. Strasbourg — the Cathedral, 358. 36. St. Thomas, 359. 37. the " Temple neuf," 36b. 38. Friburg in Brisgau — the Cathedral, 360. 39. the Lutheran Church, 361. 40. Frankfort — the Cathedral, 362. 41. St. Paul, 362. 42. Fulda— the Towii Church, 363. 43. GoTHA — St. Augustine's, 364. 44. St. Margaret, 365. 45. Haarhausen — 365. 46. Eltsleben — 366. 47. Waltershausen — 366. 49- 50. SI- 52. S3- S4- 55- 56- 57- 58. 59- 60. 61. 62. 63- 64. 65. 66. 67. 68. 69. 70. 71- 72. 73- 74- 75- 76. 77- 78. 79- 80. 82. 83- ZerbsT — St. Nicholas, 367. Langenzulza — ^St. Boniface, 368. Muhlhausen — ^368. Merseburg — -the Cathedral, 369. Halle — St. Maurice, 370. Loiz — -the Marien-Kirche, 37I. Katscher — -the CathoHc Church, 371. Erdmannsdorf— 372. Krumols— the New Catholic Church, 372. ' Halberstadt— the Great Church, 85. 86. 87- 90, 373. Hirschberg — Christ Church, 374. Naumberg — St. Wenzel, 374. TrebniZ— the Catholic Church, 375. Salzwedel — St. Catherine, 376. Weissenfels — TheLockChurch, 376. Celle — the Ludwigfs Church, 377. Verdun — the Cathedral, 377. Bremen — the Cathedral, 378. Hamburg — St. Michael, 379, St. Catherine, 380. St. Jacobi, 381. St. Nicholas, 383. St. Peter, 383. Lubeck — the Marien Kirche, 384. . the " Little Organ," ditto, 386. the smaller Church, 386. WisMAR — St. Mary, 387. ^ Perleberg — 388. Berlin— St. Mary, 388. the Garrison Church, 389. Kronstadt — the Cathedral Church, 389- Leipzig — the University Church, 390. Dresden — the Royal Catholic Church, 392- the Royal _ Church of the Evan- gelists, 392. St. Mary, 393. St. Sophia, 393. the Church of the Holy Cross, 394. Freiberg in Saxony — the Cathedral, 395- Prague — St. Dominico, 395. GOERLITZ — St. Peter and St. Paul, 396. St. Mary, 397. Liegnitz— St. Peter and St. Paul, 397- Breslau — the Cathedral of St. John, 398. CONTENTS. xxill 91. Breslau — Choir Ogan, ditto, 399. 91B. the Little Organ, ditto, 399. 92. — — St. Mary Magdalen, 399. 93. St. Elizabeth, 400. 94. small Organ, ditto, 401. 95. St. Bernharden, 401. 96. small Organ, ditto, 402. 97. St. Vincent, 402. 98. St. Ethelbert, 403. 99. Church of the II Thousand Vir- gins, 403. 100. St. Salvator, 404. loi. the Cemetery Church, 404. 102. St. Mauritius, 404. 103. St. Barbara, 405.. 104. Music Room of the University, 405- 105. Cracow — the Evangelists Church, 405. io5. Warsaw — the Lutheran Church, 406. 107. ■ Vienna — the Cathedral of St. Ste- phen, 406. 108. St. Michael, 407. 109. the Lutheran Church, 407. 1 10. the Minorites' Church, 408. 111. St. Peter, 408. 112. Freiburg in Switzerland — the Cathedral of St. Nicholas, 409. 113. Hanover — ^the Market Church, 409. 114. the Chapel Royal, 410. J 15. — — St. John, 410. 116. Ulm — the Cathedral, 411. 117. France — the Cathedral of Carcas- saune, 414. 118. Paris — Notre-Dame-de-Lorette, 415. 119. St. Genevieve, 416. 120. Elberfeld — the New Church, 416. 121. Basle — the Minster Church, 417. 122. QuiTTELSDORF — the Village Church, 417- 123. MiLLBERTZ — the Village Church, 418. 124. Angstadt — the Church, 418. 125. Lucerne — the Cathedral, 419. 126. Winterthur — 420. 127. Constance — the Cathedral, 421. 128. Stutgard — the Stiftskirche, 421. 129. the Jew's Synagogue, 422. 130. Weingarten — the Benedictine Mo- nastery, 423. 131. Munich — the Odeon Concert Room, 424. 132. Ratisbon — St. Emmeran, 425. 133. BoTZEN — the Parish Church, 425. 134. Rome— St. Peter, 426. 135. second Organ, 428. 136. Milan — the Cathedral, 428. 137. second Organ, 429. 138. St. Alessandro, 429. 139. CoMO — the Cathedral, 430. 140. Church of the Santissimo Croci- fisso, 431. 141. Florence — St. Gastano, 432. 142. Genoa— Santa Maria des Vignes, 432. 143. the Carigrana Church, 433. 144. Cathedral of St. Pierre, 433 145. Siena — the Cathedral, 434. 146. Seville — the Cathedral, 434. 147. the second Organ, ditto, 437. 148. Newfoundland — the Cathedral, 438. 149. Bombay — the Cathedral, 439. America. 150. Boston — Tremont Temple, 439. 151. Music Hall, 440. 152. Nfw York — Trinity Church, 443. 153. Church of the Annunciation,- 444. A Table of Foreign and English Equivalent Terms, 4^4. to 448 British Organs— London and its Environs. 154. iSS- 156. 158. 159- 160. 161. 162. 163. 164. 165. 166. 167. 168. 169. 170. 171. 172. St. Paul's Cathedral Transept Organ, 448- Chancel Oi^an, 450. Westminster Abbey, 451. The Temple Church, 452. Christ Church, Newgate Street, 455. St. Sepulchre's, Snowhill, 457. St. Andrew's, Holbom, 458. St. Peter's, Comhill, 458. St. Michael's, Comhill, 459. St. Stephen's, Wallbrook, 460. St. Edmund the King, Lombard Street, 461. St Mary-at-Hill, 462. St. Stephen's, Coleman Street, 462. St. Ann's, Limehouse, 463. Christ Church, Spitalfields, 463. St. Luke's Church, Old Street Road, 464- St. John's, Hackney, 465. St. Mary's Catholic Church, Moor- fields, 466. St. Dunstan's in the West, Fleet Street, 466. 173. Foundling Hospital, 467. 174. St. Clement Dane's, Strand, 468. 175. German Lutheran Church, Savoy, 468. 176. Exeter Hall, 469. 177. Crystal Palace, 470. 178. St. Martin's in the Fields, 471. 179. Chapel Royal, Whitehall, 473. 180. St. Margaret's Westminster, 473. 181. St. James's, Piccadilly, 475. 182. St. George's, Hanover Square, 475. 183. Hanover Square Rooms, 476. 184. St. Katherine's, Regent's Park, 478. 185. Chapel Royal, St. James's, 478. 186. St. Paul's, Wilton Place, Knights- bridge, 479. 187. St. Michael's, Chester Square, 479. 188. St. Gabriel's Church, Pimlico, 480. 189. St. Luke's, Chelsea, 481. 190. St. John's, Waterloo Road, 482. 191. St. Peter's, Walworth, 482. 192. St. George's, Camberwell, 483. 193. St. Giles's, Cambei-well, 483. 194. St. Saviour's, Southwark, 484. 195. St. Olave's, Southwark, 485. XXIV CONTENTS. 196. St. James's, Bennondsey, 485. 197. St. Mary's, Rotherhithe, 486. 198. The Hospital, Greenwich, 487. 199. Lee Church, Kent, 487. 200. St. Mary's, Clapham, 488. 201. Hampton Court Palace, 48 Country Organs. 202. 203. 204. 205. 206. 207. 208. 209. 210. 2H. 212. 213. 214. 215. 216. 217. 218. 219. 220. 221. 222. 223. 224. 225. 226. 227. 228. 229. 230. 23,1 • 232. 233- 234- 235- 236. 237- 238. 278. 279. 280. 281. 282. 283. 284. Windsor — St. George's Chapel, 489. St. George's Hall, 490. Eton College, 400. Oxford — Christ Church; 491. Magdalen College, 492. Radley— St. Peter's, 492. Gloucester — Cathedral, 493. Tewkesbury — the Abbey, 494. Hereford — Cathedral, 494. Worcester — Cathedral, 495. the Shire Hall, 496. Stratford-on-Avon — 497. Birmingham — Town Hall, 497. Lichfield — Cathedral, 499. Shrewsbury — St. Mary's, 500. St. Chad's, 501. Chester — Cathedral, 501. Liverpool — St. George's Hall, 502. Great George Street Chapel, 503. Collegiate Institution, 504. Manchester — The Cathedral, 505. St. Luke's, 506. Holy Trinity Church, 506. Huddersfield — Buxton Road Chapel, 507. Manchester — Free Trade Hall, 508. St. Peter's Church, 509. Ashton-under-Lyne — 510. Stockport — Sunday School, 511. Oldham — Parish Church, 512. Halifax — Parish Church, 512. Bradford — Eastbrook Chapel, 514. Leeds — Town Hall, 515. Preston — Parish Church, 521. Lancaster — St. Thomas, 522. Carlisle — Cathedral, 523. Newcastle-on-Tyne — St. Nicholas, 524. ■ St. Mary's Cathedral, 525. 239- 240. 241. 242. 243- 244. 245. 246. 247. 248. 249. 250. 251. 252. 253- 254- 255- 256. 257. 258. 259. 260. 261. 262. 263. 264. 265. 266. 267. 268. 269. 270. 271. 272. 273- 274. 275. 276. 277, Durham — Cathedral, 526. York— Cathedral, 327. the Nave Organ, 528. DONCASTER— SL George, 529. Lincoln — Cathedral, 531. Boston — Centenary Cha;pel, S32. Parish Church, 533. Beddington — Church, 533- SouTHWELL— Collegiate Church, 534- Nottingham— St. Mary, 535. Mechanics' Hall, 535. Peterborough — Cathedral, 536. Lynn Regis— St. Margaret, 536. Norwich — Cathedral, 537- St. Peter Mancroft, 538. Gt. Yarmouth— St. Nicholas, 539- Ely — Cathedral, 540. Cambridge — Trinity College, 541 ■ St. John's College, 542. Bedford — Wesleyan Chapel, 542. Northampton — All Saints', 543. -^■^ Exchange Room, 544. Rochester— Cathedral, 544. Canterbury — Cathedral, 545. Tonbridge Wells— Trinity Church, 546- Cranbrook — Parish Church, 546. Henley-on-Thames — 547. Chiphester — Cathedral, 547. Brighton — Concert Hall, 548. Winchester — Cathedral, 550. Salisbury — Cathedral, 55a Bristol — Cathedral, 552. St. James, 553. Wells — Cathedral, 554. Exeter — Cathedral, 555. Ripon — Cathedral, 556. Bangor — Cathedra,l, 556. St. Asaph's — Cathedral, 557. St. David's— Cathedral, 557. Organs in Scotland, Ireland, &c. Glasgow— the City Hall, 558. EoiNBURGH^the Music Hall, 559. University, 560. Inverness — the Cathedral, 561. Dublin — St Patrick's Cathedral, 562, Christ Church Cathedral, 563. Trinity College Cha,pel, 5S3. 285. Dublin — St. Nicholas, 564. 286. St. Francis Xavier, 564. 287. Belfast — ^St. Malachy, 565. 288. Cashel — Rom. Cath. Cathedral 289. Kilkenny — ^St. Canice, 566. 29a Tasmania — Town Hail, Hobart Town, 567. 565- CONTENTS. XXV LIST OF WOODCUTS, DIAGRAMS, &c. Ancient Instrament of the organ kind, from a Cilician sculpture 3. Ancient Organ from Kircher's Musur- The " Macraphe d'Aruchin," a He- brew instrument from the same, 6. An Altar Organ, from the Pneumatics of Hero of Alexandria, 10. A Hydraulic-organ, from Haiiser's Kirchenmusik, 13. Ancient Organ from the sculptures on the obelisk at Constantinople, 16. Ancient Organ from the MS. Psalter of Eadwine, in the library of Trinity College, Cambridge, 21. Ancient Organ and various musical In- struihents of the time of Charle- magne, from Gori's Thesaurus Dipty- chorunit 30. 13- IS- 16. '7- Ancient Key-board, from Prsetorius' Theatrum Instrumentorum, 32. An Organist performing upon an in- strument with broad-keys, from Gaffurius' Theorka Musica, 33. Curious Mode of Blowing, from Prseto- rius' Theatrum Instrumentorum^ 34. The Bellows "a la lanteme," from M.tTserams' ffarmonieUniverselleiTii- The Regals, from Luscinius' Musur- gia, 49. The Positive-organ, from Wilphlingse- der's Erotemata Musices Tractuee, 41. The Old Organ of Lincoln Cathedral, from Dugdale's Monasticon, 79. Autograph of Bernard Smith, 109. Figure of an Organ, from the Pneu- matics oi Hero of Alexandria, 157. The Construction of the Organ. No. No 6. Arrangement of pipes in a semicircle, 6. 37- 7. in an angle, 6.- 38. 8, in "niches," 6. 39- 9. in a " breasted " form, 6. 40. 10. of the " ogee " form, 6, 41. II. in the flats, 7. 42. 12. 43- 13- 44- 14. 45- IS- The diagonal bellows, 10. 46- 16. The horizontal ditto, 10. 47- 17. Section of diagonal ditto, 12. 48- 18. 12. 49- 19- The top board, 14. 50. •20. 15- 51- 21. The middle board, 15. 52- 22. The bottom board, 15. S3- 23- Section of horizontal bellows, 15. 54- 24. Inverted ribs, 15. 55- 2S- Direct parallel ribs, 16. 56- 26. Triangular ribs, 16. 57- 27. Valves in the middle and bottom 58. boards, 16. 59- 28. 16. 60. 29. The middle frame, 17. 61. 30- Folds of the reservoir, II. 62. 31- Folds of a single feeder, 18. 63. 32- Cuckoo feeder, 21. 64. 33- Folds of ditto, 21. 65- 34- Cuckoo feeder with reversed lining. 66. 21. 67. 3S- The double feeder, 21. 68. 36- The vertical feeder, 22. 69. The concussion bellows, 23. The anemometer, 24. Front view of a wind-chest, 27. Side view of a wind-chest, 28. The sound-board, 29. The box-pallet, 33. 33- The jointed pallet, 33. The valve pallet, 34. The relief pallet, 34. The table, 35. The upper boards, 39. The sliders and bearers, 40. The pipe racks, 42. Groove arrangements, 44. 45- 45- Side view of manual keys, 48. Side vi,ew of pedal keys, 49. The fan-frame movement, 50. The stickers, 50. The backfalls, 51. The trackers, 51. The rollers, 52. The squares, 53. The manual coupler, 54. The sliding coupler, 55. The sforzando coupler, 56. The pedal roller movement, 57. The pedal coupler, 57. The pneumatic action, closed, 60, open, 60. Hill's pneumatic action, 61. XXVI CONTENTS. 70. The wooden-trundle draw stop action, 63- 71. The iron-trundle ditto, 64. 72. The pneumatic draw-stop action, 65. 73. Joy's hydraulic engine, 66. 74. Willis's pallet, 70. 75. Compensatory pallet, 71. 76. Pneumatic power-bellows, 71. 77. 71. 78. Section of divided sound-board, 75. 79. Bryceson's pallet, 77. 80. 77. 81. 78. 82. Section of electro-pneumatic arrange- ment, 78. 83. 80. 84. 81. 85. 83. , „ 86. The composition pedal action, 89. 87. The tremulant, 94. 76.* Open cylindrical pipe, 102. 77.* Stopped cylindrical pipe, 102. 78.* Half-stopped cylindrical pipe, 102. 79.* Cylindrical pipe (the clarionet), 103. So.* (the Vox Humana), 103. 81.* Conical pipe, with a bell, 103, 82.* (the spitz flote), 103. 83.* Conical pipe (the gemshorn), 103. 84.* Inverted cone-shaped pipe, 104. 85.* (the dolcean), 104. 86.* surmounted by a bell, 104. 87.* Four-sided pipe, 104. 88. Stopped four-sided pipe, 105. 89. Pyramidal pipe, 105. 90. Inverted pyramidal pipe, 105. 91. 105. 92. Portion of body of a metal flue pipe, 106. 93. Foot of ditto, 106. 94. Languid of ditto, 107. 95. Wooden flue pipe, 108. 96. The hohl flute, 108. 97. Mouth of a block pipe, 109. 98. A wood languid pipe, 109. 99. Section of a German wood pipe, H2. 100. Section of an English metal pipe, 113. loi. Section of a German metal pipe, 113. 102. The block of a reed pipe, 115. 103. The reed, 115. 104. The tongue, u6. 105. The tuning wire, 116. 1 01.* The tuning horn, 184. 102.* 184. 103,* Mop used in tuning, 184. AN HISTORICAL ACCOUNT OF THE ORGAN, BY EDWARD F. RIMBAULT, LL.D. PREFACE TO THE FIRST EDITION. HEN I undertook to prefix to my friend Mr. Hopkins's valuable treatise on the construction of the organ a historical account of that noble instrument, my inten- tion was to give a resume of what had already been written, with the addition of such new particulars as the course of years had accumulated in my note-books. But upon collating the various writers, their statements often appeared so vague and unsatisfactory, that it became necessary to consider the subject more attentively, and, in all cases where it could be done, to consult original authorities. The result of this examination has been the clearing up of many doubtful points, and the discovery of some important par- ticulars hitherto unknown. All modern writers have been perplexed with the notices of the organ handed down to us by the ancient Greeks, and have endeavoured to reconcile them with our present ideas of the instru- ment. The key-board has been a constant source of difficulty, and the epigram, or rather enigma, of the Emperor Julian has been often cited to prove that it was known to the ancients. The discovery of a treatise on organ-building by a monk of the eleventh century (printed in the following pages) settles for ever this important question. Another source of difficulty is the common expression, in mediaeval times, of " a pair of organs." Some of our ablest anti- quaries have exercised their erudition in endeavouring to explain this term ; but with what degree of success, the reader who peruses the following pages will have an opportunity of judging. At a later period in the History of the Organ, the biographies of Smith and Harris have been jj^volved in much obscurity. Father Smith \i3i.s fathered all our old organs, of whatever kind or description ; XXX PREFACE. and so little attention has been paid to dates, that we are told, " Harris's most celebrated organs are those of St. Sepulchre's, London, 1667; and Doncaster, Yorkshire, 1738!" I have been enabled to arrange the various members of these two celebrated families under their respective periods, and by so doing have cleared away many anachronisms, and reconciled a few seeming impossibilities. The Jordans and the Byfields, and their foreign cotemporaries, the Silbermanns, have also received the same attention ; and if the information regarding them is somewhat scant, it is all my research has been able to bring • together. The section on the " Ancient Position of the Organ " is interesting at the present time, when architects are anxiously looking for precedents. I have carefully noted all the authorities upon the point, especially in this country ; which, added to Mr. Hopkins's able chapter on the " Situation of the Organ," will, it is hoped, be found of some practical utility. The rescue of this noble instrument from the " holes and corners " to which modern ecclesiologists have ofttimes assigned it, is part of the musicians' creed. It will be observed that my historical account deals more with facts than with opinions. For the latter I am content to refer to the body of the book, trusting with full confidence to Mr. Hopkins's superior judgment and intimate acquaintance with his subject. The History of the Organ, from the period at which I leave it, chiefly consists in a series of inventions, all of which receive their full share of attention, from Mr. Hopkins, in the course of the volume. I ought not to pass unnoticed the aid I have received from several authors who have written upon the same subject. Amongst them I may especially name the Rev. Sir William Cope's paper on " Early Organ-builders in England," inserted in the Parish Choir ; Mr. Sutton's Short Account of Organs built in England from the reign of King Charles the Second to the present time; Herr Seidel's Treatise on the Organ, printed at Breslau ; and M. Hamel's valuable reprint of Dom Bedos, forming one of the publications of the EncyclopMie- Roret. If I have not named other modern works purporting to treat of the organ historically, it is because I have found them unworthy of credit. « It only remains to tender my obligations to^those gentlemen PREFACE. XXXI who have kindly assisted me in the course of the following essay. I must especially thank my friend, F. W. Fairholt, Esq., F.S.A., for the valuable extracts from Mr. Rolfe's MSS., and for other information ; William Chappell, Esq., F.S.A., for two or three curious notices ; Mr. Hill, the eminent organ-builder, for the loan of G. P. England's Account Book ; Alfred Price, Esq., of Gloucester, for his MS. translatioii of Herr Seidel's Treatise on the Organ, before mentioned ; and lastly,, Robert Hendrie, Esq., for his kindness in giving me per- mission to use his excellent translation of Theophilus's Chapters on the Organ. EDWARD F. RIMBAULT. 29, St. Mark's Crescent, Regent's Park, June, 1855. THE HISTORY OF THE ORGAN. jTitst €poft)* THE ANCIENT ORGAN, ANTERIOR TO THE INVENTION OF THE KEY-BOARD. 'S-^/jinef '^;P I. Its Invention. HE early history of ancient musical instruments is surrounded by mystery and fable ; their invention being usually attri- buted to the heathen deities. Patient investigation is required to sift the historical from the fabulous matter, and it then remains a matter of doubt whether the result does not excite, rather - than satisfy, our curiosity. The word organ, used in the Psalms and other parts of the Old Testament, must not be confounded with the noble instrument now bearing that name. The term was taken from the Greek translation ; but the ancient Greeks had no particular musical instrument called an organi for opyavov, with them, was a general name for an instrument, a work, or an implement of any kind : hence, dpyavixog, instrumental ; SpvavoTToiog, an instrument maker; and SpyavoTroila, the fabrication of an 'instrument. And, in all the Greek musical theorists, organic is a general term applied to instrumental music* It is of much importance to the history of an art that the origin, etymology, and primitive acceptance of its terms should be minutely traced. In the present instance, the extended application of the word organum, throughout the middle ages, has given rise to much con- fusion and misunderstanding. It is, however, perfectly clear, to those * See note in Bumey's Hutory of Music, vol. i., p. 252 ; also Liddell and Scott's Greet and English Lexicon. B 2 THE HISTORY OF THE ORGAN. who have investigated the subject, that the Greeks understood by the word ofyavav, and the Romans by their organum, not ^.n organ, in our sense of the term, but an instrument of any kind ; apply- ing the expression, however, more particularly to musical instru- ments.* The organ (o?i(^«3). mentioned in Genesis (chap, iv., v. 2\) certainly little resembled the modern instrument of that name, although it may be regarded as furnishing the first hint.t It was probably a series of reeds, of unequal length and thickness, joined together ; being nearly identical with the pipe of Pan among the Greeks, or that simple instrument called a mouth-organ, which is still in common use.| The classical ancients ascribe its invention to Pan, the great sylvan god ; and, accordingly, he was usually figured with the instrument in his hands. The fable states that he formed it of reeds that grew by the river, and caused it to produce all kinds of agreeable sounds, while his goats were skipping around him, and feeding on the banks. This * Organum. A general name given to any instrument, machine, or contrivance by which human labour is assisted, in agriculture, architecture, warfare, &c.; differing, however, from machina in this particular, that it required a certain amount of skill from the person using it, whereas that only wanted brute force or numbers to work it. (Vitruvius, x., i, 3. Columel, iii., 13, 12. Plin. H. N. xix., 20.) Hence the word is especially given to musical instruments (Quint, ix., 4, 10 ; xi., 3, 20), and, amongst these, more particularly to the one from which our organ is descended (Suet. Niro, 41. Lamprid. Alex. Ser. 27. Id. Heliog. 32); but which also had a special name of its own, in allusion to the water originally employed instead of weights, for working it. — Rich's Companion to the Latin Dictionary and Greek Lexicon, p. 458. f " And here we must not think that the organs in the Old Testament were any such things as those which we call so now. We read it in Job, chap. 30, verse 31, and my organ into the -voice of them that -weep. The Syriack rendreth it, my psaltery, clean another Instrument of a triangular form, as you may see by the description of Mersenim {De lustrum. Harm. lib. 10, prop. 44). The Hebrew word in Job is migah, which the Chaldee still turneth. abuba .- now abub signifieth properly an ear of corn with the stalk or straw : by translation it signifieth a pipe made of such a reed or stalk, Jlstula ex no^arum frugum calamo confecta * * *, David's organ was but a kind of pipe, what kind soever it was." — Gregorie's Discourse declaring -what time the Nicene Creed began to be sung in the Church, 4tO. 1683. X It is indeed remarkable that the lyre Qinnor) and syrinx (pugab) were the two first instru- ments of music the invention of which is recorded in Scripture, and the only ones that are mentioned before the Deluge ; and that subsequently the ougab is almost always mentioned in connection with the iinnor. The principle of the instrument is so simple, that it has been one of the most diffused of musical instruments. A syrinx, or ^stula Fanis, made of reeds tied together, exactly resembling that of the ancients, has been found to .be in common use in the island of New Amsterdam, in the South Seas, as flutes and drums have been in Otaheite and New Zealand ; which indisputably proves them to be instruments natural to every people in a state of barbarism. They were first used by the Egyptians and Greeks, during the infancy of the musical art among them ; and they seem to have been invented and practised at all times by nations remote from each other, and between whom it is hardly possible^ that there ever could have been the least intercourse or communication. The combination of pipes in question is still used in dilTerent parts of Asia. ■ The number of tubes which these instruments exhibit on ancient monuments varies from seven to eleven. See Burney, vol. i., p. 267 ; and the Pictorial Bible, vol. ii., p. 665, note. THE HISTORY OF THE ORGAN. shows that it was regarded as properly a sylvan and pastoral instru- ment ; and so it seems to be mentioned by Job (ch. xxi., v. ii, 12). Pan himself thought it superior to -the lyre of Apollo, whom he chal- lenged to a trial of skill ; and the challenge being accepted, the umpire (being no other than Midas) decided in favour of Pan's pipes. The Greek and Latin shepherds made this primitive instrument of strong reeds, or some other suitable material. It originally consisted of seven or eight reeds of progressive lengths, fastened together with wax. The number was afterwards extended to ten or twelve^ The syrinx, or pipe of Pan, by its form and arrangement, may be regarded as the first kind of organ building ; for it consisted of a number of pipes placed together in ranks, according to their succession of tones, and sounded by wind. To obviate the fatiguing motion of the head or hands, by inflating the pipes in some other manner, seems to have been the object of desired attainment for centuries. At length this was accomplished. Among the Cilician antiquities discovered in Syria, and recently brought to this country by Mr. W. B. Barker,'i*-t-he portion of -a figure playing- upon- a- musical- instr-H-ment of singular curiosity and interestjl This instrument, of which we give a drawing, forms a connecting link between the pipes of Pan and the organ. Let us examine it. It consists of a vertical row of pipes, the * This instrument is described by Virgil, and the use of it by Lucretius, lib. v. It is frequently depicted upon ancient medals. t Lares and Penates: or, Cillcia and its Governors. By William Burckhardt Barker, M.R.A.S., 8vo, 1853. This interesting volume contains, in addition to the monument mentioned in the text, the representation of a youth playing the syrinx or Pandean organ. The pipes are more numerous, and those in the bass part of the instrument much larger than is usuaUy represented. B 2 4 THE HISTORY OF THE ORGAN. length unknown, as the lower portion is wanting ; they are inserted into a small air chest, which appears inflated in the middle part. The right hand is operating upon it with a kind of cushion or compress, by which the performer forces the air into the pipes, and which he seems to apply to different parts of the instrument at will. There appears to have been a prolongation of the central part of the instru- ment across the left arm : the loss of this is much to be lamented, as that would have shown us more of its construction, and also how the left hand was employed in playing it. This curious relic may be looked upon as the earliest attempt to combine the pneumatic chest with the Pandean organ, which still retains its 'place on the breast of the player, though he no longer operates upon it with his mouth. We need hardly say that this monument is of the highest im- portance in the history of the organ. It has never been pointed out by any musical writer, and the author may fairly take to himself the credit of giving it a place in our musical history. Another step was the invention of a wooden box, the top of which was bored with just so many holes as there were pipes to stand on it. In these they now placed the pipes in the same order as they occupied in the Pan-pipes. From the chest (the modern wind-chest) proceeded a small reed (now the wind-trunk), into which they blew with the mouth. But as, by this means, all the pipes spoke simultaneously, they were obliged to stop with the fingers the tops of those pipes intended to be silent — a process which was soon found to be very troublesome, and, as the number of pipes increased, impossible. Now, in order to prevent the simultaneous intonation of all the pipes, a slider (now called the valve) was placed under the aperture of each pipe, which either opened or stopped the entrance of the wind into the pipes. Father Kircher, in his Musurgia/ fol. 1650 (Hb. ii., p. S3), has given us a drawing of this instrument, which is here copied :— -^ ■\ \ The slides stood in an inclined position, and, in order to open THE HISTORY OF THE ORGAN. S them, levers >vere added, which were connected with the slides by cords or strings (the origin of the pull-downs). A further increase of the number of pipes at length caused an enlargement of the pipe- chest (the modern wind-chest) ; consequently human breath was no longer sufficient to supply the instrument, and then a more suitable contrivance for the production of wind was devised. Thus we have a new class of instrument, called by the Greeks opyavov 7rvF.u//,aTiK6v, and by the Romans ttl>ia utricularis. Virgil has an elegant passage, in which he describes the shepherd Tonius playing upon the tibia utricularis : — " Et cum multifori Tonius cui tibia buxo Tandem post epulas, et pocula, multicolorem Ventriculum sumpsit, buccasque inflare rubentes Incipiens, oculos aperit, ciliisque levatis, Multotiesque alto flatum e pulmonibus haustum Utrem implet ; cubito vocem dat tibia presso, Nunc hue nunc illuc digito saliente . . . ." When soberly considered, this instrument appears to be nothing' more than the origin of the bagpipe. It consists of pipes pierced' with lateral holes, and an inflating pipe, which the performer applied to his mouth to fill the leathern bag with wind. The application of the inflated tube, it is evident, related only to the smaller instru- ments, such as that described by Virgil ; the larger ones were supplied with wind by the compression of the leathern bag or bellows.* This contrivance proved of so much advantage to the improving instrument, that, in order to obtain a more powerful tone, a second row of pipes of the same pitch was added to the former. The pipes having been thus increased and enlarged, and the box widened, the next improvement was the enlargement of the wind- tube (trunk). It now became evident that the leathern bag was insufficient . to supply the proper quantity of wind required. The want of wind thus occasioned by the enlargement of the instrument was remedied by the invention of bellows, yielding a continuous supply to the leathern bag, which, from this time, served the office of our modern wind-chest. Father Kircher's representation of the Hebrew/ * M. F^tis has written a long paper to prove that the Pneumatic Organ^ of the ancients was nothing more than a bagpife ! This learned writer has, however, been led into an error by con- sidering only a portion of the ancient authorities, i. e., those relating to the tibia utricularis. See a translation of M. Fdtis' paper in the Harmonicon for iSzg, p. 4. M. F^tis is, no doubt, correct in saying, "The figure given by Bianchini, of a bagpipe joined to the pipes of an organ (fig. 13, tab. 2,) in his Dissertation De tribus generibus instrumintorum viterum, is purely imaginary." The passage from Virgil is cited by M. Fftis, but it cannot be traced in the works of that author. 6 THE HISTORY OF THE ORGAN. instrument called Macraphe d'Arttchin, affords an illustration of an organ of this kind : — From the progressive inventions here recorded, it will be observed that many portions of the modern organ were already to be met with in the instruments of the ancients, in a more or less complete state. We may therefore justly assign the invention of the organ to this period, though no precise date can be given ; thus much only can be stated with certainty, that all these inventions date from a period before the birth of Christ. 2. The Hydraulic-Organ. Vitruvius, in his celebrated work on Architecture (but treating of other matters very little allied to that art), has left us a curious chapter on the hydraulic or water-organ, which, from its complicated character has much puzzled the learned. The bellows of the first organs, as we have seen, were very small, and so imperfectly con- structed, that they could not supply a steady wind ; the organ in consequence did not produce an uniform tone. Thus, the improve- ment of the wind apparatus was now seriously thought of, and the result was the invention of the water-07gan. Vitruvius' description, extracted from his work de Architectura, lib. X., cap. xi. (translated by Newton), is as follows : i ' \ i^W / --'- "OF THE HYDRAULIC-ORGANS.* \-<'' ' " I must not omit to discourse briefly, and as explicitly as I am * The original Latin text is as follows ; — " De hydraulicis autem quas habeant ra'tiocinationes, quam brevissime proximeqne attingere potero et scriptura consequi, non pr^termittam. De materia compacta basi, area in ea ex Ere fabricata coUocatur. Supra basim eriguntur regulE dextra ac sinistra scalari forma compacts. THE HISTORY OF THE ORGAN. ' 7 able, on the construction of the hydraulic-organs. Upon a compact base of timber an area (cistern), made of brass, is disposed ; and to the right and left, upon the base, timbers united in the manner of ladders are erected ; between these are included brass buckets, with moveable pistons, very carefully turned, and having bent and jointed irons fixed to their middle, with levers adjoined, and being covered with unshorn sheep skins : in the upper surface (of the buckets) are holes of about three digits ; near to which holes are brass dolphins fixed on turning joints, and having cymbals hanging by chains from their mouths below the holes of the buckets. "Within the area which contains the water is a kind of inverted funnel, under which wedges, of about three digits high, are laid, to level the space between the under lip of the pnigeus and the bottom of the area. Upon the neck of this (pnigeus) is fixed the little cistern which supports the head of the machine, called by the Greeks canon musicus. In the length of this (canon) are channels, in quibus includuntur serei modioli fundulis ambulatilibus ex torno subtiliter subactis, habentibus fixos in medio ferreos ancones, et verticulis cum vectibus conjunctos pelUbusque lanatis involutes. Item in summa planitie foramina circiter digitorum ternum, quibus foraminibus proxime in ver- ticulis coUocati Ecrei Delphini, pendentia habentes catenis cymbala ex ore infra foramina modio- lorum chalata. Intra arcam, quo loci aqua sustinetur, inest in id genus uti infundibulum inversum, quod super taxilli alti circiter digitorum ternum suppositi librant spatium imutn, ima inter labra pnigeos et arcae fundum. Supra, autem cerviculum ejus coagmentata arcula sustinet caput machinae, qus Grsce xmcit /novfixis appellatur : in cujus longitudine canales si tetrachordos est fiunt quatuor, si hexachordos sex, si octachordos octo. Singulis autem canalibus singula epistomia sunt inclusa, manubriis ferreiscoUocata : quae manubria cum torquentur, ex area pate- faciunt nares in canales. Ex canalibus antem canon habet ordinata in transverse foramina respon- dentia in naribus, quae sunt in tabula summa, quae tabula GrsEce mtx^ dicitur. Inter tabulam et canona regula sunt interpositse ad eumdem modumforatse et oleo subactas, ut faciliter impel- lantur et rursus introrsus reducantur, qua obturant ea foramina, pleuritidesque* appellantur, quarum itus et reditus, alias obtnrat, alias aperit terebrationes. Hse reguls habent ferrea choragia fixa et juncta cum pinnis, quarum pinnarum tactus motiones efficit regularum. Continentur .supra tabulam foramina, qu:e ex canalibus habent egressum spiritus. Regulis sunt annuli agglutinati, quibus lingulae omnium includuntur organorum. E modiolis autem fistulae sunt continenter conjunctae ligneis cervicibus, pertingentesque ad nares, quE sunt in arcula, in quibus axes sunt ex torno subacti et ibi coUocati, qui, cum recipit arcula animam, spiritum non patien- tur obturantes foramina rursus redire. Ita cum vectes extoUuntur, ancones deducunt fundos modiolorum ad imum, Delphinique, qui sunt in verticulis inclusi chalantes in os, cymbala replent spatia modiolorum, atque ancones extollentes fundos intra modiolos vehementi pulsus crebritate, et obturantes foramina cymbalis superiora^ aera, qui est ibi clausus, pressionibus coactum, in 6stulas cogunt, per quas in iignea concurrit, et per ejus cervices in arcam ; motione vero vectium vehementiore, spiritus frequens compressus epistomiorum aperturis influit, et replet anima canales. Itaque cum pinnae manibus tactae propellunt et reducunt continenter regulas, alternis obturando foramina, alternis aperiundo, ex musicis artibus multiplicibus modulorum varietatibus sonantes excitant voces. Quantum potui," &c. — M. IHtruvH Pollkni! Arehiticiura. Utini, 1825- 1830, torn, iv., pp. 169 et seqq. * Melius forsan pl'mthides a Grjec. vxMn. 8 THE HISTORY OF THE ORGAN. number four if tetrachordic, six if hexachordic, and eight if octa- chordic. In the several channels are epistomia (stoppers), having iron handles; which handles, when turned, open orifices from the area (arcula) into the channels. The canon has also holes ranged trans- versely, communicating with the channels, and corresponding to orifices in the upper table, which in Greek is called pinax. Between the table and canon are disposed rulers, which, being perforated in the same manner, and anointed with oil that they may be easily moved to and fro, stop these holes, and are called pleuritides ; the passing and re-passing of which alternately stops and opens the holes. " These rulers have iron choragia affixed to them, and are united to pinnae, the touching of which pinnae causes the motion of the rulers. Upon the table are the holes, through which the air from the channel passes. To the rulers are fixed rings, in which the tongues of all the organic pipes are inclosed. From the buckets proceed tubes, united to the neck of the pnigeus, and communicating with the orifices that are in the arcula; in these tubes are fixed well-turned valves, which, when the arcula has received the air, stop their apertures, and prevent its return. " Thus, when the handles of the levers are raised, the pistons of the buckets are drawn to the bottom ; and the dolphins that are fixed on axes lowering the cymbals that hang from their mouths, the cavities of the buckets become filled (with air). Then the pistons being raised into the buckets again, with frequent and strong pulsa- tions, and thereby causing the cymbals to stop the upper holes, the air, which is there confined, is by the pressure forced into the tubes, from whence it passes into the pnigeus, and through its neck into the area (arcula) ; and the frequent motion of the levers still violently compressing the air, it rushes through the apertures of the epistomia, and fills the channel with wind ; when, therefore, the pinnae are touched by the hand, they thrust forward and draw back the rulers, alternately stopping and opening the holes ; and thus, by the art of music, sounds in an infinite variety of modulations may be produced. " I have thus endeavoured to explain, as well as I coiild by writing, this complex machine ; but the construction thereof cannot be easily understood, except by those who are practised in things of this sort : those, however, who understand a little from the descrip- tion, will, when they see the machine itself, more easily comprehend it, and will find the whole curiously and ingeniously contrived." THE HISTORY OF THE ORGAN. 9 From this description, it seems that the water which forced the air into the pipes was pumped by men. Indeed, it has been much dis- puted whether the instrument was played with fingers, by means of levers or keys. The latter was impossible, as they were not invented until perhaps a thousand years afterwards ! Yet, it has been re- marked, the description of the hydraulicon by Claudian seems such a one as would suit a modern organ, only blown by the aid of water : — " Vel qui magna levi detrudens murmura tactu, Innumeras voces segetis moderatus aense ; Intonat erranti digito, penitusque trabali Vecte labbrantes in carmina concitat undas." Thus Englished by Dr. Busby : — " With flying fingers, as they lightsome bound, From brazen tubes he draws the pealing sound. Unnumber'd notes the captive ear surprise, And swell and thunder as his art he plies : The beamy bar he heaves ! the waters wake ! And liquid lapses liquid music make."* Kircher in his Musurgia (lib. ix., p. 332) has given a lengthy description of the Vitruvian hydraulicon, and has accompanied his account by an engraving of the instrument, such as he conceived it to have been from the description handed down to us. Isaac Vossius, in his treatise De Poematum Cantu et Viribus Rhythmi, p. 100, gives another fancied representation of the instrument ; and a third may be seen in Perrault's-f* notes upon Vitruvius ; but, as all three differ considerably from each other, they cannot be received as authorities. Dr. Burney says, " Neither the description of the Hydraulic-Organ in Vitruvius, nor the conjectures of his innumerable commentators, have put it in the power of the moderns either to imitate, or perfectly to conceive the manner of its construction ; and it still remains a doubt whether it was ever worthy of the praises which poets have bestowed upon it, or superior to the wretched remains of the invention still to be seen in the grottos of the vineyards, near the city of Rome." Athenseus, who flourished in the third century, has left us an account of the hydraulic-organ, which is probably the most ancient * General Hist, of Mus. 1819, vol. i., p. 2ZO. t This author mentions in his commentary on Vitruvius, a method of swelling and diminishing the force of each note in an organ : it is to communicate wind to one pipe, or to two, three, or more pipes, in proportion to the pressure of the key. This method has lately been introduced into the Harmonium. % Reflections on the Construction of Musical Instruments, Hiii. cf Mm, i., 491. 10 THE HISTORY OF THE ORGAN, and authentic extant * He tells us that it was invented in the time of the second Ptolemy Euergetes, by Ctesibius, a native of Alexandria (B.C. 200), and by profession a barber ; or rather that it was improved by him, for Plato furnished the first idea of the hydraulic-organ, by inventing a night-clock, which was a clepsydra, or water-clock, that played upon flutes the hours of the night at a time when they could s not be seen on the index. "^ Avery interesting treatise on pneumatics by one Hero of Alex- andria, supposed to have been a pupil of Ctesibius, has lately been translated from the original Greek, and published by Mr. Bennet Woodcroft.t Hitherto we have been content to rely on Vitruvius for our knowledge of the ancient organ, but now we have an independent authority ; for the work of Hero was unknown to Vitruvius, and both describe, with considerable differences, the construction of the hydraulic and of the pneumatic organ. Having briefly pointed out the treatise of Hero of Alexandria, for the benefit of those who think it worth while to investigate the subject, I shall merely call attention to this ancient author's drawing of " An altar organ blown by the agency of a wind-mill." The cylindrical vessel forcing the air into the pipes by means of a piston is here shown. In our own days, in a journal of only twenty-five years back, we read that " a novel organ has lately been erected by the Prince Brancaforte, upon a hill in his park, near Messina : it is supplied with wind by a wind-mill, and can be distinctly heard two or three miles distant." Probably the Italian prince thought that he had hit upon a * Lib. iv., p. 174. t The Piuumatici of Hero of Alexandria, Itom the original Greek. 4to., 1851. It contains two separate descriptions of the organ : " An Altar Organ blown by the agency of a Wind-mill " (noticed in the text), and " An Altar Organ blown by Manual Labour." THE HISTORY OF THE ORGAN. U novelty when he erected his wind-mill organ ; but we now find that his device had been anticipated more than eighteen hundred years before. The mechanical operation of the znater-organ, as we have said, is scarcely intelligible ; this much, however, is certain, that the hydranli- coii M-as provided with pipes and a wind-chest, and registered like the wind-organ. We must not suppose that the water directlj- produced the wind, but that it served merely to give the wind, by means of counterpressure, equalitj- and power. Ctesibius' object was "to employ a ro\\- of pipes of great size, and capable of emitting the most fanciful, as well as the softest sounds." He is also said to have invented, or perfected, the perforated slide, by which means he was enabled to open and shut the mouths of the pipes with greater facilit}-.* Instruments of the hydraulic kind were made of different sizes, and in different forms. Athenasus, in his chapter on musical instruments, before mentioned, refers to a water-organ small enough to be trans- ported' from place to place like the portable hand-organs of the Sa\o}-ards. A representation of this instrument is rudely indicated on a contomiate coin of the Emperor Nero, in the collection of anti- quities bequeathed to the \'"atican by Christiana, Queen of Sweden. It is a medal of \'alentinian, showing an organ of eight pipes placed upon a round pedestal. No performer or mode of performing appears ; but two figures, one on each side, are engaged in pumping the water by which it is worked.-f- Kepler, the celebrated mathematician, had a mean opinion of this instrument. He sa}s, " The water-organ, though it might ha\ e registers like the wind-organ, was not an admirable invention of the andents, but mere I'ngpiping !"% Tertullian, the patriarch, who declares Ctesibius, of x\lexandria, to be the : ::~ntar, and Archimedes the improi-cr of the w^ter-organ, expresses himself in the following extra\'agant terms of eulog\" : — " Obsene the extraordinar\- genius of Archimedes : I mean the water- organ : so man)- members, so man\- parts, so man}' joinings, so man}" roads or passages for the ^-oices. such a compendium of sounds, sucli * Dr. Smith's JCHsHmmy cf GntJt axJ Jlorn.:/! Antijtsitks, who cites, as authorities, Athenasus, Vitravius, Drieberg, Brunck"s yfmf., ii., 403, Claud. A Mull. Tiad. Caut., 316, Tertullian's Dr Amm:. 14. &c. f Xhis coio is engraved in Rich's Cemp,Xotriv bpoco ^ovdxiav (pucrir riwou air' a^Xiii Xa^a£H1f Ta%a //taAJiov aveiSxatrTuo-ai/ apoupn;, "Aypioi, ouJ' avsfioiv' 01 3"' avraT^ov (rxiptmvreg, a7ro6^t0ou(nv aoi^nv* Thus literally translated : — " I see a species of reeds : surely from another and a brazen soil have they quickly sprung — rude. Nor are they agitated by our winds, but a blast rushing forth from a cavern of bull's hide makes its way from below the root of reeds with many openings ; and a highly- gifted man, with nimble fingers handles the yielding rods of the pipes, while they, softly bounding, press out a sound." This passage is highly interesting, as showing the state of the instrument at this early period. From it we learn that the organ was still unprovided with a clavier or key-board, and that the bellows were made of a bull's hide. These facts have escaped the researches of former writers, who have alluded to the enigma, from their mistrans- lation of the original Greek. -f- * Anthohgia Grxca, Edit. Lips. 1794, torn, iii., p. in; also Du Cange, Glossarium et infimx laiinitatis, v. organum. t Burney translates the passage thus : " I see reeds of a new species, the growth of another and a brazen soil, such as are not agitated by our winds, but by a blast that rushes from a leathern cavern beneath their roots ; while a robust mortal, running with swift fingers over the concordant Jkys, makes them, as they smoothly dance, emit melodious sounds." — Sisi. of Mus., ii., 65. Busby gives a metrical translation : — " Reeds I behold, of earth the rigid spoil. Reeds of a novel growth, and brazen soil ! That not heaven's wind, but blasts mechanic breathe. From lungs that labour at their roots beneath ; While a skill'd artist's nimble finger bounds O'er dancing keys, and wakes celestial sounds." Hist, of Mus., i., 263. Both these learned writers use the word keys, which cannot, by any forced application, be found in the original. The word xmiias (camnas") means " any straight rod or pole, especially to keep a thing upright or straight — to regulate and order it." — See Liddell and Scott's Greek and English Lexicon. Burney translates ciiyt(UX'l " a tall, sturdy fellow ; and then adds, " alluding to the force necessary to beat that kind of clumsy carillon keys of this rude instrument of new invention." This Greek enigma on the organ is given by Mr. Wackerbarth, in his Music and the Anglo-Saxons, p. 9, who adds — " It is obvious, from the sixth line, that it was played with finger-keys, and not by large carillon-keys." He then blames Dr. Burney for missing " the sense of the passage," but does not attempt a new translation. It is necessary to add that Mr. Wackerbarth's copy of the eight Greek lines contains no fewer than twenty errors. i6 THE HISTORY OF THE ORGAN. We have here a curious representation of an organ of this period, which shows a singular mode of giving weight to the bellows. It is copied from the sculptures on the obelisk at Constantinople, erected by Theodosius, who died A.D. 39S.* Another curious description of the pneumatic organ is given by Cassiodorus, who flourished under King Vitigas, the Goth, A.D. 514, in his Commentary on the 150th Psalm.f " The organ," he says, " is an instrument composed of divers pipes, formed into a kind of tower, which, by means of bellows, is made to produce a loud sound ; and, in order to express agreeable melodies, there are, in the inside, move- ments made of wood, that are pressed down by the fingers of the player, which produce the most pleasing and brilliant tones." J At the latter end of the seventh and beginning of the eighth century, the organs of the Anglo-Saxons appear to have resembled, even in their external decorations, those now in use. The following passage from Aldhelm, § who died A.D. 709, will show that our ancestors at that time were accustomed to gild the external pipes : " Maxima millenis auscultans organa flabris, Mulceat auditum ventosis foUibus iste, Quamlibet auratis fulgescant csetera capsis." * Didron's Amales Arclikhgijua, Paris, 1845, contains an article on Organs by M. Cousse- maker. Our engraving is derived from this valuable work. \ The passage is also quoted by Bede, torn, viii., 899, 900. X Organura itaque est quasi turris quaedam diversis fistulis fabricata, quibus flatu follium vox copiosissima destinatur ; et ut earn modulatio decora componat, Unguis quibusdam ligneis ab interiori parte construitur, quas disciplinabiliter magistrorum digiti reprimentis, grandisonam eiEciunt et suavissimam cantilenam. In Psalm cl. § De laude firginum. BiUiothaa Maxima Patrum, tom. xiii., p. 3. This passage was first pointed out by Mr. Sharon Turner, Angh-Saxms, iv., 447. THE HISTORY OF THE ORGAN. 17 4. Its Introduction into the Church. The organ was early used in the public service of the church. Platina tells us* that it was first employed for religious worship by Pope Vitalian I., A.D. 666 ; but according to Juhanus (a Spanish bishop, who flourished A.D. 450), it was in common use in the churches of Spain at least 200 years before Vitalian's time.f The use of instruments in churches was much earlier ; for we are told that St. Ambrose joined instruments of music with the public service in the cathedral church of Milan ; which example of his was so well approved of, that, by degrees, it became the general practice of other churches. Nay, the antiquity of instrumental church music is still higher, if we may credit the testimony of Justin Martyr and Eusebius, the latter of whom lived fifty, and the former two hundred, years before tlie time of St. Ambrose.! We have seen, from the Epigram of the Emperor Julian, before quoted, that an organ capable of being used in religious ceremonies existed long before the erection of Christian churches ; we cannot then refuse to credit the testimony of Julianus, as to its admission into the service of public worship at an earlier period than that com- monly assigned. § It was some time before organs became common in the churches of Europe. Pepin (the father of Charlemagne), king of the Franks, an ardent worshipper of God, first introduced singing and the cere- monies of the Romish Church into France. He soon perceived the urgent need of an organ, both as an aid to devotion, and as a proper accompaniment and support to the choir. Accordingly (as the instrument was unknown at that time both in France and Germany), this pious king applied to the Byzantine Emperor Constantine, sur- named Copronymus, soliciting him to forward one to France. The emperor complied with the request, and in the year 757, or thereabouts, || sent him as a present, in charge of a special '^ Lives of the Popes ; Rycaud's translation, p. 114. t See Lorinus, Psal. 33. X Hawkins, bk. iv., chap. 32. ,§ Bingham (Christian Antiq,, bk. viii., c. 7 — 16) and his followers, assert that the organ was first introduced into churches by Marinus Sanutas, in 1290 ! The authorities cited in the course of the present section completely refute this notion. Cardinal Bona supposes organs to have been used in churches in the fourth century. — De Di-oin. FsaL, 1653. II Siegebert says 766 : but Walter Odington, of Evesham (who wrote in the 13th century), is a preferable authority. His words are. Anno Domini 757, venit Organum primo in Francium missum a potissima Rege Grecorum Pipino imperatori." — De Speailatione Musica. ' C 1 8 THE HISTORY OF THE ORGAN. embassy * a great organ with leaden pipes.f which was placed in the church of St. Corneille, at Compiegne. It also appears that an organ, constructed by an Arabian named Giafar, was sent to Charlemagne by the renowned " Commander of the Faithful," the caliph Haroun Alras- chid— an incident introduced with considerable effect by Madame de Genlis, in her romance, Les Chevaliers du Cygne. This was the instrument, in all probability, which Walafrid Strabo described as existing in the ninth century in a church at Aix-la-Chapelle. Its softness (query .') of tone, he adds, caused the death of a female. % It is certain that this organ was very imperfect, and we must suppose that poetical enthusiasm led Strabo a little beyond the truth. His words are these : — " Dulce melos tantum van,as deludere mentes Coepit, ut una suis decedens sensibus ipsam Foemina perdiderit vocum dulcedine vitam."§ Be this as it may, the French artists were eager to equal these speci- mens of foreign ingenuity ; and so successful were their efforts, that, in the ninth century, it is said, the best organs were made in France and Germany. Their superiority was acknowledged by John VIII., in a letter to Anno, Bishop of Friesingen, from whom he requested an organ, and a master for the instruction of the Roman artists. The passage runs thus : " Precamur ut optimum organum cum artifice, qui hoc moderari, et facere ad omnem modulationis efficaciam possit, ad instructionem musica; disciplinse nobis aut deferas, aut mittas." || Soon afterwards, we find them in common use in England, constructed by English artists, with pipes of copper fixed in gilt frames.lT St. Dunstan, in the reign of Edgar, erected or fabricated an organ, the pipes of which were made of brass.** The following notice * The deputation to King Pepin was headed by Stephanus, a Roman Biahop. — Aventini, Annates Bavaritc. t Alex. Sardus, De rerrnn Inwniorihis, lib. i. t Eginhard, in his Annali of Louii le Selonnaire, and Nigellus, in his poem on the life and actions of Louis the Pious, printed in the Scriftorei Italic! ds Muratori, both speali of the organ at Aix-la-Chapelle ; but they allude to the hydraulicon, not to the pneumatic-organ. The former was in the palace of the King, the latter in the church. Historians have strangely confounded the two. I Walaf Strabo apud Abb. S. Blasii, p. 140. II Sandini, in Fit. Pont. \., p. 294. See also Dr. Lingard's Antiquities of the Anglo-Saxon Church, ii., p. 376. % Atdhelm in Gale, pp. z66, 410, cited by Lingard, Anglo-Saxon Church, ii., p. 376. See also the curious passage from Aldhelm quoted in a previous section, ante, p. 1 3. ** St. Dunstan diedA.D. qgg. THE HISTORY OF THE ORGAN. ig of this instrument is preserved by William of Malmesbury : — " Ideo in multis locis munificus, quae tunc in Anglia magni miraculi essent, decusque et ingenium confcrentis ostenderent, offerre credo. Itaque signa sono et mole praestantia, et organo ubi per aereas fistulas musicis mensuris elaboratas, ' dudum conceptas follis vomit anxius auras.' Ibi hoc distichon laminis aereis impressit — Organo de Sancto Prtesul Dunstanus Aldhelmo ; Perdat hie seternum qui vult hinc toUere regnum."* This worthy prelate also caused an organ to be erected in the abbey church of Glastonbury. In the same century, Count Elwin presented an organ to the convent of Ramsey, on whicla it is said, " The earl devoted thirty pounds to make copper pipes of organs, which, resting with their openings in thick order on the spiral winding in the inside, and being struck on feast days with a strong blast of " bello^^'s, emit a sweet melody and a far resounding peal."-}- In the old monastic church of Winchester was a monster organ, according to its description by the monk Wulston,]: whose fidelity, as Lingard remarks, cannot be questioned, since he dedicated his poem to Bishop Elphege,§ by whose order the organ was built about the close of the tenth centurj-. The portion of Wulston's poem relating to the organ is as follows : — " Talia et auxistis hie organa qualia nunquam Cernuntur, gemino constabilita solo. Bisseni supra sociantur ordine folks, Inferiusque jacent quatuor atque decern. Flatibus alternis spiracula maxima reddunt Quos agitant validi septuaginta viri ; Brachia versantes, multo et sudore madentes, Certatimque suos quisque movet soeios, \'iribus ut totis impellant flamina sursum Rugiat et pleno capsa referta sinu Sola quadringentas quK sustinet ordine musas Quas manus organici temperat ingenii. • Gale, torn, iii., p 366 ; Wackerbarth's Mutit andthc jingh-Saxons, p. 19. f The original Latin of this passage is thus given in the Acta Sanctorum : — " Triginta praiterea libras ad labricandnm cupreos organorum calamos erogavit, qui in alveo suo, super unam coch- leannn denso ordine foraminibus insidentes, et diebus festis foUium spiramento fortiore pulsati, prardiJcem melodiam et clangorem longius resonantem ediderunt." — Acta Sanctorum Ordinh Benedict. StK., V. p. 7J6. See also Gj/e, torn, iii., p. 420. t Called Wulston or ff^oktm the Deacon. He died A.o. 963. §Elphegus Calvus received the Bishopric of Winchester in aj). 935, and held it till 951. C2 20 THE HISTORY OF THE ORGAN. Has aperit clausas, iterumque has claudit apertas Exigit ut varii certa camffiiia soni. Considuntque duo concordi pectore fratres, Et regit alphabetum rector uterque suum. Suntque quaterdenis occulta foramina linguis, Inque suo retinet ordine quseque decern : Hue alise currunt, illuc aliasque recurrunt Servantes modulis singula puncta suis ; Et feriunt jubilum septem discrimina vocum Permixto lyrici carmine semitoni : Inque modum tonitrus vox ferrea verberat auras, Prffiter ut hunc solum nil capiat sonitum. Concrepat in tantum sonus hinc illincque resultans, Quisque manu patulas claudat ut auriculas, Haudquaquam sufferre valens propiando rugitum, Quem reddunt varii concrepitando soni : Musarumque melos auditur ubique per urbem, Et peragrat totam fama volans patriam. Hoc decus Ecclesiae vovit tua cura Tonanti, Clavigeri inque sacri struxit honore Petri."* Thus translated by Mr. Wackerbarth-f-: — " Such organs as you have built are seen nowhere, fabricated on a double ground. Twice six bellows above are ranged in a row, and fourteen lie below. These, by alternate blasts, supply an immense quantity of wind, and are worked by seventy strong men, labouring with their arms, covered with perspiration, each inciting his companions to drive the wind up with all his strength, that the full- bosomed box may speak with its four hundred pipes which the hand of the organist governs. Some when closed he opens, others when open he closes, as the individual nature of the varied sound requires. Two brethren (religious) of concordant spirit sit at the instrument, and each manages his own alphabet. There are, moreover, hidden holes in the forty tongues, and each has ten (pipes) in their due order. Some are conducted hither, others thither, each preserving the proper point (or situation) for its own note. They strike the seven differences of joyous sounds, adding the music of the lyric semitone. Like thunder the iron tones batter the ear, so that it may receive no sound but that alone. To such an amount does it reverberate, echoing in every direction, that every one stops with his hand his gaping ears, being in no wise able to draw near and bear the sound, which so many combinations produce. The music is heard throughout the town, and the flying fame thereof is gone out Over the whole country. This honourable church has your care dedicated to the Ruler of the thunder, and built up in honour of the key-bearing St. Peter." J * Acta Sanctorum Ordinis Benedict. Sac, v., p. 631 — 2. f JUitsic and the Anglo-Saxons, p. 12 — 15. X Mason (Essays on English Church Music, p. 37) gives the following metrical translation of eiglit lines of Wulstun's poem. He was not aware of the original, but quoted from Dom Bedos, who in his turn took the passage from Du Cange's Glossary : — " Twelve pair of bellows, ranged in stated row. Are join'd above, and fourteen more below ; These the full force of seventy men require. Who ceaseless toil, and plenteonsly perspire ; THE HISTORY OF THE ORGAN. 21 Although this curious description gives the idea of an instrument of large size and complicated mechanism, its construction must have been of a very primitive kind. Mr. Wackerbarth imagines that it possessed registers or stops ; a key-board furnished with semitones ; and a compass of three and a half octaves. Of the first position, we have no proof whatever in the poem itself Of the second, all the writer says is that it was provided with the seven sounds and the " lyric semitone," which latter clearly means the B flat. The alphabet alluded to was the handles of the rods or levers by which the instrument was played ; the key-board was not yet in- — The great B stood in front, was thirty-two S feet long, and three and a quarter inches (?) in diameter. According to Prsetorius,* who gives us this account, this organ had four claviers, one being pedals for the feet, and twenty bellows, requiring ten men to supply the wind. This is the earliest authentic account of an organ provided with the semitones of the scale. Dom Bedos,t indeed, tells us that " half- notes were invented at Venice in the twelfth tentury ;" but as his statement is unsupported by proof, we prefer following the earlier authority of Pr^torius, who assigns their introduction to the middle of the fourteenth century — a period more in accordance with what we know respecting the progress of harmony in the Middle Ages. Prsetorius is, perhaps, wrong in fixing so early a date for the invention of the pedal. The Halberstadt organ was probably provided with this important addition by Gregorius Kleng, who restored the instrument in 1494. The invention of the pedal is commonly attributed to a German, named Bernhard, organist to the Doge of Venice, between the years 1470-80 ;% but it was certainly anterior to this date. A writer in the Leipsic Musical Gazette, 1836, states that, in the year 18 18, a new organ was erected in the church of Beeskow, four miles from Frank- fort-on-the-Oder ; on which occasion, the organ-builder, Marx (senior), took some pains to ascertain the age of the old organ he had to remove. On a careful investigation, it appeared that the organ had been built just four hundred years, the date of 1418 being engraved on the upper side of the partition {kern) of the two principal pedal pipes ; for that these two pipes did belong to the pedal was clear from their admeasurement. From this fact, it may reasonably be concluded * Syntagma Muskum, vol. ii., p. 98. \ VArt du Facture des Orgues> X It is sometimes claimed for Albert Van Os, who is said to have built an organ for St. Nicholas' Church, Utrecht, in 1120. Traxdorf, in 1468, also (with more reason) has his advocates for the invention. THE HISTORY OF THE ORGAN. 45 that the pedal may have been in use towards the end of the fourteenth century. Bemhard probably made some improvemettts in the pedal board which tradition has associated with the invention. Marinus Sanutus, a celebrated Venetian patrician, and a zealous promoter of Christianity, caused, in 13 12, an organ to be built for the church of St Raphael, in Venice.* This was the first organ erected in that city. It was probably a large one, and the builder was a German. Hence we see that the Germans, at this early time, had acquired a considerable reputation for organ-building, which had even passed the limits of their fatherland ; and it will be observed, in the further progress of these pages, that the great improvements in this instrument almost exclusively proceeded from these thoughtful people. 14. Monastic Organs in England. In England, as we have seen, a large organ existed at Winchester in the tenth century; and probablj-, even at this early period, other cathedrals were suppUed in a similar manner. Ger\^ase, the monk, of Canterbury, describing the burning of that cathedral in 1 174, mentions the destruction of the organ ; but does not allude to it as if it were an unusual thing in' a church.-)* The organs of the abbeys of Malmes- J)ury and Glastonbury we have already mentioned ; and long before the close of \h& fourteenth century, all our abbeys and churches were plentifully supplied \vith instruments of this class-J Chaucer, in his tale of the Cock and t/ie Fox, speaking of Chaun- ticlere, the hero of the poem, says : " His vois was merrier than the merry organ. On masse days that in the churches gon." Again, speaking of St. Cecilia, the same poet says : " And while that organs maden melodie. To God alone thus in her heart sung she." * This oiTan had so many admirers in Venice, that Maiinos Sanntiis received the honourable title of TondUa, organs being at that time called TmxdS, in Italy. — Seidel. If this organ was the^rr< erected at Venice — and we have reason to bdieve the statement — it is a sufficient refiitation of Dom Sedos' story that " half-notes were invented at Venice in the tiadfih century." t Gervas. Doiobem. apnd decern Scriptores de incendio, &c. " Oigana qu« snpta foicinem in austtalia cruce." } In Cotton MS. Nero, D. VIL, in the British Mosenm, numerous curioiK particulars are recorded respecting the iise of organs in England ; as at St. Albans, and Croyland, where there were "oroana solemnia in introitn ecclesie supoius sitnata," as well as smaller organs in the choir. 46 THE HISTORY OF THE ORGAN. In the fourteenth century, it became the practice to place two organs in large churches ; one large, the other small. The great organ was provided with two manuals, from lE^ — to ^ y ^ , — - — 2; ^ the upper manual forming the treble, the lower one the bass. This arrangement, according to Seidel, suggested the invention of the copula. The pipes of these instruments were always exposed ; and such an organ (according to Fosbroke*) was, and perhaps is now, at Uley Church, in Gloucestershire. The organist was usually one of the monks, when little more was required than to accompany the plain-song or chant. Afterwards, as musical composition improved, and more skill was required for its performance, lay organists were hired.-f- The precentor's accounts of Ely Cathedral for the year 1407, give the earliest details of the " Expenses of making an Organ " with which I am acquainted. Translated from the Latin they read as follows: — " 20 Stones of lead . . . . . 4 White horses' hides for 4 pair of bellows Ashen hoops for the bellows 10 Pairs of hinges The Carpenter, 8 days making the bellows 12 Springs I Pound of glue 1 Pound of tin 6 Calf skins 12 Sheep skins 2 Pounds of quicksilver Wire, nails, cloth, hoops, and staples Fetching the organ-builder, and his board 1 3 weeks Total . . . . 16 7 I 2 2 2 2 I 40 d. 9 8 4 10 8 3 I 3 6 iZ 17 8.' * British JUbnachism : or, Manners and Customs of the Jlfonh and Nuns of England, edit. 1 843, p. 204. t In ancient times, no distinct officer liy the name of organist was appointed in churches or colleges. This duty was subordinate, and appears to have been commonly performed by one of the clerks. In tlie statutes of Corpus Christ! College, at Oxford, given in 15 17, two chapel clerks are established ; one of whom is also to be the organorum fulsator. The first instance of the mention of an organ in any collegiate statutes occurs in those of Eton College, made about the year 1440 ; where one of the four clerks who is appointed to instruct the choristets is more- over oxietei jubilare organis. Here also, for the first time, Canlus organicus is mentioned. In the new cathedral-foundations of Henry the Eiglith, a master or teacher of the singing boys is appointed ; and, besides, he is to be " Cantandi et organa pulsandi, peritus." At New College, Oxford, King's at Cambridge, and Winchester College, in each of which are ample choirs, there is no provision by statute, not even for an Infirmalor Choristarum — although such an officer occurs in the early rolls of New College. At IMagdalen College, Oxford, founded about the year 1459, THE HISTORY OF THE ORGAN. 47 The small proportion of tin, and the lai^e quantity of lead made use of for the pipes is remarkable. The quicksilver was probably used to silver tlie latter ; or. perhaps, to soften the other metals. It is to be regretted that the maker's name is not given, but we maj- be sure that he was a monk. The Fabrick Rolls of York ilinster are among the earliest and most interesting documents of tlieir class. Particulars of the "oi^ns" commence as earh- as 1399, and in 1419 we have the following entries : — ■■ For constructing two pair of bellows for the organ, 46s. 8d. " For constructing the ribs of the bellows of the same organ, bv John Couper, I2d."' A representation of the instrument, of this date, is still existing in \ ork Cathedral ; beneath the great niche over the w est window of which there is an organ canned in the pediment ; the pipes appear without a case, and it has a single row of keys on which an angel is pla\-ing from a music-book held by two small boys or choristers below, while another is behind blowing tlie organ with a paif of common bellows. A similar device is carved over a door on the north wall of the cathedral of Utrecht It is doubtful whether John Couper was the builder of the organ, or merely the carpenter. The ambiguity of tlie scribe has perhaps deprived this worthy of the honour of being the earliest English oi^n- builder on record. The next entrj-, in 1457. •* more clear : — ■■ To John Roose, brother of the order of Preaching Friars, who repaired and restored the organ at the altar of the B. ^^ M. in the Cathedral Church of the City of York, and one pair of bellows for the same, 36s. Sd.'^ Again, under date 1469, we have : — " To brother John for constructing two p; airing of the same, 15s. 2d."' Both these entries imdoubtedh" relate to the same person ; and to theie i$ also no mention of an oi|;anist : but it i^ oijoined that one of the chaplains, or clerks, or some other skilful person, shall e of ale, and seven loave;, every vifeek, and a gown and four leads of wood annually, to Ralph Drake, cmtor, or chanter, /rt jersMn nobis in ilia sciencia musica : and, on condition tba; he attend the choireveiy day, and teach four boys, and one of the monks, or as many as chose, to play on the cHgan. — See Jf'jrkx's life tfSir T. f^fc. Appendix, p. 4:5, for further informalioD. " To brother John for constructing two pair of bellows for the great organ, and repairing of the same, 15s. 2d."' 48 THE HISTORY OF THE ORGAN. Father John Roose must be awarded the distinction of being the first English organ-builder of whom we have any authentic account. Other entries occur in the York records where " organ menders " are mentioned. In 1470, we have the name of George Gaunte ; and in 1473, of Richard Sowerby. But in 1485 we have the fol- lowing specific and curious entry : — " To John Hewe for repairing the organ at the altar of B. V. M. in the Cathedral Church, and for carrying the same to the House of the Minorite Brethren, and for bringing back the same to the Cathedral Church, 13s. gd." This is the earliest instance I have found of a practice afterwards common — that of one church lending another its organ.* Surely no further proof need be required of the smallness of our cathedral organs at the end of the fifteenth century. But it was not uncommon before the Reformation for a cathedral to possess several organs. The York records particularly mention the organ at the altar, and the large organ in the choir. It was the smaller organ that was lent to the Minorite Brethren. There were doubtless several other organs in the various chapels. Davies, in his Ancient Rites and Monumettts of the Monastical and Cathedral Church of Durham : i2mo, i672,'f- has left us a curious pas- sage concerning the organs of that monastery : — " There were," says he, " three pair of organs belonging to the said quire, for maintenance of God's service, and the better celebrating thereof One of the fairest pair of the three stood over the quire door, only opened and play'd upon on prin- cipal feasts, the pipes being all of most (ine wood, and workmanship very fair, partly gilt upon the inside, and the outside of the leaves and covers up to the top, with branches, and flowers finely gilt, with the name of Jesus gilt with gold. There were but two pair more of them in all England of the same making ; one in Vor^, and another in Paufs. " Also there was a lantern of wdod like unto a pulpit, standing and adjoining to the wood-organs over the quire door, where they had wont to sing the nine lessons, in the old time, on principal dayes, standing with their faces towards the high altar. " The second pair stood on the north side of the quire, being never play'd upon, but when the four doctors of the church were read, viz., Augustine, Ambrose, Gregory, and Jerome, being a pair of fair large organs, called the Cryers. The third pair were daily used at ordinary service." In an inventory of the plate, jewels, ornaments, &c., belonging to * 1508. " For bringing the organs of the Abbey (Westminster) into the church, and beryng them home agayne, ij""." — Accounts of St. Margaret's, Westminster. t Compiled from ancient MSS. before the dissolution of the monasteries. J. Davies, of Kidwelly, was the editor. Another edition of this curious volume was printed in 1733, with some additibns. THE HISTORY OF THE ORGAN. 49 the late Priory of Ely, Cambridgeshire, we read of "two paer of organs iivthe quyer," and "a paer of organs in the Ladye Chaple."* In the ancient Cathedral of Worcester, the chapel of St. Edmund had a pair of organs ; that of St. George, another pair ; and in the choir was the great organ.f Some of the entries in ancient documents respecting the organ are interesting, not only as showing its very general use in churches and monastic establishments in the fifteenth and sixteenth centuries, but also as exhibiting the progress — slow as it evidently was — of the art of organ-building, whilst it remained in the hands of the monks. In the churchwardens' accounts of St. Mary's, Sandwich, are the following entries : — " 1444. Ress* [ReC] the bequeth of Thomas Boryner unto a payre of orgonys . iiij U. To Sir JohnJ for the amendyng of the organs . . . xii d. 1462. To a Preyst for the amending of the organys . . . iiij rf. To a Preist that playth at organys . . . . . iiij rt?. 1463. To Sir John for hys playying at organys . . . vi j. viij d. 1496. Payd for mendyng of the lytell organys . . . iij s. iv d. Item, for shepeskyn to mend the grete organyse . . iij d. 1502. Paid for mending of the giet organ bellowis, and the small organ bellowis v d. Item, for a shepis skyn for both organys, and for trying of the wax for the Paschall ij Jan. 12. Item to the chanoun of Holyrudhous that mendit the organis in Strivelin and Edinburgh, vij""-" " 1511. Item to GiUeam, organist, maker of the Kingis oiganis, for expenses maid be him at the sayd organis, in gait skynnis, and parchment for the belles, in naiUis and sprentis of ime, in glew, papir, candiU, coUl, &c., viij"- iiij'-" The re-introduction of organs, episcopal vestments, decorations, &c., by James VI., into tlie chapel at Holyrood Palace, during his visit to Scotland in 161 7, were regarded with great horror by his Scottish lieges. " The Scots," says one of their own historians, " are in all acts of religious devotion, simple, rude, and naked of ceremonial. The King, accustomed to the use of the oi^n and church ritual, commanded them to be used in his chapel of Holy-Rood, and in the moment of joy occasioned by the general expectation of his arrival, did that, by exertion of authority, which he could not have done otherwise consistently with the actions and religious establish- ment of his native country. This was ill endured by the common people of Edinburgh, who considered it as staining and polluting the house of religion by the dregs of popery. The more prudent, indeed, judged it but reasonable that the King should enjoy his own form of worship in his own chapel ; but then followed a rumour, that the religious vestments and altars were to be forcibly introduced into the churches, and the purity of religion so long established in all Scotland, for ever defiled. And it required the utmost efforts of the magistrates to restrain the inflamed passions of the common people."-|- The organ introduced into the Chapel Royal of Edinburgh by James VI. must have been a magnificent instrument I have * Aiuxnt Mdadia of Saithuid, 410., 1838. t Johnston's Hisioria Jterum Britamuconim^ ad aimurn l6lj. 72 THE HISTORY OF THE ORGAN. been fortunate enough to meet with a very curious notice of it. John Chamberlain, writing to Sir Dudley Carleton, Dec. 7, 1616, speaking of the King's intended progress to Scotland, adds — " We hear they made great preparations there to be in their best equipage ; and from hence (London) many things are sent, but specially a pair of organs that cost above £dfX>, besides all manner of furniture for a chapel, which Inigo Jones tells me he hath the charge of." Some years after this, we are introduced, for the first time, to a Scotch organ-builder. The author of Rouen: its History and Monumcfits* speaking of the church of St. Godard, says — " In 1556, its organ was a very small one. It was afterwards enlarged ; but in 1562, it was destroyed by the Calvinists. The present organ, which was built in 1640, is the work of a Scotchman named George Leslie." Of organs in Ireland, I have not been able to meet with any particulars, and they would seem to have been almost unknown in that country in early times. In the Parochial Records of Cork, in the reign of Charles I., there is an order to pay £\6 towards erecting a musical instrument called in English organs, as the custom is to have in cathedral churches;" f An organ-builder, a native of this country, seems to have acquired considerable fame on the Continent in the last century. He built an organ for the Cathedral of Lisbon about the year 1740, which is thus described in Joseph Baretti's amusing Journey from London to Genoa'''' X : — " The name of this man is Eugene Nicholas Egan, a native of Ireland. He is scarce four feet high ; but what body he has is all alive. He has obtained his place of Masra neither by chance nor protection, but by dint of skill. The King had caused eight famous organ-makers to come to Portugal from Italy, Germany, and other parts ; and he whose organ should prove best, was to have that place. You may well imagine that each strove to conquer his rivals. But the immortal Castrate Caffarello, together with the celebrated composer, David Perez, having been deputed to judge of their several performances, unanimously decided in favour of little Egan's, and of course he had the place. His salary proved afterwards not so ample as he expected : but what is a salary to a genius ? He has defeated his enemies ; he has seen them quit Portugal with shame." With regard to Wales, Dafydd ab Gwilym, who wrote in the fourteenth century, makes particular mention of an organ and choir * Rouen, I zmo., p. 93. f Clerical and Parochial Records of Cork, Cloyne, and Ron, by W. M. Brady, D.D. 1 864. X London, 1760, vol. i., p. 253. I am indebted to my friend, Mr. W. B. Gilbert for the above curious notice. THE HISTORY OF THE ORGAN. 73 at Bangor in his time* The Red Book of St. Asaph takes notice of a " loud organ " that existed at a very remote period in that church ; and the organ at Wrexham enjoyed more than a local celebrity. Fuller, in his Worthies, says — "These organs were formerly most famous (the more because placed in a parochial, not cathedral church) for beauty, bigness, and tuneableness, though far short of those in worth which Michael, Emperor of Constantinople, caused to be made of pure gold, and beneath those in bigness which George the Salmatian Abbot made to be set up in the church of his convent, whose biggest pipe was eight-and-twenty foot long, and four spans in compass." According to a Gazetteer of England and Wales, temp. Charles II., " At Wrexham is y* rarest steeple in y' 3 nations ; and hath had y= fayrest organes in Europe, till y= late wars in Charles y= ist his raigne, whose Parliament forces pulled him and them downe with other ceremoniall ornaments." 21. Improvements by German Builders. In Germany, and other parts of the Continent, the Reformer, Ulric Zuingle, had succeeded in banishing, for a time, the use of organs in public worship. But, early in the sixteenth century, this noble instrument was reinstated in the Church, and many improvements were made in its construction. It was in this century, according to Prsetorius,f that registers, by which alone a variety of stops could be formed, were invented by the Germans. Improve- ments at this period were also made in the pipes, particularly the invention of the stopped pipe, whereby expense was saved, and that soft, pleasing tone obtained, which open pipes are unable to yield. By employing the small scale, a number of registers with a penetrating, yet pleasing, tone were obtained, in imitation of the violin, viol de gamba, &c. By the large scale, on the contrary, was preserved that full, round tone which we always hear in good organs. Besides these," certain kinds of pipes were made to taper upwards, whereby some other registers were added to the former, such as the spitz-flute, the gemshorn, &c. * See .4 Cmmandatory Ode, addressed to Sywel, Dean 0/ JBangor (Hovrel was made Dean in 1359), printed by Browne Willis. "j" Syntagma Hfusieum. 74 THE HISTORY OF THE ORGAN. In the course of the sixteenth century, reed registers were invented, with which it was sought to imitate the tone of other instruments, and even the voices of men and animals — for instance, th.& posaune, trumpet, skalm, vox-humana, bears-pipe, &c. In the same century the key-board was extended to four octaves ; but the lowest octave was seldom or never complete. An instrument of this kind was called an organ with a short octave. In 1570, Hans Lobsinger, of Nuremberg, invented the bellows with one fold, which is still found in old organs. In 1576, an organ with sixty practicable registers and a "back choir" was erected at Bernan, in the Prussian province of Brandenberg. This organ, which is still in existence, has forty-eight keys in the manual, and sixteen in the pedal. It has four bellows, each of which is twelve feet long, ■ and six feet wide. The workmanship is said to be masterly, the whole mechanism bearing evidence of the great progress in organ- building at this period. " Great organs and great organists," says Dr. Burney,* " seem, for more than two centuries, to have been the natural growth of Germany. The organ which is still subsisting in St. Martin's Church, at Groningen, in North Holland, and of which some of the stops are composed of the sweetest toned pipes I ever heard, was partly made by the celebrated Rodolph Agricola, the elder.t And, from that time to the present, the number of organ-builders whose names are well known to the lovers of tha.t noble instrument, in Germany, is hardly credible in any other country. But, to show my English readers what a serious concern the erection of an organ is in this part of the world, I shall close my account of the progress of music in Germany, during the sixteenth century, by relating the manner in which the magistrates of Groningen contracted with David Beck, of Halberstadt, to construct an organ for the castle church of that city. " In the year 1592, articles were drawn up between the magistrates and organ- builder, in which it was agreed by the former, that, for an instrument, the contents of which were minutely described, a certain sum stipulated should be paid to the latter upon its completion, provided it was approved, after trial and examination by such organists as they should nominate for that purpose. The instrument, in its construction, employed the builder four years ; and, in 1596, the most epiinent * History of JVium, vol. iii., p. 255. ■f A learned priest, born in the year 1442, at Bafflen, a village in Friesland. He is said to have been a prodigy in literature and science. Vossius says he was a great pliilosopher ; that he understood Latin, Greek, and Hebrew, and was a. great musician. He died in J485, at Heidelberg, and was buried in the Minorite church of that city} where is the following inscription to his memory : — " Invida clauserunt hoc marmore fata Rudulphum Agricolam, Frisii spemque decusque soli. Scilicet hoc uno meruit Germania, laudis Quicquid habet Latium, Graecia quicquid habet." A fine portrait of Rodolph Agricola is preserved at Knole House, in Kent, the seat of Lord Amherst. THE HISTORY OF THE ORGAN. 75 organists in Germany being invited, the names of all those who signed the certificate of approbation, to the amount of fifty-three in number, are recorded in a book called Organum Gruningense redivivum, published by Andrew Werckmeister, 1705."* 22. Italian Organ Builders. The mechanism of the organ appears to have been well under- stood by the Italians in early times. The family of the Antegnati, of Brescia, were amongst the earliest famous organ-builders in Italy, in the fifteenth and sixteenth centuries. Zarlino, in his Institutioni Harmoniche, fol., Venice, 1558, mentions "Vincenzo Columbi and Vincenzo Colonna, two Italian organ- makers of the sixteenth century, inferior to none in the world." Columbi built the magnificent organ in the church of St. John Lateran at Rome, in 1549, which was afterwards enlarged by Luca Blasi Perugino, in 1600. Perugino built the organ for the church of Constantine at Rome, by order of Pope Clement VIII. ; also the organs in the Cathedrals of Orvieto and Trent.-f- In later times, Hermann, a Jesuit, acquired considerable fame in this department of art. He built the organ in the church of St. Ambrogio, at Genoa, in 1648 ; that in the Carignana Church, in the same city, in 1649 ; and one of the organs in the Cathedral of Como, in 1650.I 23. Notices of Foreign Organs. In the journals of some of our travellers in the seventeenth century are scattered many curious notices of foreign organs, a few of which are here extracted. First,— of Tom Coriat, the " Odcombian traveller," whose Crudities were published in 161 1. Speaking of the Cathedral of Bergamo, he says — "There are here two very rich paire of Organs on both sides without the Quire, most sumptuously gilt and imbossed, with many very excellent works." * This voluminous writer on Music was born in 1645. He held the posts of inspector- general of organs in the Prussian dominions, and organist of the church of St. Martin, at Halberstadt. He died in 1706. His two books, caUed Orgel Probe, contain some interesdng notices of the history and construction of organs in Germany. f Padre Bonanni's Gabinetta Armonico, 4to, Rome, 1722. X In the eighteenth century there were in Italy many celebrated organ-builders, amongst whom, Serassi, of Bergamo, and 6allido, of Venice, each constructed upwards of three hundred organs. •j(i THE HISTORY OF THE ORGAN. In the church of the Augustine Friars, in the same city, " they have a wonderfull rich paire of Organs (lately made) and decked with exceeding faire pillars ; made indeed but of wainscot, but so curiously handled, that it yieldeth a very faire shew : it is said it shall be all gilt." At Verona, Coriat says — " The fairest organs that I saw in Italy, or in any other country, are in this domo." In the Cathedral of St. Mark, Venice, " at both sides of the choir are two exceeding faire payre of Organes, whose pipes are silver, especially those on the left hand as you come in from the body of the church, having the brasen winged lyon of St. Mark on the top, and the images of two angels at the sides : under them this is written in faire golden letters. Hoc rarissimum opus Urbanus Venetus F." The philosophical John Evelyn, writing in 1641, says — " Generally all the churches in Holland are furnished with organs." He speaks of the " organs at Haerlem ;" and of that at Vienna (which place he visited in 1644), as being " exceedingly sweet and well-tuned." In 1 64s, he tells us that the organ at the Colunna at Rome, is " accounted one of the sweetest " in that city. Mentioning the Cathedral at Milan, in 1646, he adds — "here are two very fair and excellent organs." Sir John Reresby, in his Travels (in the middle of the seven- teenth century), says — " At Venice are reckoned seventeen hospitals, sixty-seven parish churches, fifty-four convents of friars, twenty-six nunneries, eighteen oratories, and six schools. In these churches are the bodies of fifty saints, one hundred and forty-three pair of organs, &c. Speaking of the' church of Santa-Croce, at Florence, he observes — "the making of an organ in this church, besides the materials, cost four thousand crowns!' William Carr, "gentleman, late consul for the English nation in Amsterdam," in his Remarks of the Government of severall parts of Germanic, &c., i2mo, 1688, makes mention of several interesting particulars concerning organs. In allusion to the city of Amsterdam, he says — " I will not say much of her churches, but only that they are in general large and well built. In one of them the States have, spared no cost to exceed the whole world in three things (viz.), an organ with sets of pipes that counterfeit a chorus of voyces; it hath 52 whole stops, besides halfe stops, and hath two rowes of keyes for the feet, and three rowes of keyes for the hands. I have had people of THE HISTORY OF THE ORGAN. -JJ quality to heare it play, who could not believe but that there were men or women above singing in the organ, until they were convinced by going up into the organ roome," &c. At Hamburg, the same writer tells us — " The churches are rich in revenues, and ornaments, as images and stately organs, wherein they much delight. They are great lovers of musick; in so much that I have told 75 masters of severall sorts of musick in one church, besides those who were in the organ-gallery. Their organs are extraordinarely large. I measured the great pipes in the organs of St. Catherine and St. James's Churches, and found them to be 3 foot and 3 quarters in circum- ference, and 32 foot long; in each of which organs there are two pipes, 5 foot and 8 inches round." At Haerlem, we are told — " Here is One of the fairest and largest churches of the 17 provinces ; in the walls whereof there remain to this day sticking, canon bullets, shot by the Spaniards during the siege thereof In this church are three organs." 24. The Ancient Position of the Organ. Though it is not in the province of this work to enter upon the subject of the ecclesiastical fitting-up of the chancel or choir, it will not be out of place to say a word or two as regards the ancient position of the organ.* In the medieval ages, this instrument was placed on one side of the choir; a position which seems to have been almost universal throughout Europe. Gervase, the monk of Canterbury, whose curious account of the burning of that Cathedral, in 1174, has descended to our times, •{■ informs us, that the organ stood upon the vault of the south transept. After the rebuilding of the Cathedral, the instrument was placed upon a large corbel of stone, over the arch of St. Michael's Chapel, in the same transept. \. In Dart's view, the organ is shown on the north side of the choir, between the pillars three and four ; where it still remained in the time of Dr. Burney. * It will be right to mention, that a pamphlet appeared, some few years back, entitled Choirs and Organs; their proper Position in Churches; by William Spark, Organist and Choir Master, Leeds. The brochure is merely an expression of the writer's opin'wn on the subject. He concludes — " that, as historical data do not furnish any uniform rule for our guidance in the locating organs and choirs," we are justified in placing them just where we please. t Dart's Canterbury Cathedral, p. 7 ; and the Gentleman s Magazine for 1772. J A representation of this corbel, with the organ as it then stood, over the screen, may be seen in Britton's Canterbury Cathedral, pi. iv. The corbel has since been removed. 78 THE HISTORY OF THE ORGAN. The organ in the old Catliedral of St. Paul, was placed under one of the north pier arches of tlie choir, just above the stalls ; having a choir organ in the front, and shutters to close in the great organ. The case ^ras Gothic, with a crocketted gable.* It occupied the same place during the Protectorate, and was destroyed in the Great Fire of 1666. The organ of Westminster Abbey, upon which Purcell played, stood on the " nortli side of the choir," over the stalls ; and seems, from the view of it in Sandford's Coronation of James IT., to have been a small instrument with diapered pipes.-f- At York, the Cathedral organ, built by Robert Dallam, in 1632 (before mentioned), was, by the express command of Charles the First, placed on the " north side of the choir," nearly opposite the bishop's throne. The reason given by the king was, that (placed on the screen whicli divides the choir from the nave) the organ was an impediment in viewing the interior of the church. King Charles's judicious decision was put aside in the year 1690, when Archbishop Lamplugh ordered the instrument to be removed to the stone screen. :|: The organ of Winchester Cathedral, erected at the Reformation, was placed upon the screen between the nave and clioir. It was removed, by the order of Charles the First, to the " north side of the choir." § "At Chester Cathedral," says Burney, "the small primitive organ is still standing on the left side of the choir, though that which is now used is at the west, end." || The old organ of Rochester Cathedral is said to have originally stood in the north transept. 1" Fisher, in his History of Rochester, 1772, p. 67, says — " Over the entrance to the choir is an ancient organ, which Browne Willis, when he surveyed the Cathedral, termed 'a sightly organ;' but it now gives both the visible and audible indications of * See an engraving of the choir, showing tlie organ, in Dugdale's St. PauPi. f It would be interesting to linow what became of this organ, hallowed by the fingers of Purcell. One account is, that, when it was removed from the Abbey, in 1730 (the date of the present instrument), it was given or sold to the parish of St. Margaret's, Westminster ; and the remains of it, after lying for many years in the tower, were disposed of by the churchwardens, some thirty or forty years ago. Another account is, that It was removed to Vauxhall Gardens ; and was, in fact, the insuument in tlie orchestra of the Royal gardens at the time of their destruction. X Crosse's Account of the York Musical Festival in 1825. § Milner's Historj/ of IVinchester Cathedral. II History of Music, vol. iii., p. 440. ^ MS. Archives of Rochester. THE HISTORY OF TIIK ORGAN. 79 its ^:;rcal. a;';c. liy the licst infonnation I can procure, it was erected very early in tin- last [the 17th] century, and so Ion;;- since as 1668, it was styled 'an oh) iiislnniiciit^ and one luuidretl and sixty pounds was then paid for its repair and a new 'chair'' organ." It was renuivetl in lyi)! \o give place to the instrument by Green. In the interior view of laneoln Catheilral, in Dugilalc's Afoiiasticoii, the organ is shown '^l\\ the north side of the choir, above the stalls ; a co[)y of which is here given. In Durham Cathedral, the "large organ," erected at the Reform- ation, occupied a place on the north side of the choir, and it is so depicted in Hollar's rare engraving of the interior of this Cathedral. Treviously to the )-ear 1550, the "great organ" of the Cathedral of Worcester stood at the side <^\ the choir ;* and such undoubtedl)- was the situation of the other cathedral organs, of which I have not succectled in luiding a record. The practice of placing the organ at one side ^>{ the choir existed also in our college chapels. At New College, Oxford, the organ given by William Tort, in 1458, stood at the stall end oi the "north side oi the choir," near the vestr\-, sui^ported b>- pillars.f This instrument was dcstro>-ed b>- the * MS. Aicliivi's of Worcester. ■|- MS. Aicluvts of New College. 80 THE HISTORY OF THE ORGAN. rebels in 1646. The present organ (improved by Green) was erected by Robert Dallam, in 1663 ; but the beautiful screen upon which it is placed (without any design of supporting the organ) was constructed in 1636* Previously to the year 1740, the organ of Magdalen College, Oxford, stood on the "south side of the choir. "f The organ of St. John's College, in the same university, built in 1660, was placed in a little ante-chapel "on the north side of the choir."! It was in that situation in 1768, when Byfield erected an organ on the present screen. Quaint old Thomas Fuller, speaking of the Cambridge Colleges, under the date 1633, adds — "Now began the university to be much beautiiied in buildings ; every college either casting its skin with the snake, or renewing it with the eagle. . . . But the greatest alteration was in their chapels, most of them being graced with the accession of organs."§ The organ of Christ's College still remains on the south side of the choir ; and tradition assigns similar situations for the instruments of King's College, St. John's College, &c. The same position, " at the side of the choir," is still retained in Winchester College ; the Royal Chapels at St. James's and Hampton Court; and within memory it was so in Christ Church, Dublin. || As regards parish churches, the common situation for the organ, both before and after the Reformation, was in the chancel.H Adam de Shakelsthorpe, by will, dated 1376, gave his organ, "then standing in Cawston Chancel," to Hickling Priory, Norfolk.** And, at a later date, George Preston, Esq., repaired the chancel of * Warton's Life of Sir T. Pope, p. 344. t MS. Archives of Magdalen College. X Warton's Life of Sir T. Pope, p. 344, § Fuller's History of the University of Cambridge, folio, 1655. 11 The Rev. John Jebb Qn the Choral Serviceofthe Church, p. 197. ^ Of course other positions were occasionally adopted. In the old church books of Sandwich, Kent, we have the following entry : — " 1473. For an orgayn boke for the organys in the Roode loft." In Neale's Fie-ws of the Churches of Great Britain (vol. ii.), there is an extract from a MS. account of Melford Church, in Suffolk, written about the time of the Reformation, in which the following notice occurs : — " There was a fair Rood Loft with the Rood, Mary and John, of every side, and with a fair pair of Organs standing thereby." In Britton's Arch. Antiq. (vol. iv.) the agreement for building the Beauchamp Chapel at Warwick, in the fifteenth century, is quoted ; where the carpenter covenants to make a parclose of timber about an organ to stand over the west door of the chapel. See Jebb On the Choral Service, p. 197, note. ** Blomefield's History of Norfolh, edit. 1805, vol. vi., p. 263. THE HISTORY OF THE ORGAN. 8 1 Coutmel Church, Westmoreland^ "at his own great cost," in the year 1590, "and placed therein a paire of organs of great valewe." The author of the Oxford Glossary of Architecture, edit. 1840, thus speaks of the ancient position of the organ:— "The large instruments now in use were not put up in their present conspicuous situation in the place of the ancient rood-loft, until after the Reform- ation. On the Continent, they were also introduced in the course of the seventeenth and eighteenth centuries ; but were usually placed at the west end of the church. In this country, previously to the Reformation, the organ was frequently placed on the north side of the choir, or in the north transept." From the instances I have quoted, it will be seen that, in England, the present usual position of the organ over the choir screen does not appear to have been general till the Restoration. On the Continent, the large organs are generally placed in "lofts ;" some at the west end, some over the doors, and very often against one of the piers. I particularize large organs, because it is a rare • thing to find a church on the Continent, of any pretensions, without its two, three, four, and sometimes six organs. The Duomo at Milan has two large organs, one on each side of the choir ; so also has the Duomo at Verona, the Duomo at Cremona, the Chiesa Del Carmine at Padua, and the Duomo at Lodi. The church of St. John in Monte, at Bologna, has two " immense " organs in similar situations. The church of St. Dominico, at Bologna, has two organs in the choir, and two more in the north transept. At Florence, the two organs are placed in the north-east and south-east of the octagon. The church of San Antonio, at Padua, has four large organs. At the entrance into the choir, the majestic appearance of these instruments is very striking. The front pipes are of tin, highly polished, and have the appearance of burnished silver. The frame- work is richly carved and gilt ; there are no panels to the frames, but the pipes are seen on three sides of a square.* These four organs exactly correspond in internal as well as external arrangement. The church of St. Mark, at Venice, possesses six organs; two very large ones, and four small portable instruments used in the various chapels. * Burney*s Present State of J[^uiic in France and Itaty, p. 129. 82 THE HISTORY OF THE ORGAN. The only organs in St. Peter's, at Rome, were (and perhaps still are) three moveable ones on wheels, in the side chapels, and one fixed, of a larger size. The distance between the west door and the great altar is wholly a free and unbroken space. The church of St. Annunziata, at Florence, has an organ on each side of the nave. The Duomo at Genoa has an organ in each transept. The church of St. Benardino, at Verona, has an organ with painted leaves, triptych-wise, bracketed out at the north-east of the nave. The church of St. Salvatore, at Venice, has an organ bracketed on the north wall of the north aisle. It has painted leaves like a triptych. The church of St. Francesco, at Perugia, has an organ at the south-east of the nave, matched by a sham one on the opposite side. The Chiesa del Carmine, at Florence, has a small organ at the east end, and a large one at the west end, the case of the latter being painted with the scene of St. Simon Stock, receiving the scapulary from the Blessed Virgin. The church of Borgo St. Lorenzo, Perugia, has two organs in projecting galleries from the clerestory. The Duomo at Viterbo has an organ over the south transept arch.* At Ratisbon, the organ is placed behind the high altar — an arrangement totally unworthy of this magnificent structure. The organs at St. Pietro Patriarcale and St. Giorgio, Venice, are in similar situations. The organ of the Frauen Kirche, or great Lutheran Church of Our Lady, at Dresden (one of the finest of old Silber- mann's), is also placed at the east end of the church, over the communion table.^f At Treves there is a small organ on the north side of the choir, and a larger one at the west end. The organ of the collegiate church of Notre Dame, at Courtray, is disposed of in a very singular manner : it is placed in a gallery at the west end of the building ; but, in order to preserve the window. * The last six notices are extracted from the Rev. Benjamin Webb's Sketches of Continental Ecdeiiologyt London, 1848. t The organ is in a similar situation in the chapels of Versailles and the Tuileries ; and, in England, at Little Stanmore, near Edgware. The latter is very slightly raised above the communion table, and is viewed through an arch, supported by Corinthian columns. THE HISTORY OF THE ORGAN. 83 which is necessary to light the body of the church, the organ is divided in two parts, one of which is fixed on one side of the window, and one on the other. The bellows run under the window and com- municate with both parts of the instrument. The keys are in the middle, under the window.* The organ at the Jesuit's Church, in Ghent, is disposed in a similar way : in fact, it is no uncommon thing in the German and, Flemish churches to divide the organ,, in order to preserve a window.f The organ in the church of St. Bavon, Ghent, is placed under the arch of the left side aisle, at the entrance into the choir. At Nancy, the organ is above the entrance to the nave, just over the porch. In the two Protestant churches of St. Sebald and St. Lawrence, at Nuremberg, the organ is in the gallery over the aisle, at the angle of the nave and transept, to the left of the entrance and opposite the preacher. The Cathedral of Antwerp contains three organs : one very large, on the right hand side, at, the west end of the choir ; and two small ones, in chapels on each side of the broad aisle. The Cathedral of St. Stephen, at Vienna, h3.sj^ve organs : a large one at the west end of the church, and four smaller ones in various chapels. The Cathedral of Prague has three organs : the large organ, at the west end of the church, is only used on the great festivals of the year; the two smaller organs are used alternately on common days. At Strasburg, the magnificent organ of Silbermann's is over the second arch of the nave, to the left as you enter, about fifty feet above the pavement. It is supported by an enormous bracket, and is gilt and ornamented with figures playing on musical instruments, and otherwise much enriched. It rises to the roof of the Cathedral, and completely blocks up the clerestory window above the arch.;}: At * Bumey's Present State of Miiic in Germam/, l^c, p. 12. t The fine church of St. Nicholas, at Prague, has an organ at the west end, arranged in this manner. The frame-work, pillars, base, and ornaments of this instrument are of white marble. J " A word now about the great Organ. If Strasbourg has been famous for architects, masons, bell-founders, and clock-makers, it has not been less so for organ-builders. As early as the end of the thirteenth century, there were several organs in the Cathedral, very curious in their structure, and very sonorous in their notes. The present great organ, on the leji tide of the nave, on entering at the western door, was built by Silbermann, about a century ago, and is placed about fifty feet above the pavement. It has six bellowses, each bellows being twelve feet long and six wide; but they are made to act by a very simple and sure process. The tone is G2 84 THE HISTORY OF THE ORGAN. Freiburg in Bresgau (on the borders of the Black Forest) the organ is placed like that at Strasburg, but above the third arch of the nave. It is richly decorated and gilt with sculptured figures. The organ at Amiens Cathedral (perhaps the oldest in France) was built in 1492, at the expense of Alphonso de Myhre, one of the chamberlains to Charles VI. It is placed over the entrance to the nave, at the western extremity, thus allowing the eye to embrace the whole structure at one view. At Chartres Cathedral, the organ is placed over the sixth arch of the nave on the southern side, and at the height of the triforium, or gallery, which is continued all round the church. This organ was built in 1513, and was originally placed over the great western doorway. In the church of St. Roch, at Paris, there are four organs ; but the organ of the church stands over the west door. 25. The Curiosities of Organ-Building. Foremost among the instruments demanding a place in this category are the organs of the Byzantine Emperor, Theophilus, who reigned from 829 to 841. This renowned patron of poetry and music is said to have had " two great gilded organs, embellished with precious stones and golden trees, on which a variety of little birds sat and sung, the wind being conveyed to them by concealed tubes." Praetorius tells us that a certain Duke of Mantua received from a Neapolitan artist an organ of which the keys, pipes, key-board, nay, even the outside of the bellows, were of alabaster. Dr. Powell, in his curious volume, Humane Industry, or a History of the Manual Arts, i2mo., 1661, alludes to this organ in the following passage, which also makes mention of some other "curiosities of organ-building" : — tremendous — when all the stops are pulled out — as I once heard it, during the performance of a particularly grand chorus! Yet is this tone mellow and pleasing at the same time. Not- witiistanding the organ could be hardly less than three hundred feet distant from the musicians in the choir, it sent forth sounds so powerful and grand, as almost to overwhelm the human voice with the accompaniments of trombones and serpents. Perhaps you will not be astonished at this, when I inform you that it contains not fewer than two thousand two hundred and forty-two pipes. This is not the first time you have heard me commend the organs upon the Continent." — Dr. Dibdin'y Tour in France and Germany^ 2nd edit., vol. ii., p. 392. THE HISTORY OF THE ORGAN. * 85 " A Neapolitan artizan made a pair of organs all of alabaster fetone, pipes, keys, and jacks, with a loud lusty sound, which he afterwards bestowed upon the Duke of Mantua, and which Leander Alberti saw in the said duke's court, as he relates in his description of Tuscany. The same Leander saw a pair of organs at Venice made all of glass, that made a delectable sound. This is mentioned also by Mr. Morison, in his Travels. .... Gaudentino Merula, in his sth book de Mirabilibus lifundi, makes mention of an organ in the church of St. Ambrose in Milan, whereof the pipes were some of wood, some of brass, and some of white lead ; which, being played upon, did express the sound of cornets, flutes, drums, and trumpets, with admirable variety and concord." Ertel, who, in his celebrated Atlas, describes the treasures of the Bavarian Electorate Court Chapel, relates that the organ was of ebony, and ornamented with many precious stones ; the key-board "glittered with pearls," and the bellows were "covered over with silver." And we are told that in the convent of the Escurial, near Madrid, are eight organs,, one of which is oi solid silver ." * The author of a rare volume, published at Bologna in 1 590, under the title of // Desiderio, mentions some curious musical instruments that he saw in the palace of the Duke of Ferrari. He says some were preserved there for the sake of their antiquity, and others in respect of the singularity of their construction. Among these, he takes notice of a curious organ formed to the resemblance of a screw, with pipes of box-wood all of one piece like a flute ; and a harpsichord, invented by Don Nicola Vincentino, surnamed Arcimusico, comprehending in the division of it the three harmonic genera. He adds, that the mul- titude of chords in this astonishing instrument rendered it very difficult to tune, and more so to play ; and tliat, for this latter reason, the most skilful performers would seldom care to meddle with it : nevertheless, he adds, that Luzzasco, the chief organist of his highness, who, it is supposed, must have understood and been familiar with the instrument, was able to play on it with wonderful skill. He says that this instrument, by way of pre-eminence, was called the Archicembalo ; and that after the model of it two organs were built ; tlie one at Rome, by the order of the Cardinal of Ferrara ; and the otlier at Milan, under the direction of the inventor. Don Nicola is reported to have died of the plague, in or about the year 1575, soon after the latter instrument was finished. * Amongst the odd materials used by tlie old builders for organ pipes, I may add to tliose mentioned in the text, paper, burnt clay, porcelain, &c. Those who are curious in such matters may consult Jacob Adlung's Mmica Mcchanka Orgamtdi, 410., Berlin, 1768 ; Part i. Sections 85, 86, and 87. 86 THE HISTORY OF THE ORGAN. Father Bonanni, in his singular collection of engravings of musical instruments, entitled Gahinetto Armonico, 4to, Rome, 1722, gives a representation of a curious organ, fabricated by Michele Todino, of Savoy, for Signor Verospi, of Rome. It seems to be an organ with three "Spinette" attached to it; the description tells us that they may be used "separately," or "all together." The worthy priest calls it a "prodigious artifice;" but we question its claim to be anything more than a mere curiosity. Worthy Master Mace's " Chamber Organ," made by himself, at his house in Cambridge, of which he gives an engraving in his Musicks Monument, folio, 1676, certainly comes under our notice in this place. His own account of the instrument is too quaint to be omitted : — " Now as to the description of This Table Organ, I cannot more conveniently do it, than first, in giving you a view of it, by this figure here drawn, and then by telling you all the dimensions, and the whole order of it (I mean my Second, which is the Largest and the best), and take as here followeth. Two of such organs only (I believe) are but as yet in Being in the World ; They being of my own contrivance ; and which I caus'd to be made in my own House, and for my own Use, as to the maintaining of Publick Consorts, &c. " It is in its Bulk and Height of a very Convenient, Handsom, and Compleat Table Seize ; (which may Become and Adorn a Noble-Mans Dining Room) all of the Best sort .of Wainscot. The Length of the leaf 7 foot and 5 Inches ; the breadth 4 foot and 3 inches ; the Height 3 Foot, Inch, and Better. " Beneath, the Leaf, quite Round, is Handsom Carv'd, and Cut- Work, about 10 inches Deep, to let out the Sound : And beneath the Cut-Work Broad Pannels, so contriv'd, that they may be taken down at any time, for the amending such faults as may happen : with 2 shelv'd cubbords at the end behind, to lock up your Musick Books, &c. The Leaf is to be taken in 2 pieces at any time for conveniency of Tuning, or the like. Neatly Joyn'd in the Midst. " The Keys, at the upper End, being of Ebony, and Ivory, all cover'd with a Slipping Clampe, (answerable at the other End of the Table) which is to take off at any time, when the Organ is to be us'd, and again put on, and Lock'd up ; so that none can know it is an Organ by sight, but a Compleat New-Fashion'd Table. " The Leaf has in it 8 Desks, cut quite through very neatly (answerable to that Up-standing One, in the Figure) with Springs under the Edge of the Leaf, so contriv'd that they may Open and Shut at pleasure ; which (when shut down) Joyn closely with the Table-Leaf ; But (upon occasion) may be Opened and so set up (with a spring) in the manner of a Desk, as your Books may be set against Them. " Now the Intent of Those Desks, is of far more Excellent use, than for mere Desks ; For without those Openings, your Organ would be but of very slender use, as to Consort, by Reason of the Closeness of the Leaf ; but by the help of them, each Desk opened, is as the putting in of another quickning, or enliv'ning stop ; so that, when all the 8 Desks stand open, the Table is like a Little Church Organ, so sprightfuUy lusty, and strong, that it is too loud for any ordinary private use ; but you may moderate that, by opening only so many of those Desks as you see fit for your present use. " There are in this Table Six Stops, the first is an Open Diapason ; the second THE HISTORY OF THE ORGAN. 87 a Principal ; the third, a Fifteenth ; the fourth, a Twelfth ; the fifth, a Two-and- Twentieth ; and the sixth, a Regal. There is likewise (for a pleasure and light content) a Hooboy Stop, which comes in at any time with the foot ; which stop (together with the Regal) makes the Voice Humane. " The bellows is laid next the ground, and is made very large, and driven either by the foot of the player, or by a cord at the far end." A passing notice of the grotesque decorations and machinery of old organ-cases is worthy of a corner in our cabinet of "curiosities." Seidel has a capital passage on this point. He says : — " In the course of the seventeenth and early part of the eighteenth centuries great industry and expense was bestowed upon the external decoration of the organ. The entire case was ornamented with statues, heads of angels, vases, foliage, and even figures of animals. Sometimes the front pipes were painted with grotesque figures, arid the lips of the pipes made to resemble lion's jaws. « This, perhaps, might have been tolerated, as in the course of time such artifices would naturally be rejected as useless and inappropriate. But people went farther, and threw away the money which might have been expended in a worthier manner on the display of the most tasteless and absurd tricks of art, degrading thereby — doubtless unintentionally — a noble instrument, intended for sacred purposes, into a raree- show. Among these ornaments, the figures of angels played a very conspicuous part ; trumpets were placed in their hands, which by means of mechanism could be moved to and from the mouth.* Carillons too and kettle-drums were performed upon by the moveable arms of angels. In the midst of this heavenly host, some- times a gigantic angel would be exhibited hovering in a glory over the organ, beating time with his baton as the conductor of this super-earthly orchestra ! " Under such circumstances, the firmament of course could not be dispensed with. So we had wandering suns and moons, and jingling stars in motion. Even the animal kingdom was summoned to activity. Cuckoos, nightingales, and every species of bird, singing, or rather chirping, glorified the festival of holy Christmas, and announced to the assembled congregation the birth of the Redeemer. Eagles flapped their wings, or flew towards an artificial sun.t The climax, however, of all these rarities was iht. fox-tail ! It was intended to frighten away from the organ all such inquisitive persons who had no business near it. Thus, when they pulled out this draw-stop, suddenly a large fox-tail flew into their faces ! It is clear that * I must confess that I do not admire the " loud, uplifted angel-trumpets " on the case of the Antwerp Cathedral organ one whit more than the Gorgons and Hydras on that of the Dominicans' Church in the same city. f Seidel seems to have had in view the ludicrous outside of the organ in the Garrison Church, Berlin. Bumey, in his entertaining Tour in Germany (p. 104), describing his visit, says : — " I found a large organ in this church, built by Joachim Wagner ; it is remarkable for compass, having 50 keys in tlie manuals, and for its number of pipes, amounting to 3220 ; but still more so for the ornaments and machinery of the case, which are in the old Teutonic taste, and extremely curious. At each wing is a kettle drum, which is beat by an angel placed behind it, whose motion the organist regulates by a pedal ; at the top of the pyramid, or middle column of pipes, there are two figures representing Fame, spreading their wings when the drums are beat, and raising them as high as the top of the pyramid; each of these figures sounds a trumpet and then takes its flight. There are likewise two suns, which move to the sound of cymbals, and the wind obliges them to cross the clouds; during which time, two eagles take their flight as naturally as if they were alive." 88 THE HISTORY OF THE ORGAN. by such absurd practices, curiosity was much rather excited than stopped, and that all this host of moving figures and their ridiculous jingling disturbed meditation, excited the curiosity of the congregation, and thus disparaged the sublimity of Divine service." These absurd doings were not peculiar to the Continent : records of such practices (although not to the full extent) formerly existed in England. A correspondent of the Gentleman's Magazine, 1772, p. 562, who signs himself W. L. [William Ludlam], says :— " The old organ at Lynn, in Norfolk, had on it a figure of King David playing on the harp, cut in solid wood, larger than the life : likewise several moving figures which beat time, &c." Dr. Donne, the eminent English satirist, alludes to these moving figures, evidently as no uncommon thing in his days. His words are : — " As in some organs, puppets dance above, and bellows pant below which them do move."* When these figures were abolished, the organ-builders (perhaps in compliance with an absurd canon) set up the royal arms on the front of the organ ; and in place of the angel beating time, or King David playing on the harp, we had the British lion, with goggle eyes and shaggy mane, grinning enough to frighten each member of the congregation from the house of prayer. Let us rejoice that these abominations no longer exist in our own country.-f- If they are still occasionally to be met with on the Continent, the increased feeling of true devotion will soon number them among the things that were. 26. The Destruction of Organs in England during the Great Rebellion. An ordinance being passed in the House of Lords, dated January 4th, 1644, establishing a new form of divine worship, in which no music was allowed but plain psalm-singing, it was thought necessary, for the promotion of true religion, that no organs should be suffered * John Donne, Us Satires, Anno Domini, 1593. This curious work is preservtd among the Harleian MSS. (No. 5110) in the British Museum. t There is great room for improvement in organ-cases in England. We may walk many a weary mile without seeing a truly catholic design. Mr. Faulkener published, in 1838, a volume ol Designs fir Organs ; but tliey are little more than an echo of what we see every day. Of a far different character are the designs of the late Mr. Pugin, appended to Mr. Sutton's S/iori Account of Organs Built in England, t5*f., 1 847. THE HISTORY OF THE ORGAN. 89 to remain in the churches;* that choral. books should be torn; painted glass windows broken ; sepulchral brass inscriptions defaced ; and, in short, that the cathedral ser\'ice should be totally abolished. In consequence of this ordinance, collegiate and parochial churches were stripped of their organs and ornaments : some of the instruments were sold to private persons, who preserved them ; some were totally, and others but partially, destroyed ; some were taken away by the clergy in order to prevent their being destroyed, and some few were suffered to remain. •)- The puritanical spirit which doomed organs to destruction had long been gaining ground. Even as early as the reign of Elizabeth (Aug. 18, 1589), it was agreed at a parish meeting of St Chad's, Shrewsbury, " That for the better providing and accomplishing the reparation of the bells, fencing the church-yard, and purchasing one decent and semely cuppe of silver for the use of the Communion, the organs sliould be sould to any of the parishe for the sum of £,^ if any desyred the same : otherwise the said organs should presentlye bee sould to hym whosoever would give £^ or more for the same !" t Some idea of the devastation committed by the Puritans uf)on oi^ans may be gathered by a few extracts from JTercurius Rusticus ; the Country's Complaint recounting the sad Events of this Utiparraleld IVarr, i2mo, 1647. § At Westminster, we are told, "the soldiers of Westbome and Caewoods' Companies were quartered in the Abby Church, where they brake down the rayl about the Altar, and burnt it in the place where it stood : they brake downe the Organs, and pawned the pipes at severall ale-houses for pots of ale. They put on some of the Singing-mens surplices, and in contempt of that * A copy of die ordinances preseired in the library of die l^ondon Insdtntion has the following title : — ^Tm> Ordinances of the Lords and Commons assembled in Pailiament, &r the speedy denK^hing cf all organs, images, and all matters of s u p e is U dons monuments in all Cathedialls, and Collegiate or Parish-chmclies and Chapels, tbroa^ioat the Kingdom of England and the dominion of Wales; the better to accompli^ the blessed leformadon so bappi' j begun, and to lemore all ounces and things ill^al in tlie worship of God. Dated May gdi, 1644." J See an ardde on the Organ of St. Panl's Cathedral, in the Munctd GaaUt, No. i., Jan. 1819. % Two years be&re the passing of the ordinance jnst m^idoned, a tract appeared, entitled Ttu OrrOHS FtoKraU, or ihe Qjdridtrj Lamaits^on for the AhoUshBiad of SupenHtiem (ad SupersiHiaia Ccranaaa. In a Dialogicall Disconrse between a Qoirister and an Organist^ An. Dom., i64z. London. Printed for GoMge Kirby. 4J0. § Edited by Dr. Bruno Ry^es, an imflincbing opponent of cant and hypocrisy. At the Restoration, he was rewarded with the Deanery of Windsor. The Mrrcurhu Ruitiau was originally published in nombers. In its collected form, it went tbroagfa several editions. 90 THE HISTORY OF THE ORGAN. canonicall habite, ran up and down the Church ; he that wore the surplice was the hare, the rest were the hounds." At Exeter Cathedral, "they brake downe the organs, and taking two or three hundred pipes with them, in a most scomefull contemptuous manner, went up and downe the streets piping with them ; and meeting with some of the Choristers of the Church, whose surplices they had stolne before, and imployed them to base servile offices, scoffingly told them, Boyes we have spoy led your trade, you must goe CTid sing Iwt pudding pyes." At Peterborough Cathedral, after committing all kinds of destruction, "when their unhallowed toylings had made them out of wind, they took breath afresh on two pair of organs."* At Canterbury, "they \'iolated the monuments of the dead, and spoyled the organs ;"-f and at Chichester Cathedral, " they leave the destructive and spoyling part to be finished by the common soldiers ; brake down the organs, and dashing the pipes with their pole-axes, scoffingly said, Harke Iiow the organs goeP At Winchester, " they entered the Church with colours flying, and drums beating : they rode up through the body of the Church and Quire, until they came to the altar, there they rudely pluck downe the table and brake the rayle, and aftenvards carrying it to an ale-house, they set it on fire, and in that fire burnt the Books of Common Prayer, and all the Singing Books belonging to the Quire : they threw downe the * Gnnton is more particular in his account of the devastations here : — " The first that came vns a foot regiment, under one Colonel Hubbard's command ; upon \rhose arrival, some persons of the to'wn, fearing "what happened afterwards, desire the chief commander to take care the soldiers did no injury to the church ; this he promises to do, and gave order to have the church doors all locked up. Some two days afterwards comes a regiment of horse, under Colonel Cromwell, a name as fatal to minsters as it had been to monasteries before. The next day after their arrival, early in the morning, these break open the church doors, pull down the organs, of which there were two pair. The greater pair, that stood upon a high loft over the entrance into the choir, was thence thrown down upon the grotmd, and there stamped and trampled on, and broke in pieces, with such a strange, furious, and tiantick zeal, as caimot be well conceived, but by those that sa^v it.*' — Hiitory of the Church of Pderborm^ht p. 333. Will modem writers tell us any more, after this, that " Cromwell himself was partial to the organ .?" "I" In Culmer's Cathedral Ncua from Canterbury, p. 19, we read: — "The news was that the troopers fought with God Himself in the Cathedral Quire at Canterbury. But the truth is that on the z6th of August, 164.2, some zealous trrwpers, after they had (by command) taken the powder and ammimition out of the malignant Cathedral, they fought (it seems) with the Cathedral goods ; namely, altars, images, service-books, prick -song-books, surplice, and organs : for they hewed the altar tails all to pieces, and threw their altar over and over and over down the three altar steps, and left it lying with the heels upward: they slashed some images, crucifixes, and prick-song-books, and one greasy service-book, and a tagged smoke of the whore of Rome, called a surplice, and began to play the tune of • Zealous Soldier ' on the organs or case of nrhistles, which never were in tune since." , THE HISTORY OF THE ORGAN. 9 1 organs, and break the Stories of the Old and New Testament, curiously cut out in carved work." Mr. W. B. Gilbert in his recently published Memorials of the Collegiate Church of Maidstone, has the following interesting passage, which I quote at length : — " The church still bears witness of the treatment received at this time. It seems pretty certain that up to 1642 the interior arrangement of the fabric had remained nearly the same as left during the reign of Edward IV., but now the monumental brasses were torn up and destroyed, the sedilia damaged, and the painting over the first warden's tomb much mutilated. There is no doubt as to the period of this mischief, the date, with some wretched initials, are miserably scratched on the walls. About this time also the organ disappeared ; and from a rare tract, entitled, A perfect Diurnal of the several passages in our late journey into Kent, from August i^th to September yd, 1642, we have a description of what was achieved in Maidstone and its neighbourhood at this period. During the Divine service at Rochester Cathedral on St. Bartholomew's Day, between the hours of nine and ten in the morning, a party of soldiers entered the church, and marched up to the Lord's Table ; but finding that even this irreverence did not prevent the service from proceeding, they came down to the congregation, who were then kneeling, and demanded why they knelt ; not receiving any answer, they returned to the altar, and seizing the Lord's Table, conveyed it to the middle of the choir ; they then tore down the communion rails, mutilated the altar steps, and gave the rabble, who had followed them, the pieces of the rails to burn, and ' So left the organs to be plucked down till we come back again ; ' but it appears the Rochester people were a match for them, as the writer says, ' before we came back they took them down themselves.' " Leaving Rochester they marched on to Maidstone, where they were quartered that Thursday night, to the great terror of the inhabitants, who, notwithstanding that it was market day, closed all their shops. The town was completely at their mercy, and this seems by corroborative evidence to have been the identical day on which the church suffered so- much by mutilation. " On the Friday they proceeded to Canterbury, where, as Dr. Pask, the sub- dean, tells us, the soldiers entered the Cathedral at eight o'clock on the Saturday morning, overthrew the Lord's Table, tore the velvet covering, defaced the screen, violated the monuments of the dead, spoiled the organs, broke down the rails and seats, tore up the surplices, gowns, and bestrewing the pavements with the torn leaves of the Bibles and Prayer-books. A figure of our Lord placed over the south gate was destroyed by forty shots being fired at it. " This amiable party then visited Faversham and other places, and returned to Maidstone on the evening of Thursday, and again quartered there, to the great indignation of some of the inhabitants, whose rage at their doings knew no bounds, and they made the place so hot that the fellows were glad to depart the next day ; or, as the writer of the Diurnal says, ' the town being troubled with malignant spirits, who burned so inwardly with malice and hatred, that they could no longer forbear ; ' and one Maidstonian, whose ire was raised, so disturbed the serenity of these fellows, that they carried him off as a prisoner, to be dealt with by the Parliament. " This curious tract is embellished with a clumsily-executed sketch of soldiers destroying the east end of a church. Two men are removing the Lord's Table, 92 THE HISTORY OF THE ORGAN. one is pulling down a cross, another with a hatchet is chopping away at the communion rails, whilst a fifth is hastening, armed with a chopper, to assist his sacrilegious companions." Sir William Dugdale, in his Short View of the Late Troubles in England, folio, 1681, says: — "and when their whole (the Parlia- mentary) army, under the command of the Earl of Essex, came to Worcester, the first thing they there did was the prophanation of the Cathedral ; destroying the organ ; breaking in pieces divers beautiful windows, &c." The sacrilegious profanation of Norwich Cathedral is graphically described in Bishop Hall's Hard Measure, 1647 : — * " Lord, what work was here, what clattering of glasses, what beating down of walls, what tearing up of monuments, what pulling down of seats, what wresting out of irons and brass from the windows and graves, what defacing of arms, what demolishing of curious stone work, that had not any representation in the world, but only the cost of the founder, and skill of the mason ; what toting and piping upon the destroyed organ pipes, and what a hideous triumph on the market day before all the country, when in a kind of sacrilegious and profane procession, all the organ pipes, vestments, both copes and surplices, together with the leaden cross, which had been newly sawn down from over the green yard pulpit, and the service books and singing books that could be had, were carried to the fire in the public market place ; a lewd wretch walking before the train, in his cope, traihng in the dirt, with a service book in his hand, imitating, in an impious scorn, the tune, and usurping the words of the Litany, used formerly in the church ; near the public cross all these monuments of idolatry must be sacrificed to the fire, not without much ostentation of a zealous joy in discharging ordnance to the cost of some who professed how much they had longed to see that day. Neither was it any news, upon the Guild day, to have the Cathedral, now open on all sides, to be filled with musketeers, waiting for the major's return, drinking and tobac- coning as freely as if it had turned ale-house." At the Nunnery, at Little Gidding, in Huntingdonshire, the same feats were carried on. We are told that — " Soon after Mr. Ferrar's death, certain soldiers of the Parliament resolved to plunder the house at Gidding. The family being informed of their hasty approach, thought it prudent to fly ; while these military zealots, in the rage of what they called reformation, ransacked both the church and the house ; in doing which they expressed a particular spite against the organ. This they broke in pieces, of which they made a large fire, and at it roasted several of Mr. Ferrar's sheep, which they had killed in his grounds. This done, they seized all the plate, furniture, and provision, which they could conveniently carry away. And in this general devas- tation perished the works which Mr. Ferrar had compiled for the use of his household, consisting chiefly of harmonies of the Old and New Testament."t * Dr. Joseph Hall was successively Bishop of Exeter, and of Norwich. t See Izaak Walton's Lives of Donne, Wotton, Hooker, i^c, edit. 1845, note, p. 336. THE HISTORY OF THE ORGAN. 93 Similar examples of ignorant fanaticism might readily be adduced, but the passages cited are sufficient for my purpose. After the parliamentary ordinance of 1644, and the zeal of the Sectarians in putting their orders into force, it is somewhat remarkable that any Church organs should have escaped demolition. But that some instruments were suffered to remain we have accredited evidence. Among the number were those of St. Paul's, York, Durham, and Lincoln Cathedrals ; St. John's and Magdalen Colleges, Oxford ; Christ's College, Cambridge ; and probably many others.* That the organ of St. John's escaped destruction is the more extraordinary, as it had been erected under the patronage of Archbishop Laud, and as Cromwell's visitors had ordered Sir William Paddy's donation for .founding the choral service in that chapel to be entirely applied to the augmentation of the president's salary. The popular account of the organ of Magdalen College is, that during the Rebellion it was conveyed by order of Cromwell to Hampton Court, where it remained in the Great Gallery till the Restoration, when it was restored to the College.-f The organ was still remaining in the College Chapel in 1654, when Evelyn, who was at Oxford in the July of that year, has this entry in his Diary : — " Next we walked to Magdalen College, where we saw the library and chapel, which was likewise in pontifical order, the altar only I think turned tablewise ; and there was still the double organ, which abominations (as now esteemed) were almost universally demolished ; Mr. Gibbon [Christopher Gibbons], that famous musician, giving us a taste of his skill and talents on that instrument." This notice seemed to refute the tradition that "in the Grand Rebellion, when the organ of Magdalen College, among others, was taken down, it was conveyed by order of Cromwell to Hampton Court, where it was placed in the great gallery." I accordingly treated the story as apocryphal in the first edition of the present work. Recently, however, the matter has been set at rest by the discovery of a memorandum in the College books, to the effect that. * The author of A Short Account of Organs built in England, f c, makes a startling assertion at the commencement of his first chapter: — "During the Rebellion, all the Organs in England were destroyed by order of the Parliament with all other Church furniture, which was considered as appertaining to the Romish ritual." f This anecdote may be traced to Warton {Ohservatiom on the Fairy Queen of Spenser, Lond. I76z, vol. ii., p. 136), who probably received his information from his father, a Fellow of Mag- dalen College. Gutch, Chalmers, Hawkins, Burney, and Ingram copy Warton. 94 THE HISTORY OF THE ORGAN. in 1660, £16 I OS. was paid for the transportation of the organ from Hampton Court back to the College. It must, therefore, have been taken down and removed to Hampton Court between the years 1654 and 1660. There was, in all probability, some amicable arrangement on the subject between Cromwell and the president and fellows. Nichols, in his History of Leicestershire, tells us that Stamford Church is decorated with a handsome organ that formerly belonged to the banqueting room, Whitehall, which by order of Cromwell was taken down and sold. It was intended, he says, to be placed in the chapel of Magdalen College, Oxford, but being too small, was purchased by the Cave family. Dr. Bloxam suggests that it was offered in exchange for the Magdalen organ, which seems more than probable.* The devastation committed upon organs by those misguided ruffians, the soldiers and commanders of the Parliamentary army, was not easily remedied. It was not until some time after the restoration of monarchy that these instruments could be reinstated. Pepys, that entertaining old gossip, has two or three interesting entries in his Diary bearing upon this point : — "July 8, 1660. (Lord's day). To White-Hall Chapel, where I got in with ease, -by going before the Lord Chancellor with Mr. Kipps. Here I heard very good musique, the first time that ever I remember to have heard the organs, and singing-men in surplices, in my life." "April 5, 1667. To Hackney, where good neat's tongue, and things to eat and drink, and very merry, the weather being mighty pleasant ; and here I was told, that at their church they have a fair pair of Organs, which play while the people sing, which I am mighty glad of, wishing the like at our church at London, and would give ^50 towards it." "April 21, 1667. To Hackney Church, where very full, and found much difficulty to get pews, I offering the sexton money, and he could not help me. That which I went chiefly to see was the young ladies of the schools, . whereof there is great store, very pretty ; and also the organ, which is handsome and tunes the psalms, and plays with the people ; which is mighty pretty, and makes me mighty earnest to have a pair at our church ; I having almost a mind to give them a pair, if they would settle a maintenance on them for it." The difficulty of procuring organs at this time seems to have been greater than that of finding either performers or music to perform. Dr. Burney says : — " After the suppression of Cathedral Service and prohibition of the Liturgy, some of the ecclesiastical instruments had been sold to private persons, and' * See Dr. Bloxam's Registers of Magdalen College, Oxford, a work to which I have been frequently indebted in the composition of these pages. THE HISTORY OF THE ORGAN. 95 others but partially destroyed ; these being produced, were hastily repaired, and erected for present use.* ' A sufficient number of workmen for the immediate supply of cathedrals and parish churches with organs, not being found in our own country, it was thought expedient to invite foreign builders of known abilities to settle among us ; and the premiums offered on this occasion brought over the two celebrated workmen. Smith and Harris." The establishment of these two eminent men in this country forms a new epoch in the History of Organ-building. 27. Existing Old English Organs. With regard to English organs prior to the Rebellion, very few are in existence at the present time. An instrument, said to be " the first organ made in England," may be seen at Ightam Moat-House, in Kent. Another instrument, called in Mr. Brady's catalogue " the second organ made in England," is preserved at Knole House, in the same county. Similar organs may be found at Hatfield House, and at an old mansion — the reputed residence of Cardinal Wolsey — ^at Cheshunt. The three last-named organs are small chamber instruments, with wooden pipes, probably a little anterior to the Restoration, but of no greater antiquity. The Ightam organ has been much spoken about of late, and the author of a lecture delivered before the Society of Arts quotes it as an instrument of extraordinary interest, and of a date perhaps earlier than the fourteenth century ! This strange illusion, however, I am compelled to dispel ; and I shall do so by the help of a note made some few years back by Mr. W. B. Gilbert, upon his inspection of the instrument in question. He says : — "April 15, 1855, — Examined the remains of an old organ at the Moat-House, Ightam, Kent, which the guide told me was \!a& first made in England. The wind- chest or sound-board had forty-eight small grooves ; a portion of the bellows and one feeder left ; one solitary pipe made of oak, open, and about tenor C pitch, but without a mouth-piece. The height of the instrument could not have been more than three feet, and the depth about eighteen inches. Attached to the grooves were a row of paper tubes (square), possibly used as conveyances. There were no * It was not until the lapse of more than half a century after the Restoration that our parish churches began commonly to be supplied with organs. In 1708, when Hatton published his Nirw Vuiu of London, a very large number of our places of public worship were without them. To what an extent other English cities were deficient in. this particular, may be gathered from Drake, who, at p. 338 of his Eboracum, published in 1733, says: — " There is now only oni parish church in the whole city of York that possesses an organ ; and that came from the Popish chapel, the curators of which purchased it from Durham Cathedral." 96 THE HISTORY OF THE ORGAN. slides or upper boards, nor an)-thing like an ' action :' neither was there any portions of case or manuals. Knowing several old organs well, especially those of Loosemore, at Exeter, it struck me, on a ver)- close examination of the instrument, that it «"as either the remains of an old barrel organ, or something of village manu- facture, certainly not dating beycutd a centtiiy back / Had it been a curiositj' in the last centur)-, the historians of the county, especially Hasted, would have mentioned it" After this let us hear no more of the grcut antiquity and curiositj- of the Ightam organ. Other existing old organs are described in the course of the preceding pages ; it onlj- remains to notice the curious remains of an old organ still presented at Old Radnor, in South Wales. My knowledge of this relic is due to the Re^-. Mr. Sutton, who has published a verj- interesting volume on the subject.* The remains of the mediaeval organ at Old Radnor, South Wales. . are interesting upon two grounds — ist, architecturally, as regards the case, of which so few specimens exist ; 2nd. musically, with, reference to the construction of organs of an early period. The verj- existence of these remains seems to have been unknown to the most diligent antiquaries in such matters, and they appear to have been brought under the notice of Mr. Sutton by Sir Henry Dr\-den, a well-known lover of antiquities and architecture, and a gentleman particularly versed in organs and Church music Ver\^ few organ cases anterior to the Restoration have been preserved. The case of the organ at King's College, Cambridge, is the original one erected by Chapman and Hartop, the joiners, in 1606, to contain Dallam's organ, before mentioned ; for though the action and pipes of the organ appear to have been many times removed and renewed, there is ever\- reason to believe that tlie existing case dates from 1606, and the clioir organ from 1661. Mr. Sutton does not assign any precise period to the organ case of Old Radnor, nor does he give us any tradition, or any extract from old records concerning its erection ; he simply describes it as "mediaeval." It seems to me more than probable that the case is not older than the end of the sixteenth centun-, or it may present details of different periods. The heav)- horizontal beam that sup- * St»7ii A::ount of the Medi^^'^l Organ-iiase stiU existing at QU Rjiimor; "with an Appendix, containing fifteen etchings iUustratiTe of the construction of Gothic organs. By Frederick Heathcote Sutton, M.A., Vicar of Theddingworth. London : Hatchard & Co. ; Stamford : Langley. 1866. THE HISTORY OF THE ORGAN, 97 ports the upper ornamental work can hardly belong to any good period of architectural ornamentation; and the "napkin-pattern" pfmels are surely not older than the Jacobean period. "The dimensions of the organ case," which is of oak, and elaborately carved and panelled, Mr. Sutton describes as follows : — " Total height 18 feet o inches. 9 4 5 9 5 10 1 8 2 6 Width above wind-chest . Width below wind-chest . Height up to hang over Height of cresting and pinnacles Depth of the organ . " The front is divided into five compartments, three of which are occupied ' by the larger pipes, standing in projecting towers, while the intervening spaces are flat, and contain two tiers of small pipes, each compartment being divided midway by a square panel of rich carved work. The rest of the case is almost entirely covered by napkin-pattern panels, of the best description, and of very intricate design ; the whole composition being finished at the top of the organ with a deep bratishing of pinnacles and semicircles, upon which are seated grotesque animals. This cresting, though debased in style, compared with much of the detail in other parts of the case, has a very rich efiiect, and when painted and gilded, as no doubt it once was, must have looked extremely weE." To revert to the peculiarities of the mechanism — at least what remains — of this old organ, Mr. Sutton says : — " In this instrument (as probably would be found the case in all mediaeval organs) there are several arrangements which it would be most undesirable to copy. The stops, for instance, appear at the east end of the organ, and seem to have been worked entirely by the blower, by means of iron levers about eighteen inches long. It is certainly difficult to conceive a stop sticking with such a tremendous power to act upon it. StiU it is hardly to be expected that an organist, even for that great advantage, would resign all contjol over the instrument, upon which he was expected to play, and be content only with the power of putting on an echo, or comet, which seems from a. small aperture at the right hand of the player, to have been all that he could do in this instance. The Radnor organ is a small instrument, and contained five stops. It seems, however, to have had, in addition, an echo, or, perhaps, only a comet, placed beneath the key-board. How this was used, it is impossible now to tell, as all signs of the manual, or manuals, have disappeared. Part of the wind-chest remains, and also remnants of the bellows are in existence." With regard to the draw-stops, many of the old organs built after the Restoration, with choir organs in front, had the stops of that department in the choir organ itself, consequently behind the performer. Numerous instances could be pointed out if required. It would then appear that the stops were not changed during the performance of a piece : they were arranged before commencing and so remained until the end. The echo organ and comet stop, H 98 THE HISTORY OF THE ORGAN. which the author speaks of, were introductions into this country after the Restoration, and consequently, if persisted in, would give a much later date for the erection of the Radnor organ than that contended for. " Below the key-board," says Mr. Sutton, " the panels are plain, with the exception of the three central ones in the front ; these are perforated with a number of openings of different forms. The centre panel, and that on the right hand, have very elegant openings of Gothic tracery, the larger ones being formed of double triangles interlaced. These were no doubt intended to let out the sound of the echo organ." Surely it could not have been the intention of our old builders to let out the sounds of the echo organ, but rather to stifle them or keep them in. But, as we have already said, the echo organ was unknown before the Restoration. Probably the " perforations " spoken of referred to a choir organ ; at any rate it is a much more likely solution of the difficulty. The public is much indebted to Mr. Sutton for his handsortie volume and its accompanying etchings. Great interest attaches to the subject of organs at the present time, and anything that throws light upon the practice of our old builders is sure to be received with a hearty welcome. The appendix, illustrative of the construc- tion of Gothic organ cases, is an important feature of Mr. Sutton's volume, and one calculated to do good by calling attention to this most important branch of architectural art. THE FOUNDERS OF MODERN ORGAN-BUILDING. 28. Bernard Schmidt, known as Father Smith. II ERNARD SCHMIDT, as the Gennans write the name, brought over with him from Germany, of which country he was a native, two nephews, Gerard and Bernard, his assistants ; and to distinguish him from these, as well as to express the reverence due to his abilities, which placed him at the head of his profession, he was called Father Smith. The first organ he engaged to build for this country was for the Royal Chapel at Whitehall, which being hastily put together did not quite fulfil the expectations of those who were able to judge of its excellence. An organ is so operose, complicated, and comprehensive a piece of mechanism, that to render it complete in tone, touch, variety, and power, exclusive of the external beauty and majesty of its form and appearance, is perhaps one of the greatest efforts of human ingenuity and contrivance. It was probably from some such early failure that this admirable workman determined never to engage to build an organ upon short notice, nor for such a price as would oblige him to deliver it in a state of less perfection than he wished. And I have been assured by Snetzler, and by the immediate descendants of those who have conversed with Father Smith, and seen him work, that he was so particularly careful in the choice of his wood, as never to use any that had the least knot or flaw in it ; and so tender of his reputation, as never to waste his time in trying to mend a bad pipe, either of wood or metal, so that when he came to voice a pipe, if it had ^ny radical defect, he instantly threw it away, and made another. This, in a great measure, accounts for the equality and sweetness of his stops, as well as the soundness of his pipes to this day." * Such is the brief and unsatisfactory account of this eminent artist handed down to us by Dr. Burney. We are not told the period of his birth or decease ; the particular part of Germany from whence he came ; the builder or builders under whom he acquired the knowledge of his art, nor indeed any of those minute facts which it is the business of a faithful biographer duly to chronicle. This is the more to be regretted, because both Burney and Hawkins lived with many who could easily have supplied information, which at this period of time we look for in vain. In the middle of the seventeenth century, Germany and Holland possessed many organ-builders whose fame had gone forth beyond Burney's History of Musk, vol. iii., p. 436. H 2 lOO THE HISTORY OF THE ORGAN. their own countries. Christian Former, of Wettin (near Halle) ; Schnitker, of, Hamburg ; and Eugene Casperini, were foremost in the ranks ; and under the able tuition of one of these builders Smith most likely learnt his art. Tradition, indeed, points out Christian Former as his master, and this seems to us more than probable.* Father Smith was certainly in this country in the year of the restoration of King Charles the Second ; and his first organ, that of the Royal Chapel at Whitehall, was built before the 8th of July, 1660. Pepys alludes to it in the extract from his Diary, quoted on a previous page. Before the close of the same year Smith had erected an organ in Westminster Abbey. The old gossip Pepys, whose Diary is so full of valuable information, thus alludes to it under the date of December 30th, 1666 : — " Lord's Day. I to the Abbey, and walked there, seeing the great confusion of people that came there to hear the organs." In 167 1, Smith built a new organ for the parish church of St. Giles's -in -the -Fields ; and in 1675, he erected an instrument in the church of St. Margaret's, Westminster. On the Jth of April in the following year, he was elected " organist " of the same church.-f- Smith was now rapidly acquiring fame, and high in the favour of the King, who appointed him his " organ-maker in ordinary," and allotted him apartments in Whitehall, called, in the old plan, " The Organ-builder's Workhouse. "j He had, however, to contend with a formidable rival in Renatus Harris, who arrived in this country from France shortly after Smith came from Germany. * There is a curious note in Warburton's History of Dublin, 1818, vol. i., p. 483 ; but the dates will not reconcile it with the subject of our memoir. Speaking of St. Patrick's Cathedral, Dublin, the writer adds — " The orgajj is said to have been the gift of the Duke of Ormond : it was the work of Smith the Faihert of Rotterdam^ and intended for a church in Vigo, in Spain, where, however, it never was erected : when the Duke assisted in the attack made by the combined fleets of England and Holland on the ships in the harbour of that town in 1702, it had not been landed from the vessel which conveyed it from Rotterdam, and, of course, fell into the hands of the assailants." ■The Cathedral Church of St. Canice, Kilkenny, is said to contain an ancient organ from St. Vigo, in Spain, from whence it was removed by Sir Francis Drake, when he plundered that town in 1587 ! Both stories partake of the marvellous, and seem to point at the same blundering origin. t By an order of August 7, 1676, his salary was fixed at £to a year. His predecessors in the same office were John Egglestone, John Parsons, and John Hilton. See the Rev. M. Walcott's Memoriali of Watminster, p. iz8. t Ibid. THE HISTORY OF THE ORGAN. lOI We now turn again to the pages of Burney's History for his account of the famous contention between these two rival builders concerning the Temple organ : — " About the latter end of King Charles the Second's reign, the Master of the Temple and the Benchers, being determined to have as complete an organ erected in their church as possible, received proposals from both these eminent artists {i.e.. Smith and Harris), backed by the recommendation of such an equal number of powerful friends and celebrated organists that they were unable to determine among themselves which to employ. They therefore told the candidates, if each of them would erect an organ, in different parts of the church, they would retain that which, in the greatest number of excellences, should be allowed to deserve the preference. Smith and Harris agreeing to this proposal, in about eight or nine months each had, with the utmost exertion of his abilities, an instrument ready for trial. Dr. Tudway, living at that time, the intimate acquaintance of both, says that Dr. Blow and Purcell, then in their prime, performed on Father Smith's organ, on appointed days, and displayed its excellence ; and, till the other was heard, every one believed that this must be chosen. " Harris employed M. LuUy,* organist to Queen Catherine, a very eminent master, to touch his organ, which brought it into favour ; and thus they continued vying with each other for near a twelvemonth. " At length, Harris challenged Father Smith to make additional reedstops "in a given time ; these were the vox-humana, Cremorne, the double Courtel, or double bassoon, and some others. " The stops which were newly invented, or at least new to English ears, gave great delight to the crowds who attended the trials ; and the imitations were so exact and pleasing on both sides that it was difficult to determine who had best succeeded. At length, the decision was left to Lord Chief Justice Jefferies, after- wards King James the Second's phant chancellor, who was of that Society, and he terminated the controversy in favour of Father Smith ; so that Harris's organ was taken away without loss of reputation, having so long pleased and puzzled better judges than Jefiferies.f " The Hon. Roger North, who was in London at the time of the contention at the Temple Church, says, in his Memoirs of Mtisic, that the competition between Father Smith and Harris, the two best artists in Europe, was carried on with such violence by the friends of both sides, that they ' were just not ruined.' * This should be Baptist Draghi, organist to Queen Catherine, at Somerset House. See the curious anecdotes of him and M. Locke in the Hon. Roger North's Memmrs of JMusic, first printed from the original MS. by the present writer. Dr. Tudway (from whom Burney derived this account) wrote Baptist, which Burney interpreted to mean Baptist Lulli : hence the mistake, which has been repeated ad infinituia by writers who ought to have known better. t "The efforts of Smith and Harris were brought into, and heard by, an open court, supported by counsel, who exerted their best abilities in their defence, had a respectable variety of jurors, and Judge Jefferies gave sentence, which was in Smith's favour. In other words, the organ made by Harris was placed on one side of the church, and that of Smith on the other; the former played by Draghi, the latter by Dr. Blow and Mr. Purcell. Near a year elapsed before the contention ceased, and Jefferies made his fiat." — Miicoha's LenJimim HeJivivum, wol. iii., p. io6. Jefferies' conduct seems to have been somewhat misrepresented in this affair. It has been suggested by a learned Templir, that this famous contest was decided by vote. Jefferies happened to be " of the house," and it fell to his lot to give the casting one. Surely he is entitled to no obloquy on this account ! Jefferies has much to answer for ; but tliere is no evidence of " bribery and corruption" in the present case. I02 THE HISTORY OF THE ORGAN. Indeed, old Roseingrave assured me, that the partizans for each candidate, in the fury of their zeal, proceeded to the most mischievous and unwarrantable acts of hostilities ; and that in the night preceding the last trial of the reed-stops, the friends of Harris cut the bellows of Smith's organ in such a manner that when the time came for playing upon it no wind could be conveyed into the wind-chest." * The origin of the quarrel between this old worthy and Renatus Harris arose, probably, through the famous contest, or "battle of the organs," as it was termed, at the Temple Church, in which, as is well known, the former gained the day. That a bitter enmity afterwards existed between these two builders, we may infer from the documents about to be produced. But first, of the circumstances connected with the dispute concerning the Temple organ. When engaged in collecting materials for my notice of Father Smith in the first edition of this work, I was very desirous of obtaining some authentic particulars concerning this memorable dispute from the Books of the Societies of the Temple ; but, after several interviews with the Treasurer and other authorities, I was told that nothing could be discovered among the records — the matter was evidently of too trivial a nature to induce the slightest interest or research. This is now the less to be regretted, since a gentleman connected with the Temple, Edmund Macrory, Esq., M.A., has succeeded in bringing to light the documents that I was in search of, and has given them to the world in a charrning little brochure, entitled A Few Notes on the Temple Organ.'\ From the new information furnished by these discoveries T avail myself of the following particulars. In the latter part of the year 1682, the Treasurers of the Societies of the Temple had some conversation with Smith respecting the erection of an organ in their church. Subsequently Harris (who had some warm supporters among the Benchers of the Inner Temple) was introduced to their notice, and both these eminent artists were backed by the recommendations of such an equal number of powerful friends and celebrated organists, that the Benchers were unable to determine among themselves which to employ. They therefore (as appears by an order in the Books of the Temple, dated February 1682) proposed that — * Burney's History of Music, vol. iii., p. 437. The substance of this account is derived from a letter written by Dr. Tudway to his son, and preserved in the Harleian Collection of MSB. t First printed (anonymously) "at the private press of Duncairn," 1859; and afterwards, with fresh documentary matter, by Bell & Daldy, 1861. Both editions are charming little quartos of true Roxburghe-like appearance. THE HISTORY OF THE ORGAN. , IO3 " If each of these excellent artists would set up an organ in one of the Halls belonging to either of the Societies, they would have erected in their Church that which, in the greatest number of excellences, deserved the preference." Smith, believing that he had received the order for the organ, felt, of course, much annoyed at the introduction of Harris on the scene. He accordingly obtained from five of the tradesmen in the employment of the Temple a memorial or memorandum, which was presented to the Benchers of the Middle Temple, and is as follows : — "Memorandum. That I, W™- Cleare, of the Parish of the Savoy in y= Strand, Surveyor, togeather with divers other workmenn whose names are here- vnder also subscribed, was present and did heare S' Francis Whitens, Knt., and then Treasurer of the Middel Tempell, London, and S^ Thomas Robinson, then also Treasurer of the Inner Tempell, both of them being in the TempeU Church together, in the month of September last, give full ordre and directions vnto Mr. Bernard Smith, the Kings Organ Maker, to make an organ for the Tempell Church, and then also gave ordres to the said Smith to take care of and give directions for the setting up of the Organ Loft in the Tempell Church as the said Smith should judg most convenient, and accordingly the said Smith did give directions how and in what manner the said Organ Loft should be made, and the same was made and sett vpp accordingly, and that then neither Reny Harris, nor any other person whatsoever, was ever mentioned to have any Ordres or Directions to make any Organ for the Tempell Church, or in the least mentioned to stand in competition with the said Smith for or about making of the same, and this wee, whose Names are herevnto subscribed, shall be at all times ready to attest vpon oath, when that there shall be occasion, as witness our hands this eight day of May In the year of our Lord one thousand Six hundred Eighty and three." " The above memorandum," says Mr. Macrory, " had not the effect which Smith desired, for a committee composed of Masters of the Bench of both Societies was appointed in May, 1683, to decide upon the instrument to be retained for the use of the Temple Church ; and in about a year or fourteen months after, each competitor, with the utmost exertion of his abilities, had an instrument ready for the trial. When Harris had completed his instrument, he presented a petition to the benchers of the Inner Temple, stating that his organ was ready for trial, and praying that he might be permitted to set it up in the church on the south side of the communion table. An order was accordingly made by the Benchers, granting the permission he sought. This petition of Harris is dated the 26th May, 1684 ; and thereby the date of the completion of his instrument is established. It is almost certain that Smith's organ was ready previous to the above date, and that for some reason (possibly to avoid the necessity of re-voicing, if he should be the successful competitor), he had obtained leave to depart from the order of February, 1682, so far as to place his organ in the church, and this suggested to Harris the propriety of adopting the same expedient." The reader is already aware how Dr. Blow, and the celebrated Henry Purcell, were engaged to exhibit the powers of Smith's organ upon appointed days ; and how Harris employed Baptist Draghi, one of the Royal organists, for the same purpose. The circumstance 104 THE HISTORY OF THE ORGAN. of Harris's -challenge to Smith to make certain additional stops is also well known and need not be dwelt upon here. The contention now became tedious and disagreeable, at least to the Benchers of the Middle Temple, who first made choice of Smith's organ, as appears by the following extract from the Books of that Society : — " June 2, 1685. The Masters of the Bench at this Parliament taking into their Consideration the tedious Competicion betweene the two Organ-makers about their fitting an Organ to the Temple Church, and having in severall Termes and at several! Times compared both the Organs now standing in the said Church, as they have played severall Sundays one after the other, and as they have lately played the same Sunday together alternately at the same service. Now at the Suite of several Masters of the Barr and Students of this Society pressing to have a speedy Determination of the said Controversie ; and in Justice to the said Workmen as well as for the freeing themselves from any Complaints concerning the same, doe unanimously in full Parliam' resolve and declare the Organ in the said Church made by Bernard Smith to bee in their Judgments, both for sweetnes and fulnes of Sound (besides y= extraordinary Stopps, quarter Notes, and other Rarityes therein) beyond comparison preferrable before the other of the said Organs made by — Harris, and that the same is more ornamentall and substantiall, and bothe for Depthe of Sound and Strengthe fitter for the use of the said Church ; And therefore upon account of the Excellency and Perfection of the said Organ made by Smith, and for that hee was the Workeman first treated with and employed by the Tre°''= of both Societyes for the providing his Organ ; and for that the Organ made by the said Harris is discernably too low and too weak for the said Church, their Marpp«s see not any Cause of further Delay or need of any reference to Musicians or others to determine the difference ; But doe for their parts unani- mously make Choise of the said Organ made by Smith for the Use of these Societyes — and Mr. Treo' is desired to acquainte the Treo^ and Masters of the Bench of the Inner Temple with this Declaration of their Judgments w* all respect desiring their Concurrence herein." So far so well, but the Benchers of the Inner Temple were not disposed to rest satisfied with the dictum of their brethren of the Middle Temple. Accordingly on the 22nd June, 1685, they made an order in which, after expressing their dissatisfaction that such a resolution and determination should be made by the Benchers of the Middle Temple in a matter which equally concerned both houses, without a conference being first had with them, they declared — " That it is high time, and appears to be absolutely necessary, that impartiall Judges (and such as are the best Judges of Musick) be forthwith nominated by both Houses, to determine the Controversie betweene the two Organ-makers, whose Instrument is the best, which this Society are ready to doe, and desire their Mastershippes of the Middle Temple to join with them therein, in order to the speedy putting an end to so troublesome a Difference " — and appointed a committee, of five members of their body, with instructions that they — THE HISTORY OF THE ORGAN. 105 " or any three of them doe at a Conference deliver the answer above men- tioned, and they are hereby empowered to enter into a Treaty with a hke number of the Masters of the Bench of the Middle Temple, in order to the speedy settling this Affair." " The committee thus appointed," says Mr. Macrory, " appear to have entered upon their duties immediately, and to have fully considered the subject of the organs, not only with respect to the appointment of the ' impartiall Judges,' but also the respective prices and number of pipes in each instrument, for, two days afterwards, an answer was sent from the Middle Temple, from which the following extracts are taken" : — " June ii,th, 1685. — The Masters of the Bench of the Middle Temple now say : " I. That they cannot imagine how the Masters of the Inner Temple can pretend any ill Usage or Disrespect offered towards them, either tending to a Breach of Correspondence or Common Civility by the Act of Parliament of the Middle Temple, of the second of this Instant June, for that the Masters of the Middle Temple thereby only on their own parts, .with the Concurrence of the Barristers and Students, declare their Judgments and Choise of Smith's organ (not imposing but requesting) the Concurrence of the Inner Temple therein with all respect. " 2. As to the Matter of having the two Organs referred to the Judgment of impartiall Musicians, There yet appears not any Difference betweene the two Societyes concerning the same, the Masters of the Bench of the Inner Temple having not as yet in Parliament declared their Judgments and Choise of the other Organ, which if in their Judgments they shall think fit to doe, whereby a Difference shall appear betweene the two Societyes, then their said Mastershippes believe the Society of the Middle Temple will find some other expedient for the determination of the said difference. " 3. As to the Price of the Organs, Smith the Organ-Maker, absolutely refuseth to set any Price upon his Organ, but offers to submit the same to the Judgment of the Treasurers of both Societyes, or to such Artists as they shall choose, which their mastershippes cannot but think reasonable. " 4. As to the Numbering the organ Pipes and Stops, their Mastershippes think it below them to trouble themselves therein, because the Proposal can have no other ground than a Supposition of such Fraud in the Artist as is inconsistent with the Credit of his Profession." These strange proceedings on the part of the Benchers of the two Temples do not reflect much credit upon the body. It were needless to carry on further this account of their petty disputes to determine which was the best organ. " I have not," says Mr. Macrory, " been able to find anything in the Books of either Society to corroborate this statement, derived by Burney from a letter written by Dr. Tudway to his son, and it is not probable, if the decision had been left to Jefferies, that there would not have been some record either of his appoint- ment, or of the decision. It is, however, certain that Jefferies was not ' Lord Chief Justice' at the time of the decision, as he became Lord Chancellor in 1685, and continued until 1690 in that office. It may be that the Middle Temple succeeded in their desire to have him decide ' the matter in difference,' or as suggested in a note to the above account in Dr. Rimbault's History of the Organ, p. Tj, ' that the contest was decided by vote. Jefferies happened to be " of the house," and it fell to his lot to give the casting vote.' Many other writers have ascribed the decision to I06 THE HISTORY OF THE ORGAN. JefFeries, but I presume they all derived their information from the same source as did Burney." The exact date of the termination of this celebrated " battle of the organs " does not appear, but it may fairly be stated as being about the end of 1687, or beginning of 1688. The original deed of sale bears date the 21st June, i688, and is still preserved in the Middle Temple. It reads as follows : — "2IJ-/ June, 1688. " Mr. Bernard Smyths' s Bargaine and Sale of ye Organ in ye Temple Church to both ye Society s of ye Temple. " Know all men by these presents, That I, Bernard Smyth, of London, Gent., for and in consideration of one thousand pounds of lawfuU money of England to me paid (to wit) Five hundred pounds, parte thereof, by the Treasurer of the Society of the Middle Temple London, and the other moiety by the Treasurer of the Society of the Inner Temple London, for w^h I have given severall former acquittances, and in consideration of twenty shillings now paid to mee by the Honoi'i= Roger North and Oliver Montague, Esqrs, Benchers, and William Powlett, Esqr, now Treasurer of the si^ society of the Middle Temple, and by S"' Robert Sawyer, Knt., now Treasurer, and Charles HoUoway, and Richard Edwards, Esqrs, Benchers of s^ Society of the Inner Temple, Have granted bargained and sold and doe hereby fully and absolutely grant bargaine and sell vnto the so, in 1710, for a diapason. David Loggan published an accurate engraving of the interior of the chapel, between 1675 and 1691, which gives the west front of the organ as it then appeared. The present case is the original one, erected by Chapman and Hartop, in 1606, to contain Dallam's organ ; for, though the action and pipes of the organ appear to have been many times removed and renewed, there is every reason to believe that the existing case dates from 1606, and the choir organ from 1661. When Avery was employed, in 1804, to reconstruct and enlarge the instrument, he probably incorporated much of the old work with his own. 17. St. Lawrence, Jewry. 1687. Paterson, in his Pietas Londinensis, 1714, p. 131, calls it "a fine organ;" an opinion in which the writer concurs. The case, with its choir organ in front, is one of the finest specimens of its kind in London. 18. St. James's, Piccadilly. 1687. This organ was made for James II., and designed for his Popish chapel at Whitehall. His daughter. Queen Mary, presented it to the church. On the front was this inscription : — " The gift of the Queen, in the year 1691." Some valuable entries respecting it have already been given (see ante, p. 119). Ambrose Warren, in his curious tract, entitled The Tonometer, 172"/, p. 8, tells us : " About the year 1707, when Father Smith, the organ-builder, died, I was by the honourable vestry of St. James's parish chosen to keep their organ in tune and order in his stead, which I found to be in a very mean condition in many respects. And, in 1708, I was by the same authorities ordered to reform divers stops, and put in several new ones, which I with help performed, to the full satisfaction of all concerned, as well as myself." 19. St. Mary's, Ipswich. 1690. 20. Christ Church, Newgate Street. 1690. 21. St. Ann's, Westminster. 1691. Hatton says : — " Here is a fine organ, made by Mr. Harris " (p. 132) ; Paterson adds: — "given by King William III." (p. 27). It was formerly in one of the royal apartments at Whitehall, and was presented to the church by the King in 1691. It is now in the church of St. Michael's, Paternoster Royal. 22. Allhallows, Lombard Street. 1695. This church was opened in 1695, which is the probable date of the organ. Paterson (Pietas Londinensis, p. 1 1) speaks of its " fine altar-piece and pulpit, and stately organ, made by Mr. Harris, by the contributions of forty-two benefactors." Hatton says "the names of the benefactors to the organ are inscribed in gold letters on the gallery." — New View of London, vol. i, p. 109. 23. St. Andrew's, Undershaft. 1696. Paterson (Pietas Londinensis, p. 22) calls it " a most excellent and costly organ made by Mr. Harris." Hatton {New View of London, p. 124) calls it " a fine large organ," and adds, " several gentlemen (whose names I am not allowed to mention) contributed for the organ, &c. the sum of £\ipo''' This organ was opened on the 31st of May, 1696, when Dr. Towerson preached a sermon on Vocal and Instrumental Music in the church. 126 THE HISTORY OF THE ORGAN. 24. St. Patrick's Cathedral, Dublin. 1697. The following extracts are from the old Chapter Book : — " 12th August, 1695. The Dean and Chapter agrees with Renatus Harris, of London, organ- builder, to make and set up a Double Organ for the sum of ^505. In the great organ — Open Diapason of metal. Stop Diapason of wood. Principal of metal, Nason of wood, a great 12th of metal, 15th of metal, a Cornet of metal. In the little organ — a Principal of metal. Stop Diapason of wood, 15th of metal, and a Nason of wood, being in all 13 stops, consisting of 800 pipes, sound-board, &c., &c. The pipes of the old organ to be removed, and to allow ^65 for the same." " nth March, 1697. Organ erected and examined by the several Vicars." " loth May, 1697. Further contract for additional stops for ^350, to be paid at Strongbow's Tomb, in Christ Church, on stated times named — viz., Trumpet stop. Echo stop. Time stop \sic\ entire, Open Diapason, Flute of metal. Great Furniture of 3 ranks." 25. St. Andrew's, Holborn. 1699. Harris's organ, after its rejection at the Temple, was part of it erected at St. Andrew's, Holborn, and part in the Cathedral of Christ Church, Dublin. Sir John Hawkins records the following anecdote in his History of Music, vol. iv., p. 539 : — " Dr. Sacheverell, having been presented to the living of St. Andrew's, Holborn, found an organ in the church, of Harris's building, which having never been paid for, had from its erection in 1699 been shut up. The Doctor, upon his coming to the living, by a collection from his parishioners, raised money enough to pay for it." Some curious notices respecting the earlier organs of this church occur in the old churchwardens' books : — " 9 Henry VIII. The little organs were made and bought at the charges of the parish, and devotion of good people, and cost, as I can gather, ^6." " 2 Edward VI. My Lord of Lincolne gave a pair of organs." " i Mary. The parish gave young White £^ for the great organs which his father gave to the church." — See Malcolm's Londinum Redivivum, vol. ii., p. 197. 26. St. John's Chapel, Bedford Row. 1703. 27. St. Giles's, Cripplegate. 1704. In Malcolm's Londinum Redivivum, vol. iii., p. 274, is the following curious extract from the parish books: — " 1672. Mrs. Chamock shall have thanks given her, for her affection in bestowing a faire organ upon the parish church of St. Giles : and that some convenient place shall be found for setting it up." The double duty of organist and sexton was performed by James Brookes, who was "chosen by the King's Majesties letter." It was provided, that if the sexton did not, or could not play, he should find an organist. In 1726, a proposal was made (and accepted) by Abraham Jordan, organist, to take the organ to pieces, the builder having left it in a very imperfect state, and repair it gratis, on condition of having his salary secured to him for 21 years. — See Malcolm, Ibid., p. 279. 28. St. Clement's, Eastcheap. 1709. "A pretty organ, made by Mr. Harris." — Hatton, vol. i., p. 208. This instrument was probably built in 1709, when the church "was repaired and beautified." THE HISTORY OF THE ORGAN. 1 27 29. Salisbury Cathedral. 17 10. See the account of a curious engraving of this organ, ante, p. 122. This noble instrument was probably removed in 1792, when Green erected the present organ. The Modern British Traveller, 1779, thus describes it :-^ " The organ, which is fixed over the entrance to the choir, is very large, being 20 feet broad, and 40 feet high to the top of its ornaments. It has 50 stops, which are 18 more than there are in the organ of St. Paul's Cathedral in London, but the latter is much superior in the sweetness of its tone." 30. St. Mary's, Whitechapel. 1715. This organ was opened on the 29th of May, 1715. See the Parish Clerks Remarks on London, 1732, p. 246. 31. St. Bridget's (now St. Bride's), Fleet Street. Hatton, in his New View of London, vol. i., p. 175, says: — "Here is a very fine organ, and a curious carved case adorned with two large Fames, &c. This organ was made by Mr. Harris." 32. Ely Cathedral, Cambridgeshire. 33. Jesus College Chapel, Cambridge. This instrument is now in All Saints' Church, Cambridge. 34. Wolverhampton Collegiate Church. This organ, with that of St. Andrew's, Holborn, was constructed out of the rejected Temple organ. Burney says " that part of the organ for the Temple church by Harris, and sent to Dublin, was sold, after the death of the elder Byfield, to Wolverhampton for ;£5oo. It still stands in the church of that town, and is thought a very good instrument." 35. Norwich Cathedral. This organ is attributed to Harris. Sir Thomas Browne, in his Refertorium of the Antiquities of Norwich Cathedral, thus alludes to the earlier organs : — " There was formerly a fair and large, but plain, organ in the church, and in the same place with this at present. It was agreed in a Chapter by the Dean and Prebends, that a new organ be made, and timber fitted to make a loft for it, June 6, Anno 1607, repaired 1626, and £10 which Abel Colls gave to the church, was bestowed upon it. That, in the late tumultuous time, was pulled down, broken, sold, and made away. But since his Majesty's restoration, another, a fair, well-tuned, plain organ was set up by Dean Crofts and the Chapter, and afterwards painted and beautifiiUy adorned, by the care and cost of my honoured friend. Dr. Herbert Astley, the present worthy Dean." — Posthumous Works of the Learned Sir Thomas Browne, 8vo., 1712, p. 31. 36. St. John's, Clerkenwell. 37. Bideford Church, Devon. 38. Cork Cathedral. The specification is signed " Renatus Harris," but the organ was probably finished by John Harris. 39. St. Mary's, Dublin. 128 THE HISTORY OF THE ORGAN. 30. Father SmitKs Nephews. Upon Father Smith's arrival in this country, he was accompanied (according to Hawkins and, after him, Burney) by his two nephews, Bernard and Gerard. There is reason to believe that the historian was in error as to the first name. Horace Walpole, in his corrected copy of Hawkins's History, altered the name of Bernard to Christian, and evidently upon some good authority, as we find, in the case of the repair of the organ of St. Giles's-in-the-Fields (before quoted). Christian Smith received payment, and signed the receipt for the same.* The names of Christian and Gerard Smith are so little known, that they have not hitherto been registered in our roll of organ- builders. Nevertheless, they built several fine instruments. In Chamberlayne's Magnce Britannice Notitia for 1755, we find among the officers of Chelsea Hospital, " Organ Repairer, Mr. Gerard Smith." This person was probably Father Smith's grand-nephew. The date almost precludes the possibility of his being a nephew. Organ built by Christian Smith. Tiverton Church, Devon. 1696. Among the conditions, dated March 6, 1695, the rector, burgesses, &c., " do undertake to procure an excellent and well-contrived organ, of a sufficient bigness, and with decent and proper ornaments of carved work, answerable for the Parish Church," &c. Articles accordingly were entered into with " the excellent artist Sir. Christian Smith, a very honest and ingenious man, who lives in Hart Street, nigh Bloomsbury Market, London," who built the instrument. Organs built by Gerard Smith. 1. Parish Church, Bedford. 1715. This instrument was sold by the parish, when the church was restored in 1832, for ;^5o — about the price of its case. It is now in the Moravian Chapel at Bedford. 2. Allhallows, Bread Street. 171 7. An echo was added to this organ, by the original builder, in 1722 ; the whole cost being £dfl2. It is probable that Schrider assisted in this instrument. * These two young men, in all probability, were the sons of Christian Smith, one of whose organs, with the date 1643, is in the possession of a gentleman at Norwich. Ail the pipes are of wood, and the date and name of the builder, Christians Schmidt, are inscribed in three places, in different parts of the instrument. Query — ^Did Christian accompany his brother to England .' THE HISTORY OF THE ORGAN. 1 29 3. Finedon Church, Northamptonshire. 17 17. This organ was built at the cost of Dr. Dolben, of Finedon, a great patron of music and musicians. In A Collection of Anthems, as the same are now Perform! d m the Cathedral Church, Durham, Durham, 8vo., 1749, p. 159, is one beginning, " Praise God in His sanctuary," " Compos'd for and Perform'd at the Opening a new Organ at Finedon, in Northamptonshire, May 17, 1717," by Dr. Croft. The instrument is in its original state : the pipes are diapered. 4. Little Stanmore Church, near Edgware. whilst the Duke of Chandos resided at Cannons, the church service was performed here with all the aid of the first vocal and instrumental music. Handel, who resided at Cannons as chapel-master, is said to have composed his anthems for the use of this choir. This organ is sometimes attributed to Jordan. 5. St. George's, Hanover Square. 1725. " This organ was erected, in 1725, by Smith, nephew to the great artist of that name ; and the choice of an organist is thus mentioned in the St. James's Evening Post of Nov. 16: — ^ On Friday last came on the election of an organist of St. George's, Hanover Square ; and the salary being settled at £i^^ per annum, there were seven candidates : Mr. Rosengrave ; Mr. Cole, organist of the Chapel of the Royal Hospital of Chelsea, and of St. Mary Hill, London ; Mr. Monro, organist of St. Peter's, Comhill ; Mr. Stanley, the ingenious blind youth, aged 13 years and a half, organist of Allhallows, Bread Street ; Mr. Centlivre, organist of Oxford Chapel, near Oxford Square ; Mrs. Sweet, organist of the Chapel in Duke Street, Westminster ; and Mr. Obbel, organist of St. Bartholomew the Great, in West Smithfield. The vestry, which consists of above 30 lords and ^o gentlemen, having appointed Dr. Crofts, Dr. Pepusch, Mr. Bononcini, and Mr. Geminiani, to be judges which of the candidates performed best ; each of them composed a subject, to be carried on by the said candidates in the way of fuguing ; and one hour was allowed for every one to play upon the four subjects so appointed, one not to hear another unless himself had done before ; only the four first performed, and aU of them very masterly. In the conclusion the judges gave it for the famous Mr. Rosengrave, who made that way of performance his study great part of his life ; and he was accordingly chosen.' "^ — Malcolm's Londinum Redivivum, vol. iv., p. 234. This organ was removed in 1790. 31. Renatus Harris, Jun. In the first edition of this work I only knew of this builder from a notice on the fly-leaf of an old MS. collection of voluntaries for the organ — i.e., " John Harris, given me by my brother Renatus, A.D., 1712." I am now enabled to cite an organ built by the younger Renatus. He doubtless built several others, although they are not recorded, and it is certain he died young. Organ built by Renatus Harris, Jun. St. Dionis Backchurch. 1724. It would seem, from the parish books, that the first steps for erecting an organ in this church were taken in the year 1722, when a subscription was set on foot, K 130 THE HISTORY OF THE ORGAN. and a committee appointed by the vestry for that purpose, the Rev. Dr. Smith (President of Queen's College, Oxford), being the rector of the parish. In the same year the committee were empowered by the vestry to enter into a contract with Mr. Renatus Harris,* an organ-builder, and to obtain a faculty from the ecclesiastical authorities. The sum raised by voluntary subscription for the erection of the organ, and for every expense connected with it, amounted to ;^74i 9s. ; Mr. Deputy Hankey (afterwards Sir Henry Hankey, Knt., and Alderman), taking charge of the several aontributions, a detailed list of which is preserved in the parish ledger. During the year 1723 the only entries relative to the organ are three payments in advapce to Mr. Renatus Harris, who, when in the following year he was paid the balance due to him, appears to have received from beginning to end, the sum of ^525 for the instrument.t In 1724, at a meeting of the vestry, the organ was ordered to be opened on the second Sunday in June, and Mr. Philip Hart was chosen the first organist. It is supposed that the organ was accordingly opened on the day appointed, as there is an entry in the parish ledger, June 15th, that ;^io los. was paid for singing two anthems. As regards the structural arrangements, the organ continued nearly in its original state until 1867, when, being much out of repair, and of course deficient in many points deemed necessary in the present day, its condition was brought under the attention of the vestry, who elected a committee to consider the question. The committee presented a report to the vestry, recommending Messrs. Gray and Davison to be instructed to rebuild the organ according to specifications, and obtained leave to lay out thereon a sum not exceeding ;£200. The organ having been rebuilt was opened February 7th, 1868. 32. John Harris and John By field. John Harris, another son of Renatus, seems to have been over- looked by all who have written upon the subject of our early organ-builders since the time of Sir John Hawkins. Indeed so little attention has been paid to dates, that we are told, " Harris's most celebrated organs are those of St. Sepulchre's, London, which, how- ever, is now much changed since its first erection in 1667 ; and Doncaster, Yorkshire, 1738." (!) J In 1738, March 19, articles of agreement were entered into " Between John Harris, of Red Lion Street, in the Parish of St. Andrew, Holborn, in the County of Middlesex, organ maker of the one part, and the Reverend Hollis Piggot, Vicar of the Parish _ * In the first edition of my Hutory of the Organ (pp. lob-i), I foUowed the common error in ascnbmg the building of this organ to the firm of Messrs. Byfield, Jordon, & Brid-. 133 closer connection, b\- becoming his ^)n-in-law.* After the death of Smith, he succeeded to his business ; and, in the year 17 10, to the appointment of oigan-buQder to the Roj'al Chapels. His organs, as far as \Te know, are not ven- numerous, that of Westminster beii^ his cAtf-d'asuvr^ The date of his death is not recorded, but it probably took place in 1754 ; as, in the following year, among the " Sen'ants in Ordinary to the Kii^" in ChamberlajTies J/j^-'.v- Britaimm J^otitia, we find, "Chgan Maker, Mr. Christopher Shrider. son of the &/^ Mr. Schrider." The foUowii^ giiMBKg epitaph, upon the subject of our notice appeared in Webb's G ilii/i-'i of E^apks, 1775 ^\-oL iL, pw 76) : — "OS THE CELEBRATED MR. CHSliTOPHER SHREDEK. " Ha« rests the nmsical K:i Sk.n'Jer, Who (xgans boflt tdkoi he did bide to« : With nicest ear he ton'd 'am op : Bat Death has pat the crad Stop : TTk)' Breath to othacs he conrey-'d, Bieattikss, alas ^ himsdf is lay'd. May he, tdio ns sach Keys has givm. Meet wid» St. P«»^ Keys rf Hearii ! His Cor- e:. Twdfth, and Drapastm, Coold not \iifli Air soi^dr hfe Weasand : Bass, Tenor, TieU^ Unison. The loss of ton^d Kit b^noan.'' I. The Chap^ Royal. St James's. 171a Tliis oigan was removed in 1819, and aftar andexgung the neoessaiy i^aiis, \ras poitliased for die ]^[^cqpal Chapd in Ltmg Acre, for £aaa. bi 18G6 it «as taboi down and le-oected in die chapd of Marcars' HalL Mr. Thomas HiD. in a OMnmnnJiration to t]ie Qkurdk Ckmrmim^a- (Jan. iS(?;~ . says, ^eakii^ of this instramatt : — ^ It is deaify a woit-of JFiMur Sfesxi's. and piesaats the nnusaal fe:3r::ire of havTi^ escaped any attempt a: modernising.*' Tlie old sccoonts of the CSiapd Royal say : — ^ i/ic^ organ oected by Mr. SJkriderJ^ It fa cScnlt to reoanGJIe these two statements, bat the hi^ antiMxity t£ Mr. HiQ desanres attmtion. '^ He is«2nblf aanfed aigai^as me find die SbiknciBg estrf in anoii i t gbm af bamb n i&e Bbnoy of Si. ^i£r\ Wloenmsia: — ^^ Mis. He&n Stada- Sed Msi^ 3i. 1^53. aged 65 }eu% sod xras beriai f 1: in de Soffih Cfajstar, on ber &tiKr, >&. Ths. Triming ** feaaiags wss a Gmnkma a ef (he Cfa^d Rojal, and P- 145) says : — " Within this church a very judicious alteration, that of removing the organ from the centre of the building to the west end, is now carrying into execution. The custom of placing the organ in the former situation, so universally prevalent, is matter of astonishment to those who are capable of feeling the full effect of beautiful symmetry in the works of architecture ; by this barbarism in taste, the sublime interest we take in the 'Long drawn aisle and fretted vault ' of our Gothic cathedrals is in a great degree destroyed ; and the most striking and impressive works of human invention obscured by a range of gilded pipes, that can only be entitled to a secondary consideration." Schwar- brook's organ was erected by subscription. 4. Trinity Church, Coventry. 1732. This instrument cost .^600, and the old organ. 5. St. Michael's, Coventry. 1733. This noble instrument (Schwarbrook's masterpiece) cost;£i40o. It originally contained three remarkable stops — the harp, lute, and dulcimer j but, in consequence of the " difficulty of keeping the strings in tune," they were removed in 1763. 6. Magdalen College, Oxford. 1740. 7. Lichfield Cathedral. Removed in 1789. 8. Stratford-upon-Avon Church. Now removed. 9. All Saints', Northampton. 136 THE HISTORY OF THE ORGAN. 35. The Jordans, Father and Son. Sir John Hawkins, in his History of Music, tells us : — "About the year 1700, one Jordan, a distiller, who had never been instructed in the business, but had a mechanical turn, and was an ingenious man, betook himself to the making of organs, and succeeded beyond expectation. He had a son, named Abraham, whom he instructed in the same business ; he made the organ for the chapel of the Duke of Chandos, at Cannons, near Edgware, and many organs for parish churches."* Mr. W. B. Gilbert, in his Antiquities of Maidstone, shows that the Jordans were an ancient family located in that town as early as the fifteenth century. He says : — " Thomas Jordan resided [in 1477] at the ancient family seat in Stone Street, called for some centuries ' Jordan's Hall.' Many members of this family have at various times been concerned in the affairs of Maidstone, and one of the Jordans in the last century was a distiller in the town. Having a genius for organ building, he removed to London, where he made many fine instruments. When the parish of Maidstone, in 1746, decided to have an organ in the church, Jordan was unanimously selected to build it, which he did to the entire satisfaction of the committee. Jordan's organ still remains in the parish church. Others of this family have also in their day been celebrated, and many descendants are yet to be found in the neighbourhood of Maidstone." The Jordans are especially deserving of our notice, as to them we are indebted for the invention of the swell. Among the advertise- ments in the original edition of the Spectator (Feb. 8, 17 12), is the following announcement : — " Whereas Mr. Abraham Jordon, senior and junior, have, with their own hands, joynery excepted, made and erected a very large organ in St. Magnus' Church, at the foot of London Bridge, consisting of four sets of keys, one of which is adapted to the art of emitting sounds by swelling the notes, which never was in any organ before j this instrument will be publicly opened on Sunday next, the performance by Mr. John Robinson. The above-said Abraham Jordan gives notice to all masters and performers, that he will attend every day next week at the said church, to accommodate all those gentlemen who shall have a curiosity to hear it."t Many of the old English organs (as we have seen by the specifications quoted) contained a department called the Echo. This consisted in a duplicate of the treble portion of some of the stops * Although this is the only biographical notice of the Jordans handed down to us, yet, strange to say, their names are omitted in the index to the new edition of Hawkins's elaborate work. t This curious advertisement was first noticed by Malcolm (see his Ltmdinum Redh'mum, vol. iv., p. 234); it was afterwards copied into Hone's Even/ Day Bool, and the Chronicla of London Bridge. THE HISTORY OF THE ORGAN. 1 37 enclosed in a wooden box, which rendered the sound softer and more distant. Jordan's improvement was that of a sliding shutter, which was made to open and shut at the performer's pleasure, thus producing a " swelling " effect. The invention of the swell was well received, and Jordan soon found sufficient employment in carrying out his contrivance in many of the London organs. With regard to the introduction of this important improvement upon the Continent, Burney has some interesting passages in his Continental Tours, which I extract. Writing in 1771, he says: — " It is very extraordinary that the swell which has been introduced into the English organ more than fifty years, and which is so capable of expression and of pleasing effects that it may well be said to be the greatest and most important improvement that ever was made on any keyed instrument, should be utterly unknown in Italy ; and now I am on this subject, I must observe that most of the organs I have met with on the Continent seem to be inferior to ours by Father Smith, Byfield, or Snetzler, in everything but size ! As the churches there are very often immense, so are the organs ; the tone is indeed somewhat softened and refined by space and distance ; but when heard near, it is intolerably coarse and noisy ; and though the number of stops in these large instruments is very great, they afford but little variety, being for the most part duplicates in unisons and octaves to each other, such as the great and small i2ths, flutes, and i5ths ; hence, in our organs, not only the touch and tone, but the imitative stops are greatly superior to those of any other organs I have met with."* Again, in another of his works, a few years later, he says : — " Before I left England, M. Snetzler had told me that I should doubtless find swells in Berlin organs, though he was not certain that this improvement, which was English, had been adopted in other places on the Continent ; for Mr. Handel, several years ago, had desired him to describe in writing the manner in which the swell was produced, that he might send it to a particular friend in Berlin, who very much wished to introduce it there. But- 1 enquired in vain of musical people in that city, whether they knew of any such machine as a swell, worked by pedals, in any of their organs : no such contrivance had ever been heard of, and it was difficult to explain it." The first swell introduced into Germany appears to have been in Hildebrand's organ for the church of St. Michael, at Hamburg, built in 1764.-^ Burney says : — " A swell has been attempted in this instrument, but with little effect ; only three stops have been put into it, and the power of crescendo and diminuendo is * Present State of Mush in Prance and Italy. 8vo., 1771, p. 375. ■(■ Present State of Music in Germany, thf Netherlands, and United Provinces. 8vo. second edit. 1775, vol. ii., p. 103. 138 THE HISTORY OF THE ORGAN. so small with them, that if I had not been told there was a swell, I should not have discovered it." * Very little more remains to be said of the Jordans. In the parish books of St. Giles's, Cripplegate, under the date 1726, "a proposal was made (and accepted) by Abraham Jordan, organist, to take the organ to pieces, the builder having left it in a very imperfect state, and repair it gratis, on condition of having his salary secured to him for 21 years."f This entry, we presume, relates to the younger Jordan, whose latest work appears to have been the repair of the Durham Cathedral organ, in 1748. List of Organs built by the Jordans. 1. St. Michael's, Paternoster Royal. 1700. In the Parish Clerks' Remarks on London, 1732, it is said that this church has " no organ." Tradition, however, says that an instrument was given to this church by Abraham Jordan, in the year 1700. This organ was removed in 1798, to make room for the old instrument from St. Ann's, Westminster, which was erected here with additions by the elder Gray. 2. Fulham Church, Middlesex. 1701. An excellent instrument ; it still remains in almost its original state. 3. St. Antholin's, Watling Street. 1703. 4. St. Saviour's, Southwark. 1703. 5. The Chapei of the Duke of Chandos, at Cannons. 1720. Handel used to perform upon this organ. When the Duke of Chandos died, the magnificent mansion being thought to require an establishment too expensive for the income of his successor, was pulled down, and the materials sold by auction in the year 1747. The organ, by the Jordans, forms an item in the sale catalogue. It is now in Trinity Church, Gosport, having been purchased at the dispersion of Cannons. A curious document, printed in 1748, is preserved in the vestry of the church, being a sort of a debtor and creditor account connected with the purchase of the organ. It contains the following items ; — . " To cash paid Mr. Ch. Cock [the auctioneer] for the organ as £ s. d. it stood at Cannons 117 12 o To do. paid Mr. Jordan for taking it down, and carriage to London 1600 To ditto ditto for repairs 105 o o To ditto for a new swell 30 o o To ditto for repairs and carriage to Gosport . . . . 800" Several other curious items make the total outlay ^344 15s. 6d. One is, " To cash paid Mr. Richard Mullings for painting the organ, as per bill, £1 14s." There is * Present State of Music in German^/, the Netherlands, and United Provinces. 8vo. second edit. 1775, vol. ii., p. 275. t Malcolm's Londinum Redivivum, vol. iii., p. 279. THE HISTORY OF THE ORGAN. 1 39 no name or date on the organ, but the Chandos and Buckingham arms are carved in gold on the top of the instrument. In the first edition it was said the organ is " now in Spa Fields Chapel." The name of the farm and glebe attached to Trinity Church is Speed Field. May not this have originated the mistake 1 6. St. Magnus the Martyr, London Bridge. 17 12. This organ was the gift of Sir Charles Duncomb. It is exceedingly interesting, as being the first instrument in which the swell was used. (See the curious advertisement, ante, page 133.) It has been much altered and modernized by Parsons ; three only of the original four sets of keys remain. ■ 7. Chelsea College. 1715. 8. Parish Church, Southampton. 1731. , In the St. James's Evening Post, for Feb. 13th and 24th, 1731, the following satirical notice occurs : — " Whereas it has been advertised, that an organ had been lately set up by the ingenious Mr. Jordan, in the parish church of Holy-rood, in the town and county of Southampton ; this is to give notice, that the churchwardens of the same parish are willing to show all manner of encouragement to any one who shall offer himself as organist, provided he understands nothing of his business ; the candidates to be approved of by the clerk of the said parish, who, according to his profound judgment and skill in music, promises on his part, to determine the controversy fairly and impartially in favour of him that shall perform the worst." " N.B. — If any one who is an ingenious man in his profession (though never so strongly and with justice recommended by the ablest masters in the kingdom), should, notwithstanding this advertisement, presume to offer "himself, he must expect to be rejected : it being fuUy resolved that none but bunglers, or those who know the least of their business, shall be entitled to the place. The latter are desired to meet in the said town of Southampton, on Lady-day next, being the ajth March, 1731, where they may be assured to find a very kind reception and a suitable encouragement." 9. St. Luke's, Old Street. 1733. A MS. note by Pennant (the London historian) ascribes this organ to Jordan. This church was consecrated by Dr. Hare, Dean of St. Paul's and Bishop of Chichester, Oct. 18, 1733. The organ was presented to the parish by 'Mr. Buckley, an eminent brewer of Old Street. 10. Parish Church, Maidstone. 1746. ■II. St. Bennet Fink, Threadneedle Street. " Madam Sarah Gregory, of this parish, gave four hundred pounds for building an organ, and a gallery for it ; which is now perfectly finished, and built by Mr. Jordan, besides ten pounds per annum to keep it up." — Paterson's Pietas Londinensis, 17 14. 12. St. Dunstan's, Fleet Street, Ascribed to Jordan, upon the authority of Wilham Russell's MS. account of English organs. It is not mentioned by Hatton in 1708, or Paterson in 1714 ; but it is noticed in the Parish Clerks' Remarks on London, 1732. It must therefore have been erected some time between the two last-named dates. 13. St. Paul's, Shadwell. 14. The Portuguese Chapel. 140 THE HISTORY OF THE ORGAN. 15. The Abbey Church, Bath. 16. Covent Garden Theatre. 17. St. George's, Botolph Lane. 36. . Richard Bridge. This artist enjoyed considerable celebrity, and it is to be regretted that nothing is known of his biography. He is supposed to have been trained in the factory of the younger Harris. According to an advertisement in the General Advertiser, for Feb. 20, 1748, "Bridges, organ-builder," probably the same person, then resided in Hand Court, Holborn. We learn incidentally, from a note in Burney's History, that he died before 1776. Organs built by Richard Bridge. 1. St. Paul's, Deptford. 1730. 2. Christ Church, Spitalfields. 1730. This is esteemed the maker's best instrument. Its original cost was ^600, not half its value. In point of number of pipes and stops, it is one of the largest parish organs in London. 3. St. Bartholomew the Great. 173 1. " We hear that the curious new organ made by Mr. Bridge, for the church of St. Bartholomew the Great, is to be opened on Sunday next with an anthem." — Daily Advertiser, Oct. 27, 1731. 4. St. George's-in-the-East. 1733. 5. Cuper's Gardens, Lambeth. 1740. 6. St. Anne's, Limehouse. 1741. This instrument was burnt in 1851. 7. Enfield Church, Middlesex. 1753. 8. Faversham Church, Kent. 1754. 9. St. Leonard's, Shoreditch. 1757. 10. Eltham Church, Kent. 11. Spa Fields Chapel, Clerkenwell. 12. St. James's, Clerkenwell. Removed in 1796 to Beccles, Suffolk. 13. Parish Church, Paddington. THE HISTORY OF THE ORGAN. 14I Organs built by Byfield, Jordan, and Bridge, conjointly. In consequence of the many new churches that were erected at the commencement of the last century, an equal number of organs were required, which induced many persons who were totally unskilled in the art and mystery of voicing organ-pipes to become builders. To prevent, therefore, the sad consequences which must naturally follow, a coalition was formed between the three eminent artists of the day, Byfield, Jordan, and Bridge, who undertook to build organs at a very moderate charge, and to apply their united talents to each. The result of which was a fair, though moderate, compensation to themselves, and superior instruments to our churches. I regret that I can name only two instruments in which the joint efforts of these eminent men were united : — 1. Great Yarmouth Church, Norfolk. 1733. An instrument celebrated for its many beauties. 2. St. George's Chapel, Great Yarmouth. 1740. 37. John Byfield, Jun. This is the next builder that comes under my notice. Nothing whatever is known of his biography ; in fact, he is not named, as far as I can learn, by any writer upon the subject of organs, or organ- building. The works of the two Byfields pass current under one head. According to a MS. note in the handwriting of Dr. Benjamin Cooke, he died in 1774. Organs built by John Byfield, Jun. I. St. Botolph's, Bishopsgate. 1750. Christ Church Cathedral, Dublin. 1751. St. Mary's, Rotherhithe. 1764. St. John's College, Oxford. 1768. Charlotte Chapel, Pimlico. 1770. Drury Lane Theatre. 1769. Magdalen College Hall, Oxford. Woolwich Church, Kent. 142 THE HISTORY OF THE ORGAN. 9. Cardiff, Glamorganshire. 10. Highga.te Chapel. 11. St. Bartholomew the Less. 12. The Chapel of Greenwich Hospital. Destroyed in the fire which consumed the chapel in 1779 13. Berwick Street Chapel, Soho. 1768. 14. The Theatre, Oxford. 1768. 15. Barking Church, Essex. 1770. 16. Newbury Church, Berks. 1770. 17. St. Mary's, Islington. 1771. 18. St. Lawrence, Reading, Berks. 1771. The six last-named organs were built jointly with Green. 38. Messrs. Glyn and Parker. The above names are new in the annals of organ-building. Although eminent builders, their celebrity was of a local character. They resided at Salford, near Manchester, and built a number of instruments for Lancashire and the neighbouring counties. One organ, that of Poynton Church, attracted the notice of Handel, who is reported 'to have been so pleased with it, that he employed Parker to erect the famous instrument for the Foundling Hospital.* The following is a list of organs by these builders : — Organs built by Glyn and Parker. Collegiate Church, Manchester. 1730. St. Ann's Church, Manchester. St. John's Church, Manchester. Bury Church, Lancashire. Poynton Church, Lancashire. 1748. Chapel-en-le-Frith, Derbyshire. Prestbury Church, Gloucestershire. * Dr. Burney, in his " Sketch of the Life of Handel," prefixed to his Account of the Com- memoration, 4to. 1785, says : — " The organ in the chapel of this hospital was a present from HandeL" But how are we to reconcile this statement with the following notice in the European J\fXapazine, for February, 1799? — "Handel did not give the organ to the Foundling Hospital. It was built at the expense of the charity, under the direction of Dr. Smith, the learned Master of Trinity College, Cambridge, who added demitones, &c., and some of the niceties not occurring in other organs." Handel conducted the performance at the opening of this organ in 1 749. THE HISTORY OF THE ORGAN. 1 43 8. Leek Parish Church, Staffordshire. 9. Foundling Hospital, London. 1749. 10. AUhallows the Great, Thames Street. 1749. 39. Thomas Griffin. This person, a barber, and Gresham Professor of Music ! is said to have built several City organs, but I can only name one, upon the authority of Malcolm's Londinum Redivivum, iii., 553. Organ built by Thomas Griffin. St. Helen's, Bishopsgate. 1741. " 1741. Thomas Gryffin agreed to build an organ, value ;^Soo, on condition he should receive ^250, and £1^) per annum during his life. To play himself or provide an organist." — Parish Books. 40. John Snetzler. This truly eminent builder was born at Passau, in Germany, about the year 17 10, where several of his organs are still to be seen. He acquired some fame by his restoration of the Cathedral organ in that city, and was afterwards induced to settle in England. After building several excellent organs, he erected the noble instrunient at Lynn Regis, in Norfolk, being recommended to the Corporation of that town by Dr. Burney. The double diapason and dulciana stops in this organ were novelties which attracted attention, and fully estab- lished his fame in this country. Snetzler had but an imperfect pronunciation of the English language, which gave him, .like many foreigners, a very quaint way of expressing himself Two stories are current of his peculiarities in this respect. One was on the occasion of the erection of his new organ at Halifax, in Yorkshire. Wainwright (afterwards Dr. Wainwright, and organist of the Collegiate Church, Manchester) and Herschel (subsequently known as the great Astronomer) were amongst the candidates for the situation of organist. The former so annoyed Snetzler by his rapid playing, that he paced the church exclaiming — " He do run over de keys like one cat, and do not give my pipes time to speak." He also told the churchwardens of Lynn, upon their asking him what%ieir old organ would be worth if repaired, " If they would lay out a hundred pounds upon it, perhaps it would be worth fifty." 144 THE HISTORY OF THE ORGAN. Snetzler lived to a very advanced age, and died either at the end of the last, or the commencement of the present century. He is said to have saved sufficient money to return and settle in his native country, which he accordingly did ; but, having been so long accustomed to London porter and English fare, he found in his old age that he could not do without them, so he came back to London, where he died. Organs built by Snetzler. 1. Chesterfield Church, Derbyshire. 1741. 2. Finchley Church, Middlesex. 1749. 3. St. Mary's, Hull, Yorkshire. 1750. 4. St. Margaret's, Lynn Regis, Norfolk. 1754. Built under the superintendence of Dr. Burney, at a cost of ^700. 5. St. Paul's, Sheffield. 1755. 6. Christ Church, Broadway, Westminster. 1760. This organ is said to have been originally built for the Duke of Bedford. 7. Leatherhead Church, Surrey. 1760. 8. St. George's, Hanover Square. 1761. 9. Cambridge, U.S. 1761. 10. Ludlow, Shropshire. 1764. 11. Halifax Church, Yorkshire. 1766. 12. Louth Church, Lincolnshire. 1769. 13. Beverley Minster, Yorkshire. 1769. This organ was opened with the performance of two Oratorios, Sept. 20 and 21, 1769. 14. Richmond Church, Surrey. 1770. The gift of S. Sprags, Esq. 15. Edmonton Church, Middlesex. 1772. 16. St. Martin's, Leicester. 1774. A remarkably fine instrument. 17. Scarborough Church, Yorkshire. 1780. 18. Pontefract Church, Yorkshire. 19. Sculthorpe, near Fakenham, Norfolk. 20. Rotherham Church, Yorkshire. 21. Whitehaven Church, Cumberland. 22. St. John's (formerly St. Augustine's), Hackney. 23. St. Clement's, Lombard Street, City. 24. St. Margaret's Chapel, Bath. THE HISTORY OF THE ORGAN. I4S ■ 25. St. Peter's College, Cambridge. This instrument is remarkable for having the Echo (the predecessor of the well) still remaining. According to Mr. Hopkins, it is really a swell of three stops, acting on choir organ keys. 26. The German Lutheran Chapel in the Savoy. The late Charles Wesley, in a letter in my possession, says, this was the first instrument in this country provided with a pedal clavier. 27. The German Calvinistic Church, Savoy. Presented by the builder. 28. St. Ann's Church, Belfast. 29. Hillsborough Church. 30. The Chapel at Donegal. Removed from Armagh Cathedral, and burnt on the same evening that it was removed. 31. Parish Church, Leeds. 32. Buckingham Palace. Now in the German^Chapel, St. James's. 33. St. Mary's, Nottingham. 34. St. Mary's, Huntingdon. 35. All Saints, Huntingdon. 41. Messrs. Crang and Hancock: Crang was a Devonshire man, and, after settling in London, became a partner with Hancock, a good voicer of reeds. Hancock added new reeds to many of Father Smith's organs. Crang appears to have been chiefly employed in altering the old echos into swells. He made this improvement in the organs of St. Paul's Cathedral ; St. Peter's, Cornhill ; St. Clement Danes ; &c. It appears that there were two Hancocks, probably brothers — John and James ; and they are specially mentioned in the contract for an organ at Chelmsford in 1772. The following payments relating to these makers are extracted from the accounts of the church- wardens of Maidstone, printed in Mr. W. B. Gilbert's Memorials of the Collegiate Church of Maidstone : — £ ^- d. "1755. Mr. Crang for cleaning and repairing the organ . .880 1760. Mr. John Crang's bill for cleaning the organ . . .880 1765. Mr. Crang's bill for repairing and making additions to the organ 52 7 o 1770. Mr. Crang for cleaning the organ . . . ..880 1790 — Oct. 13. Mr. James Hancock, as per bill for organ . . 10 10 o'' L 146 THE HISTORY OF THE ORGAN. Mr. Gilbert tells me that John Hancock, " organ-builder of Wych Street, London," who had been employed for some time in super- intending the repairs and additions to the Maidstone organ, died very suddenly near that town, in January, 1792. James Hancock was living in 1820, and probably some years later. Organs built by Crang and the Hancocks. 1. St. John's, Horsleydown. 1770. 2. Barnstaple Church. 1772. 3. Chelmsford, Essex. 1772. 4. St. George the Martyr, Queen's Square. 1773. 5. St. Vedast, Foster Lane. 1780. 6. Brompton Chapel. 7. St. Margaret's, Leicester. 8. St. Mary's, Scarborough. 9. St. Mary's Cray, Kent. This organ was built by James Hancock. 42. Samuel Green. Although generally considered a contemporary of Snetzler, this eminent artist was not born till 1740; thirty years after the birth of the former. In all probability he was brought up in the establishment of Byfield, Bridge, and Jordan, as in the earlier part of his career he was in partnership with the younger Byfield. He seems to have been greatly patronized by King George the Third, and, in consequence, to have been employed in all parts of the kingdom. The organs built by Green are characterized by a peculiar sweet- ness and delicacy of tone, entirely original ; and, probably, in this respect he has never been excelled. "We possess more cathedral and collegiate organs of this builder's con- struction than of any other ; and, although patronized as he was by his Majesty George the Third, and long at the head of his profession, this admirable artist scarcely obtained a moderate competency. His zeal for the mechanical improve- ment of the organ consumed much of his valuable time in experimental labours, which to hini produced little or no emolument ; and it is painful to know that a man so eminent in his profession should not, at his decease, be able to leave even a slender provision for his family."* * Christian Rcmsmbranar, 3?ia. 1 834. One of a series of excellent papers on old organs and organ-builders. THE HISTORY OF THE ORGAN. I47 The newspapers of the day record " Mr. Samuel Green, oryan- builder to the King, died at Isleworth, Sept. 14, 1796, at the age of 56." The following list of Green's organs is taken verbatim froni the Gentleman' s Magazine, for June, 1814, as extracted from the builder's own account book. I have added a few dates, &c., in brackets : — Organs built by Samuel Green. Cathedral and Collegiate Organs. I 2 3 4. 5 6, 7 8 9' 10. II 12 13 14 15 16 17 18 19 20, 21 22 23 Canterbury Cathedral (1784). Wells Cathedral (1786). St. George's Chapel, Windsor (1790). ' , Lichfield Cathedral (1789). Salisbury Cathedral (1721). Rochester Cathedral (1791). Bangor Cathedral (1779). York Cathedral (restoration only, 1803). Cashel Cathedral (1786). New College Chapel, Oxon (restoration only, 1776). Trinity College Chapel, Dublin. Winchester College Chapel (1780). London Organs. Sf. Katherine's Hospital (1778). St. Botolph, Aldersgate Street. St. Peter-le-Poer (1792). St. Mary at Hill (1788). St. Michael's, Cornhill (restoration only, 1790), St. Olave's, Hart Street (1781). Broad Street Chapel, Islington. Magdalen Chapel. Freemasons' Hall. Concert Room, Opera House (1794). Broad Court Chapel (1796)- L 2 148 THE HISTORY OF THE ORGAN. Local Organs, &c. 24. St. Petersburg. 25. Greenwich Hospital (1789). 26. Sleaford, Lincolnshire. 27. Manchester (St. Thomas Ardwick, 1787). 28. Helston, Cornwall (1799). 29. Walsal, Staffordshire, 30. Wrexham. 31. Wycombe. 32. Nayland, Essex. 33. Wisbeach, Cambridgeshire (1789). 34. Cirencester. 35. Macclesfield. 36. Stockport (St. Peter's, 1788). 37. Bath. . 38. St. Michael's, Cornwall. 39. Tunbridge, Kent (1788). 40. Loughborough. 41. Tamworth. 42. Walton. 43. Leigh. 44. Chatham. 45. Bolton (Lancashire, 179S). 46. Cranbourne, Cornwall. 47. Aberdeen Episcopal Chapel. 48. Kingston Church, Jamaica. 49. Pomfret Parish Church. [50. Oudwick, St. Thomas' 1787.] 43. John Avery. Very little is known of this builder.- He is said to have been a dissipated character : he was certainly an excellent workman. The dates of his organs range between 1775 and 1808. He died in the latter year, during the time he was engaged in finishing the organ of Carlisle Cathedral, his last work. • THE HISTORY OF THE ORGAN. I49, Organs built by Avery. 1. St. Stephen's, Coleman Street, City. 1775. 2. Croydon Church, Surrey. 1794. Avery considered this instrument his best worlc. This fine organ, together with the church, was destroyed by fire in 1866. 3. Winchester Cathedral. 1799. 4. Christ Church, Bath. 1800. 5. St. Margaret's Church, Westminster. 1804. 6. King's College Chapel, Cambridge. 1804. Some of the earlier work of Dallam's organ was, no doubt, incorporated in this instrument by Avery. The case is the original one, erected by Chapman and Hartop in 1606. Cole, the antiquary, gives a description of its appearance in his time : — " Over each side of the choir door towards the choir are the coats of arms of this and Eaton College, in shields neatly carved and blazoned, and directly over it stand the organs. The small choir organ hangs somewhat over the door into the choir, and is elegant and carved about the mouldings and wainscot part with beautiful gilt and painted pipes, adorned with the two aforesaid college arms, and other devices, as portcullises, fleurs-de-lis, roses, all crowned. Over the middle part of this organ, which is the lowest, are the college arms again carved, and over the two side parts, where the pipes are much larger, are two large royal crowns This choir organ was put up about the year 1661, and cost about j^200, and is a mighty neat one : this stands just before the great organ, the pipes of which on this side are neither gilt nor painted, but quite plain. Over the lower middle part of it are the royal arms, supported by a lion and unicorn, garter round them, and crowned. Over the middle part, fronting the antechapel, is an image of King David playing on his harp, and on qach side of him, over the large pipes, are two Gothic carved pyramids. The pipes on this side are painted, gilt, and adorned as those of the choir organ. These organs were put up again after they had been demolished by the Puritans of 1643, in 1661, and though they are not the best df the sort, yet they are not by any means the worst." 7. Sevenoaks Church, Kent. 1798. The following is a copy of a curious handbill in the possession of Mr. W. B. Gilbert, Mus. Bac. :— " Sevenoaks, Oct. 17, 1788. This is to give notice, that the magnificent organ left to the parish of Sevenoaks by James Wright, Esq., late of Greenwich, will be opened in 3. grave zxA patriotic manner by the celebrated Mr. Wesley, on Sunday, the 38th of October. At the same time a collection will be made for the relief of the widows and children of those brave seamen that fell, and also those wounded in the late glorious victory of Admiral Nelson over the French fleet on the ist of August. Service at II." 8. Carlisle Cathedral. 1808. I50 THE HISTORY OF THE ORGAN. 44. The Englands, Father and Son. These two organ-builders are generally confounded. George England flourished between the years 1740 and 1788, and George Pike England (his son) between 1788 and 18 14. The former married the daughter of Richard Bridge. The elder England built many noble organs, a few of which may be enumerated. Organs built by George England. 1. St. Stephen's, Wallbrook. 1760. 2. Gravesend Church, Kent. 1764. 3. Ashton-under-line, Lancashire. 1770. 4. St. Michael's, Queenhithe. 1779. 5. St. Mary's, Aldermary. 1781. The last two organs were built in conjunction with Hugh Russell. 6. St. Matthew's, Friday Street. 7. St. Mildred's, Poultry. 8. German Lutheran Church, Goodman's Fields. 9. The Chapel of Dulwich College. 10. St. Margaret Moses. 11. St. Alphege, Greenwich. With rejgard to the son, our information is more satisfactory ; the following list of organs built by him being copied from his own account book, kindly lent me by Mr. Hill, the eminent organ- builder : — Organs built by G. P. England. 1. St. George's Chapel, Portsmouth Common. 1788. 2. St. James's Church, Clerkenwell. 1790. This organ cost .^500 and the old organ, which was valued at .£105. It was afterwards sold by England to the parish church of Beccles, Suffolk, for ^220. 3. Fetter Lane Chapel. 1790. 4. Warminster Church, Wiltshire. 1791. THE HISTORY OF THE ORGAN. 151 S- The Adelphi Chapel. 1791. 6. Gainsborough Church, Lincolnshire. 1793. 7. Newington Church, Sijrrey. 1794. 8. Blandford Church. 1794. 9. Carmarthen Church, South Wales. 1796. 10. St. Margaret's, Lothbury. 1801. 11. The Sardinian Chapel. 1802. 12. Newark Church, Notts. 1803. 13. Parish Church, Sheffield. 1805. This organ cost ^770. 14. St. Philip's, Birmingham. 1805. 15. St Martin's, Outwich. 1805. 16. Hinckley Parish Church. 1808. 17. 'Stourbridge Church. 1809. 18 Richmond Church, Yorks. 1809. 19. High Church, Lancaster. 1809. This organ cost £(>72. 20. Shiffnall Parish Church, Salop. i8ii. 21. Ulverstone Parish Church. 181 1. 22. St. Mary's Chapel, Islington. 1812. 45. Paul Micheau. This builder was a native of Germany. He came to England about 1780, and settled in the city of Exeter. He built several organs for churches in Devon, and was largely employed in restora- tions and repairs. He had the care of Loosemore's noble organ in Exeter Cathedral, and made several improvements in that instrument. He was also employed to keep the organ of the Parish Church of Tiverton in order, for which he received the sum of £\o per annum. For the information concerning this builder I am indebted to Mr. W. B. Gilbert. Organs built by PaUt Micheau. 1. St. Mary Arches, Exeter. 2. St, Mary Major, Exeter. 3. Etwall Church, Derbyshire. 152 THE HISTORY OF THE ORGAN. 46. Organ-builders of the end of the Eighteenth Century. The Musical Directory for the year 1794, a curious and perhaps unique little book, in the library of the. Sacred Harmonic Society, gives the following names, and places of residence, of the organ- builders living in London in that year : — " Avery, St. Margaret's Church-yard, Westminster ; Cummins, Pentonville ; ElHot (Thomas), 10, Sutton Street, Soho ; England, Stephen Street, Rathbone' Place ; FHght & Kelly, Exeter Change ; Green (Samuel), Isleworth ; Holland (Henry), Little Chelsea ; Maher, Lower Lambeth Marsh ; Pister {E. & J.), 116, Leadenhall Street ; Russell, Theobald's Road." The most important of these builders have been carefully chronicled in these pages, and if I have not mentioned all, it is because the records of their labours are not easily attainable. Other well-known names might be added to this list, such as Gray, Lincoln, and the two Aliens ; but they more properly belong to a somewhat later period, to which my historical sketch does not extend. 47. Progress of Organ- Building in Germany. During the eighteenth century, Germany was especially prolific in large organs, and most of these instruments still remain as honourable memorials of the talents of their builders. 48. Andreas Silbermann. Amongst the most renowned organ-builders that the world has produced are the celebrated Sibermann family. The founder of this race of talented men was Andreas Silbermann, born at Frauenstein, Saxony, in 1678. The particulars of his life are not recorded ; but, during the space of twenty-seven years in which he flourished, he built at least twenty-nine organs. He died in 1733. Organs built by Andreas Silbermann. 1. St. Nicholas, Strasburg. 1707. 2. Convent of St. Margaret, Strasburg. 1709. 3. Protestant Church of St. Pierre, Strasburg. 1709. 4. Mauerstein, Lower Rhine. 17 10. Basle Cathedral. 171 1. Convent of Guillelmines, Strasburg. 17 12. Oberenheim. 17 13. Giedertheim. 1715. Strasburg Cathedral. 17 14-6. THE HISTORY OF THE ORGAN. 153' 10. St. Etienne, Strasburg. 17 17. 11. Andlau. 17 17. 12. The Madeleine Convent, Strasburg. 1718. 13. Ebei-sheimmtinster, Lower Rhine. 17 18. 14. St. Leonard's, Basle. 1718. IS- Hanau. 17 19. 16. Grendelbach. 17 19. 17. Lautenbach, Upper Rhine. 17 19. ' 18. St. Jean, Weissemburg. 1720. 19. St. Leonard's, near Oberenheim. 172 1. 20. Altenheim, near Offenburg. 1722. 21. Kolbsheim. 1722. 22. Church of the Dominicans, Colmar. 1726. 23. St. Guillaume, Strasburg. ' 1728. 24. Bischweiter. 1729. 25. Altorf, Lower Rhine., 1730. 26. Koenigsbriik Abbey, Lower Rhine. 1732. 2"]. Hospital Church, Colmar. 1732. 28. Protestant Church, Colmar. 1733. 29. Rosheim. 1733. 49. Gottfried Silbermann. Gottfried Silbermann, brother of the preceding, was born at Frauenstein, in 1684. After remaining some years in the workshop of his brother, he went into France, where, we are informed, " he worked and resided many years."* He was the inventor of the " Clavecin d'amour," and one of the earliest makers of the pianoforte. He died in 17S4, during the period in which he was engaged on the Royal Catholic Church organ at Dresden, which noble instrument was completed by his nephew, Jean .Daniel Silbermann. * Burriey tells us that " The French organ-builders are much esteemed by the Germans themselves, for the simplicity of their movements and .the mechanism of the whole." — Tour in Germany, vol. I., p. zi. During the period that Gottfried Silbermann studied in France, the best builders were Charles Dallery and Franfois Clicquot. These builders chiefly worked together, and among their organs we may name those in the churches of St. Gervais, St. Nicolas des Champs, St. M^ry, St. Sulpice, the chapel at Versailles, and the Abbey of Clairmarais. Pierre Dallery built the organ of Notre Dame, and those in the churches of St. Lazare and St. Suzanne at Paris. A descendant, Pierre Francois Dallery, was living as late as 1833. M. Danjou, the late organist of Notre Dame, Paris, discovered, in 1843, in the church of Solicz.FUk, in the depart- ment of the Far, an organ built as far back as the year 1450. It is in many respects an interesting discovery. Up to that time the oldest organ known in France was that of Gomeiir, near Paris. 154 THE HISTORY, OF THE ORGAN. Organs built by Gottfried Silbermann.. Freiberg Cathedral. 1714 St. Pierre, Freiberg. 1720. The Royal Church of the Evangelists, Dresden. 1720. St. Sophia, Dresden. 1740. Church of Notre Dame, Dresden. 1736. Poenitz, near Altenburg. 1737. The Royal Catholic Church, Dresden. 1754. 50. Johann Andreas Silbermann. This -branch of the Silbermann family was the eldest son of Andreas, and consequently the nephew of the last-named. He was born at Strasburg, where his father resided, in 171 2. He enjoyed considerable reputation as an organ-builder, and was beloved by his fellow-citjzens for his social qualities. He died at Strasburg in 1783, with the title of Member of the Council of that city, leaving two sons, one of whom, Johann Josias, afterwards distinguished himself as a maker of musical instruments. Johann Andreas Silbermann built fifty-four organs, the most important of which are :— 1. St. Thomas, Strasburg. 1740. 2. St. Etienne, Basle. 3. St. Theodore, Basle. 4. The Abbey of St. Blaise in the Black Forest. 51. Johann Daniel Silbermann. This builder, the last of the family whom I shall particularize, was the second son of Andreas. He was born in 17 17, at Strasburg, and studied organ-building under his uncle Gottfried, at Dresden. Upon the death of the latter, in 1754, whilst constructing the noble organ of the Royal Catholic Church at Dresden (before men- tioned), he succeeded to his uncle's business. He died at Leipsic, in 1766. 52. Contemporaries and Successors of the Silbermanns. The family just mentioned had many contemporaries and suc- cessors, some- few of which, if not equally eminent, are deserving of a notice in these pages. Zacharias Thessner built, in 1702, the great organ in the Cathedral of Merseberg : it had 68 registers, $ manuals, THE HISTORY OF THE ORGAN. ISS and pedal. Adam Sterzing built, in 1707, a noble organ for the Court Church at Eisenach : it had 58 registers, 4 manuals, and pedal, Eugenius Casparini (then an aged man), in conjunction with his son Adam Horatius, built, in 1703, an organ for the Church of St. Peter . and St. Paul at Gorlitz, in Upper Lusatia : it had 82 registers, 57 of which were whole stops. Henrich Herbst and his son built, in 1718, an organ at Halberstadt, with 74 registers, 3 manuals in front; 2 manuals at the sides, and pedal. Michael Engler of Silesia, who flourished between 1688 and 1760, built many noble instruments ; amongst which we may instance those in the churches of St. Salvator and St. Elizabeth at Breslau. He was succeeded by his son and grandson, Theophilus Benjamin, and Jean Theophilus. The latter flourished between 1775 and 1822. Johann Michael Roder, of Berlin, built the great organ in the church of St. Mary Magdalen, at Breslau. It was erected in 1726, Then we have Joachim Wagner, who, in 1725, built the instrument in the Garrison Church at Berlin, of which Dr. Burney has left us a curious description, in his German Tour. The Hildebrands — ^Zacharie, who flourished between 1680 and 1743, and Johann Gottfried, his son — ^were eminent artists. The latter built the noble organ in St. Michael's Church, Hamburg, in 1762, at an expense of ;£'4000. But the two best-known organ-builders of the latter half of the eighteenth century are Johann Gabler of Ulm, and Christian Miiller of Amsterdam ; the former, by his glorious organ in the Benedictine Abbey of Weingarten ; the latter, by the " world-famed " Haarlem organ. In this slight sketch of the history of the organ, from the earliest time to the close of the eighteenth century, I have doubtless omitted some names deserving of " honourable mention," and left untold many things of importance to the enquiring student during this long period ■ of progress. But all I professed to do was to treat the subject in a historical point of view, avoiding all details of a technical nature, keeping my attention strictly to facts. The labours of the principal builders towards the perfection of the "king of instruments" will receive their proper amount of attention, and their merits be duly chronicled, in the able Treatise which follows this Introduction. 15(5 THE HISTORY OF THE ORGAN. ADDITIONS, Page I a— I have thought it desirable to give here the account left us by Hero of the construction of the hydraulic organ. It is extracted from The Pneumatics of Hero of Alexandria, from the original Greek. London, 1851., p. 105 : — I M AN ALTAR ORGAN BLOWN BY MANUAL LABOUR. The construction of a hydraulic organ. Let A B C D be a small altar of bronze containing water. In the water invert a hollow hemis- phere, called dipnigeus, E F G H, which will allow of the passage of the water at the bottom. From the top of this let the tubes ascend above the altar ; one of them, G K L M, bent without the altar, and communicating with a box, N X O P, inverted, and having its inner surface made perfectly level to fit a piston. Into this box let the piston R S be accurately fitted, that no air may enter by its side ; and THE HISTORY OF THE ORGAN. 1 57 to the piston attach a rod, T U, of great strength. Again, attach to the piston-rod another rod, U Q, moving about a pin at U, and also working Hke the beam of a lever on the upright rod W Y, which must be well secured. On the inverted bottom, of the box, N X O P, let another smaller box, Z, rest, communicating with N X O P, and closed by a lid above ; in the lid is a hole through which the air will enter the box. Place a thin plate under the hole in the lid to close it, upheld by means of four pins passing-through holes in the plate, and furnished with heads so that the plate cannot fall off; such a plate is called a valve. Again, let another tube, F I, ascend from F G, communicating with a transverse tube. A' B,' on which rest the pipes AAA, communicating with the tube, and having at the lower extremities small boxes, like those used for money ; these boxes communicate with the pipes, and their orifices, B B B, must be open. Across these orifices let perforated lids slide, so that, when the lids are pushed home, the holes in them coincide with the holes in the pipes, but when the lids are drawn outwards, the connection is broken and the pipes are closed. Now, if the transverse beam, U Q, be depressed at Q, the piston, R S, will rise and force out the air in the box N X O P ; the air will close the aperture in the small box, Z, by means of the valve described above, and pass along the tube, M L K G, into the hemisphere : again, it will pass out of the hemisphere along the tube F I into the transverse tube A' B,' and out of the transverse tube into the pipes, if the apertures in the pipes and in the lid coincide — that is, if the lids, either all, or some of them, have been pushed home. In order that, when we wish any of the pipes to sound, the corresponding holes may be opened and closed again when we wish the sound to cease, we may employ the following contrivance : — Imagine one of the boxes at the extremities of the pipes, C D, to be isolated, D being its orifice, E the communicating pipe, R S the lid fitted to it, and G the hole in the lid not coinciding with the pipe E. Take three jointed bars, F H, H M, M M^ of which the bar F H is attached to the lid S F, while the whole moves about a pin at Ms. Now, if we depress with the hand the extremity M= towards D, the orifice of the box, we shall push the lid inwards, and, when it is in, the aperture in it will coincide with that in the tube. That, when we withdraw the hand, the lid may be spontaneously drawn out and 158 THE HISTORY' OF THE ORGAN. close the communication, the following means may be employed. Underneath the boxes let a rod, M* M^ run, equal and parallel to the tube, A B, and fix to this slips of horn, elastic and curved, of which M^ lying opposite C D, is one. A string, fastened to the extremity of the slip of horn, is carried round the extremity H, so that when the lid is pushed out the string is tightened ; if, therefore, we depress the extremity M^, and drive the lid inwards, the string will forcibly pull the piece of horn and straighten it ; but when the hand is withdrawn the horn will return again to its original position and draw away the lid from the orifice, so as to destroy the correspondence between the holes. This contrivance having been applied to the box of each pipe, when we require any of the pipes to sound we must depress the cor- responding key with the fingers ; and when we require any of the sounds to cease, remove the fingers, whereupon the lids will be drawn out and the pipes will cease to sound. The water is poured into the altar that the superabundant air (I mean, of course, that which is thrust out of the box and forces the water upwards) may be confined in the hemisphere, so that the pipes which are free to sound may always have a supply. The piston R S, when raised, drives the air out of the box into the hemisphere, as has been explained ; and, when depressed, opens the valve in the small box, Z. By this means the box is filled with air from without, which the piston, when forced up again, will again drive into the hemisphere. It would be better that the rod, T U, should move about a pivot at T also, by means of a single [loop] R, which may be fitted into the bottom of the piston, and through which the pivot must pass, that the piston may hot be drawn aside, but rise and fall vertically. Page 60.— To the Chapter on "English Builders of the Seventeenth Century" I may add the following notices, derived from the recently- printed Calendars of the State Papers : — 1. A warrant to THOMAS Hamlyn to receive ^60 "for enlarging, with three sets of pipes, the new organ at St. James's, and for making the same organ one note deeper." a.d. 16 13. 2. An order from Charles I. for the erection of a new organ at St. George's Chapel, Windsor, for ^140. Adam Fortess, builder, A.D. 1628. 3. A bill of Robert Dallam, for "work done for my Lordes Grace of Canterburie, his Orgayne." a.d. 1635. THE HISTORY OF THE ORGAN. 1 59 4- A warrant from Charles I. directing the payment of ;!^i4o to Edward NORGATE for altering and repairing the organ at Hampton Court, and for the making of a " new chair orgayne there, conformable to those already made in our Chappells at Whitehall and Greenwich." a.d. 1636. Page 66. — An interesting notice of Robert Dallam is preserved among the memoranda of Dr. Woodward, warden of New College, Oxford, at the time of the Restoration : — "May lo, i66i,^Some discourse was then had with one Mr. Dalham, an organ-maker, concerning a new fair organ to be madg for our College Chapel. The stops of the intended organ were shown unto myself and the thirteen seniors, set down in a paper and named there by the organist of Christ Church, who would have had them half a note lower than Christ Church organ, but Mr. Dalham supposed that a quarter of a note would be sufficient." If we suppose the Christ Church organ to have been Father Smith's instrument, it will give a much earlier date than that I have assigned to it in my list of this old worthy's organs. We have no satisfactory evidence upon this point. Page yj. — Mr. W. B. Gilbert, in his paper On the Musical Associa- tions of Boston Church, Lincolnshire (printed in the Choir, viii. 68), speaking of the organ presented to Croyland Abbey by Abbot Lyllyngton, who died in 1476, says : — " This instrument, which was described as the ' Great Organ,' was placed at the west entrance of the Abbey Church ; a smaller one was situated in the choir, which latter organ wa,s carried on the shoulders of two porters, who conveyed it from London to Croyland. The only other instance in this country of an ancient organ being placed over the west entrance is that of Beauchamp Chapel, at Warwick ; and the contract — a.d. 1440 — for that beautiful building expressly mentions ' an organ-loft ordained to stand over the west door of the chappel." The writer adds : — "We commend these two instances to musical antiquarians, some of whom have declared that organs were not placed at the west end of our churches before the Reformation." A correspondent in the same volume of the Choir (p. 100) very aptly comments upon this statement in the following words :— " Instead of this, I think his [Mr. Gilbert's] remarks only more strongly confirm the position of those who hold such an opinion, inasmuch as he himself l6o THE HISTORY OF THE ORGAN. admits that these two churches were the only exceptions in this country to the ordinary rule, and surely that rule may fairly be taken as virtually universal when it had so small a number of exceptions." Page 128.— Since the sheet containing my notice of Christian Smith was worked off, I am enabled to add the name of another instrument by this builder — the organ of Boston Church, Lincoln- shire. According to Mr. W. B. Gilbert's Musical Associations of Boston Church : — " In 1 71 5, the contract was given to Christian Smith (nephew of the celebrated Father Schnaidt, who died in 1 708)." The organ was finished in 17 17. Mr. Gilbert does not give us the cost of the instrument, but adds : — "In 1720 Christian Smith was paid five guineas 'for repairing the organs and putting them into good order.' " Page 143. — To the notice of Snetzler I am now enabled to add the date and particulars of the Rotheram Parish Church organ. It appears from a short account published by Dr. Sewell, the present organist, that the organ was completed and opened on St. Thomas's Day (Dec. 21), 1777. It was built by subscription, the total amount of which was £(i']% os. \\d. Amongst the principal subscribers appear the names of Charles, Marquis of Rockingham, ;^S0; the Earl of Effingham, ;^S0 ; the Earl of Besborough, ;^6o ; Savill Finch, Esq., ^40 ; Francis F. Foljambe, .£'30, &c. The organist appointed was Mr. David Laughton. Dr. Sewell adds : — " I may say that the Stopped Diapason in the choir organ, and also the Flute Stop, are allowed by some of the most eminent judges now living to be equal, if not superior, to anything they have ever heard. The Pedal Pipes, which were added with the Dulciana Stop about twenty-six years ago by Gray & Davison, of London, are very fine." THE ORGAX: A COMPREHEXSI\-E TREATISE. ETC. BV E D \VA R D I H O P K I X S M THE ORGAN. PRELIMINARY OBSERVATIONS. |HE Organ, as it is usually met with in Cathedrals and large Churches, Town-halls and Concert-rooms, is divided interiorly into four principal parts. The chief of these divisions or departments is that styled the Great Organ ; the others are the Pedal Organ, the Choir Organ, and the Swell Organ. Some instruments of the first magnitude have, in addition to the foregoing, a fourth manual Organ, which is usually a Solo Organ, as at St. George's Hall, Liverpool,- and the Parish Church, Leeds ; while in a few instances there is even • a fifth manual Organ, or Echo, in addition to a Solo Organ, as at the Parish Church, Doncaster, and the Town Hall, Leeds. In the former example the Echo has a separate manual, in the latter it is attached to one of the other rows of keys. The several departments just enumerated are, in one sense, so many separate and distinct organs. This is the case so far, that each has usually its own sound-board, stops, clavier, &c. ; but the whole of them being generally enclosed in one case (the choir organ sometimes excepted), with the different claviers so arranged as to be under the control of one performer, they are thus made to assume the appearance of one vast and comprehensive instrument. The choir organ is occasionally enclosed in a separate case, placed in front of and below the chief one,* as at St. Sepulchre's, Snow Hill ; St. Lawrence, Jewry ; St. James's, Piccadilly ; St. Martins-in- * In England it is customary to speak of the separate choir organ ai seen from the body of the church ; while in Germany it is better known in reference to its position to that of the organist when seated at the keys. Thus in England it is described as " the choir organ in front," and in Germany as the " back-choir organ." In the estimates and accounts of the early seventeenth century organs, the two departments, which formed the entire musical portions of the largest instruments of the period, were frequently described as the " greate and litel organs ; " while in other instances they were spoken of collectively as " the double organ." M 2 4 TRELIMINARV OBSERVATIONS. the-Fields ; &c. : though not so arranged as to give it the appearance of being a detached portion, but harmonizing with the main body of the instrument ; so that, when viewed from the church, the two present one handsome and noble fagade. The several departments above named have, generally speaking, certain fixed situations allotted to them in the instrument. For instance : The Great Organ is generally placed immediately behind the front pipes of the instrument (see fig. i) ; many of which " show pipes" form a portion of those belonging to that department. The Choir Organ, when not located " in front " is stationed behind and at a convenient distance from the great organ (fig. 2) a foot-way (marked 3, in the general section) about 16 inches wide being left between the two, as a pathway for the convenience of tuning, &c., called the passage-board. The Swell Organ is placed above the choir organ, when the latter is not situated in front (fig. 4). In small instruments, where the choir organ is altogether omitted, the swell is often stationed over the great organ. The Pedal Organ is either placed, in an entire state, behind and parallel with the others (as shown in fig. 5), or it is divided, and a part arranged on each side of them. When there is no choir organ, or when that department appears in front, the pedal organ is frequently stationed to the rear of the great organ (occupying the usual position of the choir organ), with the swell above. The structural portions of an organ are classed into three great divisions — namely, (i) the machine by which the wind is collected for the production of sound, the channels through which it is conducted to the various departments of the instrument, and then redistributed among the numerous pipes of each ; (2) the mechanism by which the several departments are individually or conjointly brought into use, and their stops brought under perfect control ; and (3) the sound-producing parts — namely, the pipe-work. These several divisions, together with the case, constitute what is known, par excellence, as " THE Organ ;" the construction and operation of which form the subject-matter of the following chapters. THE EXTERIOR OF THE ORGAN. CHAPTER I. THE ORGAN CASE. Its nature uid use, and '• MoST organs are endosed, at the back, sides, and the materials of which it front, in a case of wood — a covering that is of service to the IS formed. instrument in protecting its mechanism and pipe-work from external injury, and rendering the working of its movements, when in operation, less audible. The case is of great utiUty, also, in rendering the instrument an ornament to the church, by bringing its appearance into perfect keeping with the other carved wood-work of the edifice. The organ-case is usually constructed either of oak, mahogany, walnut-tree wood, or of deal, ^^'hen made of the last- mentioned material, it is either grained to imitate one of the fore-mentioned woods, or it is stained. The case to the choir organ, in the chapel of Magdalen College, Oxford, is of stone. The general stiuctureof 3. The organ-case is usually divided, horizontally, into two the oigan-case, and the stages, either by an impost or by a bold moulding ; and means of ingress. vertically, into numerous compartments, by pilasters or by buttresses. The compartments below tlie impost are usually tilled in with panelling work aU round, except in front, towards the centre, where the claviers are, generally speaking, located. The upper divisions are also similarly filled in with panelling work, except where intended to receive pipes. Some of the panelled parts are hung on hinges, or are otherwise made moveable, so as to form entrance doors, for the purpose of tuning or for facilitating admittance to the mechanism and other work. 3. The front of the organ-case above the impost is generally formed into a series of open-work compartments — an arrangement that is so far advantageous to the tone of the instrument, that it admits of many of the pipes of some of the chief stops being placed in these openings, whereby the predominance of their tone is more effectually secured ; the interstices between the bodies and feet of the pipes being calculated to assist the egress of the sound produced by those inside. Cathedral organs that occupy a central position have generally two fronts, facing east and west respectively — ^an arrangement that materially assists the progress of the tone of the instrument through the building laterally ; while many church organs of recent construction have no case above the impost, but pipes sustained by light wooden framework, or by d^antly designed iron-work. The general anange- 4- The firont pipes are very rardy arranged to succeed meat of the front pipes, each Other according to the sound they produce in the musical scale, like the keys — semitonally — as, in that case, all the large ones would be 6 THE EXTERIOR OF THE ORGAN. on one side and the small on the other, giving to the whole the appearance of a huge set of Pan-pipes ; but they are placed so as to present a symmetrical appearance. 5. The first and most obvious arrangement is into groups of large and small pipes, forming separate compartments. The admixture of these large and small compartments constitutes one of the principal features of the design. The various figures in 6- Next, the pipes occupying the large and small com- which the front pipes partments are arranged according to one or more of many are arranged. different plans, and in varied forms, with the view to gaining greater contrast and elegance in the appearance of the organ. 7. The chief of these diversified plans, and the names by which they are known, are as follow : — 8. Pipes that are placed in a projecting semicircle are said to form Towers. (See a a, fig. 6.) Examples of this kind of pipe-arrangement occur in the graceful cases ^ doooOoooo of the organs at Whitehall Chapel ; St. \ q q\ Clement's, Strand ; and indeed in most x..Q^/ organs. 9. Pipes standing in an angle are texra&A. Pointed Towers [a a, fig. 7) ; spe- cimens of which maybe seen at St. Sepul- 0000000 7 chre's, Snow Hill ; and at St Nicholas's, N^„ "^0/° ° °^ ° ° °\f>^ " Newcastle-on-Tyne. 10. Groups of pipes inclining inwards, semicircularly, are said to form Niches i^t fiS- ^) ; of which an example occurs in _^^ 8 the centre of the case of the organ at St. Philip's, Stepney. " ., „ 00 op Qfltt^l loooOOOO O O 11. A Breasted compartment is that of which the middle part is a, little rounded, forwards, as shown at a, in fig. 9. 9 Examples occupy the centre of the hand- _o_oop _, a n o o « some organ cases at St. Mary's, Islington, ^\0003'--'''' and St. John's, Horseleydown. 12. If the pipes are placed curvihnearly, the compartment is said to be of the Ogee form. (See fig. 10.) Of this kind of pipe arrange- 10 ment, examples exist at St. o32^--5.0 n oS^'^^^o Olave's, Southwark, and at ->o.o3^^^ ^>.2.ooO, St. Helen's Bishopsgate. 13. When the pipes are continued in a straight line they are called Flats {see figures 11, 12, 13; 14 ; also 6 6, figs. 6 and 7) ; of which examples occur in all organs. 14. Some organ-cases have what are denominated Fiat Towers; of which very fine examples occur at St. Paul's Cathedral. Such are formed by arranging the pipes, that in some organ-cases stand in a semi-circle or in an angle, parallel- wise. Others, again, have what are called " circular ends " — i.e., the case, instead of being flanked at each side by a tower, has a curved compartment, resembling half a circular tower, furnished with a greater number of narrow pipes. The organ at Exeter Hall has circular ends. THE ORGAN-CASE. 7 The arrangement of the 15- The front pipes are generally planted in tonal suc- front pipes in regard to cessioH in cuch half of the case —that is to say, those which the sound they produce. ^^^^^ j^^ ^^^ compartments to the left of the centre give one or other of the following six sounds — namely, C, D, E, F sharp, G sharp, or A sharp : the pipes occupying those to the right sounding either C sharp, D sharp, F, G, A, or B. This alternate distribution may readily be discovered by first drawing the open diapason, or whatever other stop may have most of its pipes appearing " im prospect " ('as the Germans have it), and then slowly playing the chromatic scale in its ascending form ; when the sounds will be noticed to proceed first from the left, and then from the right hand side of the front. Occa- sionally, however, the order is reversed. 16.- As to the precise situation in the front where these alternate speaking pipes will be found, this depends on the design of the case. If it comprises three towers, a large centre one and two smaller flanking ones, as in most of Harris's and Snetzler's organs the largest pipe will generally be found in the middle of the centre tower, those which follow standing right and left alternately, the arrange- ment being continued in the lateral towers ; if there are two large lateral towers, and a smaller one in the centre, the alternate plantation will commence from the sides. In Smith's four-tower fronts the distribution is usually among the entire number of towers. In the majority of instances, therefore, a pipe which on the second side replies to a particular one on the first, will occupy the corresponding position on the second side. Thus supposing the CC pipe of the open diapason to stand in the middle of the tower on the left side of the case, the CC sharp pipe will probably be in the centre of the similarly situated tower on the right: the DD and EE pipes will stand one on each side of the CC ; while those giving DD sharp and FF will appear immediately on the right and left respectively of the CC sharp pipe. 17. The alternate assortment of the front pipes materially facilitates the power of giving to the organ a symmetrical appearance. The CC sharp pipe differs so slightly from the CC in its diameter (in a decreasing ratio), that the eye fails, at a distance, to discover the deviation ; hence the two pipes — as indeed any other two, of which the sounds are only separated by a semitone — are placed in corresponding positions, without the slightest ill, but, on the contrary, good, effect resulting. 18. The necessary deviation in length, however, would be sooner detected ; hence both pipes are made to agree in this respect ; but the one that is to give the higher sound has an opening cut in the back, at the top, which produces the same influence as slightly shortening the pipe. 19. The next pipe on the " CC side," FF sharp (supposing the towers already spoken of to contain three pipes each only), will probably appear in another compartment ; perhaps in a smaller tower, or in a flat, or in one of the ogee or the breasted form ; and so on. When the pipes become too small to appear externally, the few remaining ones are disposed inside, and members of other stops brought into prominence, if more pipes are required in sight to complete the design. 20. The pipes in the flats are arranged in a far greater number of different ways than are those in the towers. In compartments of the fore-mentioned kind, the largest pipes are sometimes placed outside, and the small ones in the middle, as represented '\Tifig. 11. " OOOOoooooOOOO 8 THE EXTERIOR OF THE ORGAN. at others, the small ones occupy the extreme positions right and left, and the large ones the centre {fig. 12) : oooOOOOOOOooo while occasionally they are disposed in a graduated series ; the largest being at one end and the smallest at the other ; as va.figs. 13 and 14 : 13 000000000000.0 nooOOOOOOOOOO '4 ofthe decoration of the 21. The surface of the front pipes of most English organs is front pipes. adorned with gilding. In former times the front pipes were more commonly diapered— i. e., figured in various colours ; and many of Smith and Harris's organs were so ornamented. That, by the former builder, at Finedon, in Northamptonshire, still retains its original embellishments of this nature : so also does the old organ in the chapel of Christ College, Cambridge. A few instances have of late occurred of the revival of this kind of pipe-decoration. The instru- ments in Westminster Abbey and the Temple Church have their front pipes both gilded and diapered. 22. The front pipes of the organs in Holland, some parts of France, and most of the German states, being frequently made of pure tin, are simply polished or burnished, giving them the handsome appearance of bright silver. The front pipes of the new organ, just erected in the Roman Catholic Church in Leicester Square, by Mr. Gem, are of burnished tin. ?DiUision IE. THE WIND-COLLECTING PORTION OF THE ORGAN. CHAPTER II. THE BELLOWS. '">*•"'*«■ :;3- The use of the bellows is to collect and enclose a quantity of atmospheric air ; and, after compressing it, to propel it through the t-arious wind-channels up to the pipes. These .ire. in fact, the lungs of the organ : without their aid, it would be but a voiceless machine. tTk difierent kinds of 34. There are two kinds of bellows to be met with in church ^S"N«thT^vhicr^ organs— namely. rf/Vigtv..;.' and korisotUal bellows. Previously oHest i their names 5 to the introduction of the kinds now understood by these and why so called. names. Organ beDows were made like the ordinary household bellows. .-Vs an impro\-enient upon these, bellows were next constructed on a plan identical with those still used in smith's forges, namely, with a feeder below, and a dsj^tmal reservoir abo>-e to produce a continued blast of air. the folds or sides being made of thick hide leather. Some bellows of this latter species were in existence, hing in a lumber-room in the (once coUegiate) Church of Tong. in Shropshire, as Lite as the year 1789. But such primiti\-e machines, from the nature of the material of which they were made, were Uable to frequent injur)- from the friction to which their folds were unavoidably subject whene\-erthey were worked ;* and their constantly recurring unsoundness from this cause gradually led to the adoption of a more diuable material in their construction. Thus wood came to be used in lieu of leather for the folds (with pieces of horse-sinew and strips of- leather for the hinges\ which substitution rendered the bellows far less liable to destruction firom attrition. Of this more substantial kind of bellows, specimens are still occisionaUy to be seen in the small cabinet organs of Father Smith. In the church organs, howe\-er, of that celebrated artist, and also in those of his worthy competitor, Harris, only diagonal bellows — the kind represented in /?>. 15, except that they were worked by a h;vndle and not a treadle — were used. These bellows .vre said by some to have been first introduced by Lobinger, of Nuremberg, in i5r>J- -A.ccording to other accoimts, they were invented by Hennings, of Hilde- sheim, in the seventeenth centurj'. But Dr. Rimbault, in his v-aluable Hhimy of tki Or^--:-!. p. 47, quoting from the Fabrick Rolls of York Minster, under the date 1419, states that John Couper, a cjrptMUr, recei\-ed " For constructing the ribs of the bellows of the organ, lad." If these were made of zvcixi, the improvement in question is not only much older than is generaUy supposed, but was made by an Englishman. 35. Di,\gonal bellows continued to be almost exclusivelyt employed in church * Hence the repeated sppeannce in jo many old parish accounts of entries such as **fbr meiMiyng of ye organ beUowis." or " for die amendyng of the organys." t It will have been seen, iiom the illustration on p. 35 of the historical introduction, that a lO THE WIND-COLLECTING PORTION OF THE ORGAN. organs till towards the latter part of the last century, when a new kind was brought forward in this country, which was considered, by the English organ-builders of the time, to present so many advantages over that previously used for church- work, that, soon after the commencement of the present century, the construction of bellows of the diagonal species was entirely abandoned. The fine organ in St. Margaret's Church, Westminster (built by Avery, in 1804), appears to have been one of the latest instruments made with bellows of the single or diagonal kind. 26. At the present time, the horizontal is the only description of bellows made by English and French organ-builders ; though, in Germany, the diagonal still remains in favour. In the organ recently erected by Schulze, of Paulinzelle, in the Parish Church, Doncaster, diagonal bellows are used. 27. The names given to the two kinds of organ bellows sufficiently indicate the distinctive principle upon which each operates. The diagonal — or as it has some- times been denominated, the wedge-shaped bellows — is so called because, when blown, the top rises diagonally ; that is to say, one end ascends while the other remains stationary ; thus giving to the bellows a wedge-shaped appearance (as shown in the following engraving) when charged with air. 28. A horizontal bellows (fig. \(i), on the contrary, preserves its level surface in all stages of its operation, whether it be wholly distended, quite empty, or at any intermediate point between the two extremes. Hence its distinctive appellation. Particulars concerning 29. Diagonal bellows are, as already mentioned, seldom, if the diagonal bellows. g^gj.^ ^^^ ^^^^ jj^ England. Numerous specimens, however, still exist in our old town and village church organs. Of such kind of bellows, two, at the least, are found in eveii the smallest church organs ; one for supplying the instrument while the other is being replenished. As, during the process of inflation, the top of the bellows is gradually raised, and therefore the weights on its surface reservoir similar to the upper member of a horizontal belloAvs was known in the time of PtEEtorius, 1620; but, being made without a feeder, it was the same in principle as the old diagonal bellows, so far that it was inflated by raising the top. Although somewhat similar to the modern bellows in appearance, it was as different in the method of its working, as it was inferior in actual utility. THE BELLOWS. II exercise no compressing influence on the contained air, it follows that, for the time being, the wind withih that bellows can be of no greater density than the air without, and therefore is of no service in supplying the organ. A practical proof of this fact may be obtained, where there are two diagonal bellows, by pressing the handles of both down at once, when the organ will become for the time quite silent. Hence arises the necessity for a second bellows, to supply wind while the first is being chained, and vice versd. Their number. 30. And while small and moderate-sized organs have from 2 to 6 diagonal bellows, many large instruments have 8, 10, 12, or even as many as 14. Thus the Meresburg organ has 6 bellows ; that at Wismar, 8 ; that at Haarlam, 12 ; while that at St. Sulpice, in Paris, had, until lately, 14 bellows. Smith's organ in St. Paul's Cathedral had originally 4 large diagonal bellows, measuring 8 feet by 4. The new organ at Doncaster has 12. Arrangement ' ji. The several diagonal bellows are usually placed in a row, side by side, outside the case ; or, when too numerous to be so disposed, they are often ranged in two rows, one over the other. In the latter case, the upper row of bellows is generally furnished with ropes, by means of which the same blowers are enabled to work both rows. Such was the arrangement at the church of St. Owen, at Rouen, previous to the recent improvement of the organ by CavaiUfe CoU. The blower depressed the handles of the lower row of bellows as he leisurely walked across the platform behind the organ from one side to the other, and drew down the ropes of the upper row as he returned. In Smith and Harris's organs they were placed outside, and generally to the rear of the case. They were placed, for the first time, inside the case by Harris, in 1703, in his Salisbury Cathedral organ. In many of the Continental organs, the bellows are inflated by means of treadles instead of handles. The illustration numbered 15 represents a bellows worked in this manner. The treadles lie in a row near the ground, and the blower, stepping from one treadle to another, by his weight lowers each of them, and thus the bellows are distended. The bellows of the Doncaster organ are blown in this way. 32. The wind supplied by the several diagonal bellows is received into a chief or head canal, consisting of a long square and (generally) horizontally disposed wooden tube ; from which canal it is distributed among the several sound-boards, through smaller tubes shooting forth from it and traversing the organ in all necessary directions. Such are the general arrangements for collecting and compressing, for receiving and distributing the organ-wind. To an enumeration of these may be added the following details : — Method of operation. 33. Diagonal bellows are blown by pressure upon the near end of the governing handle or treadle {a, fig. 15). On this descending, the other end {b) ascends, raising with it the moveable end of the top of the bellows if). As this is taking place, some of the external air rushes in through the bottom of the bellows, at openings or gratings made for the purpose, and fills the cavity of the bellows. Valves placed over the apertures then fall over them and close in the wind. The surface weights {i i) now exercise their influence, by pressing heavily on the top of the beUows {o o) ; and the top of the bellows, by descending, in its turn, forcibly on the enclosed wind, compresses it and so prepares it for use ; in which state it rushes towards the chief wind-receiver, through the wind-trunk, w. As the air in the beUows is by degrees exhausted, the top descends, the handle as gradually rising : when the latter reaches its full height and becomes stationary, it indicates that the contents of the bellows are exhausted. The wind from the 12 THE WIND-COLLECTING PORTION OF THE ORGAN. several bellows does not enter the receiver at the same time ; but that frorp one bellows is first consumed, and then the supply is continued by the next. So that the bellows do not all sink down together, but one after the other, as is indicated by the consecutive rising of the handles. 34. This successive transmission of the wind from the several bellows is brought under regulation by means of valves or traps, one between each bellows and the chief wind-receiver, which act in the following manner. The wind from the first bellows not only supplies the organ, but by its force alone keeps the traps of the other bellows closed so long as the wind lasts. When this supply is just exhausted, then the trap of the second bellows suddenly opens, the condensed air from which not only keeps the traps of the remaining bellows still closed, but also shuts that of the one just emptied, and so prevents the entrance of any of the wind which the bellows now in operation is supplying. On the stock of wind from the second bellows being exhausted, the trap of the third opens and continues the supply, that of the second closing ; and so on with all the remaining bellows. Sometimes a certain number of the bellows supply one department only of the organ. Thus, of the 14 originally at St. Sulpice, 6 were devoted to the great organ, 4 to the pedal, the remaining 4 supplying the smaller departments of the organ. The description just given must therefore be understood as referring to the working of one set or series of bellows only, of which an organ may contain r, 2, or 3, according to circumstances. 'iheir original defects. 35. Although the bellows of every large organ were more or less numerous, yet for a long period there lacked the means for ascertaining whether they all produced a supply of wind of equal strength or intensity. Improvements had been made by which the evils of this defect had been lessened (by increasing the size, and, therefore, by decreasing the number of the bellows), but the uncertainty remained in respect to the fewer bellows that had still to be employed. It was not until the seventeenth century that the wind-gauge or anemometer was invented by a German organ-builder of the name of Forner. This little machine enabled builders to " weight " the bellows of an organ so that they all produced a wind of the same general force. But a source of inequality was discovered to exist in the bellows itself. It was found that a diagonal bellows produced a comparatively light wind when fully distended, and a gradually increasing one as it collapsed ; the consequences being that the organ did not always produce precisely the same strength of tone, neither did it always sound strictly in tune. The causes of this inequality in the strength of the wind were as follow. A diagonal bellows, on being charged with air, would have the top-board {0 o,fig. 15, and b,fig. 17) raised to its greatest height ; the side and end ribs {c c, c c^fig. 17) taking as nearly a perpendicular position as a regard to the stability of the bellows would allow, and having their middle joints, or points of conjunction {d d), inclined inwards. The sides and end would then present an obtuse angle to the wind ; as shown in fig. 17, which is a cross section of a diagonal bellows. But as the top-board descended, the angle they described would become more and more acute ; as illustrated at e e, injg. 18. As the contents there- 18 fore of the bellows were gradually exhausted, not only was the '^"^ „: ^ AeigAt of the space within the bellows lessened, 3ut also the length ^ ^^ and breadth. The wind within, consequently, was not simply influenced by the calculated pressure of the surface-weights, but also by the compressing power of the mward folding ribs, which, pressing forward, wedge-fashion, into the confined air, gave it more force. An accurately made anemometer showed that the wind THE BELLOWS. 13 was f^ stronger when the bellows was at^ts least elevation, and nearly empty, than wh-en at its greatest elevation. 36. Another circumstance that tended to bring about the inequality complained of, was the irregular influence of the surface-weights, which did not press with the same effect on the bellows in all stages of its sinking. A weight will, according to one of the simplest laws of mechanics, operate with its fullest effect only upon a level surface. Now, when a diagonal bellows-was distended, at which time the top- board presented an inclined* plane, the weights could only press obliquely on the wind, and therefore with something less than their greatest effect. This imperfect pressure gradually disappeared as the bellows closed ; that is to say, as the top gradually approached the horizontal line ; the result being that the bellows completed its work by the production of a stronger wind than was the case at the commencement of its sinking. 37. These were the defects which existed in the diagonal bellows, as originally made, and which the German organ-builders succeeded in rectifying, by means as simple in their nature as they were successful in their effect. Hpw remedied. 38. Instead of the bellows being fixed with the under-board {x X X, fig. 15) perfectly level, as heretofore, they were now placed with the spreading end somewhat below the other end (as illustrated in fig. 15); so that, when expanded, the top {p o), instead of the bottom, formed the horizontal line. This slight alteration of position secured to the wind the full influence of the surface-weights {i i) at the commencement of the bellows' sinking, instead of at the end ; and therefore at the time when the> ribs would be producing the least effect. As the top descended below the level, the weights would lose some of their influence ; the closing ribs, however, pressing in on all sides, at the same time increased theirs. This is the arrangement of the bellows at Doncaster. To counteract any greater influence which the inward folding ribs might still exercise, a long wooden spring was applied, which operated during the earlier stages of the bellows' sinking, in addition to the surface-weights ; but by degrees ceased to do so as the influence of the ribs was more and more felt. 39. This spring, consisting of a long rule of boxwood {fig. 1 5, fff), was laid under the beUows, and fastened down at one end {k), the other having a rope attached {g), communicating with the wooden rod {h) that lifts the top of the bellows. On raising the top-board, the rope and free-end of the box-wood spring were drawn up ; the latter, from its own elasticity of course, operating with the greatest force when most curved upwards. Additional compressing power was thus brought to bear upon the wind when the ribs pressed inwards but slightly ; but as they gradually did so more acutely, giving to the wind more strength, the elastic power of the spring as gradually became less, and finally became powerless. Thus was a uniform strength of wind secured throughout the sinking of the diagonal bellows. 40. In England, also, various ingenious devices were had recourse to for equalizing the wind-pressure. Renatus Harris, in his organ at St. Dionis, Back- church (1724), applied accumulative springs to the four bellpws for this purpose. Green, in the organ erected by him in St. George's Chapel, Windsor (1790), inserted an apparatus consisting of a system of gradually increasing counterpoise, acting, by * Diagonal bellows were originally fixed with the under-hmrd (x x x,Jig. ij) in a perfectly horizontal position. 14 THE WIND-COLLECTING PORTION OF THE ORGAN. means of a rope coiled round a small^pulley, in opposition to tlie descent of the bellows. 41. An ingenious mechanician, of the name of Gumming, a clock-maker by trade, appears to have been the first to whom the idea occurred of making a bellows on the horizontal principle. According to his own pamphlet the principle was sketched out by him in 1762, and first carried into practice in the organ completed under his direction for the Earl of Bute in 1787. It was also tried by Samuel Green in the beautiful little organs erected by him in St. Thomas's Church, Ardwick, in 1787, and in St. Peter's Church, Stockport, in the following year. On the other hand the organs by the same admirable maker in Lichfield Cathedral (1789, now removed), and St. George's Chapel, Windsor (1790), had diagonal bellows, from which circumstance it would seem that Green was not at first entirely satisfied with the then new kind of bellows. The one main fact, at any rate, is certain, as well as satisfactory — namely, that the horizontal bellows is an invention of English origin. The horizontal bellows. 42. A horizontal bellows {sttjig. 16) comprises two separate and distinct chambers, one immediately over the other. The lower one (a), closely resembling a diagonal bellows, is called the feeder, from its supplying or " feeding " the upper division with wind. The upper chamber (x x) is called the reservoir, because it receives the great body of wind collected by the feeder for compression, and holds it in " reserve " for after-distribution among the various departments of the organ. 43. One circumstance connected with the horizontal bellows — and a very important one it is — is, that one of this kind will with ease supply an organ that would require perhaps half-a-dozen of the diagonal species. How this should be the case is soon explained. A feeder, as already stated, closely resembles a diagonal bellows. Now supposing a horizontal bellows to be supplied by a feeder of a given size, and that six full charges therefrom are necessary to fill the reservoir, it follows that the supply from that one reservoir will be as plentiful and efficient as that from six bellows of the diagonal' species of the dimensions of the feeder {a). This fact is the more apparent, when it is borne in mind that diagonal bellows do not all afford their supply at the same time. Its structural features. 44. Qn examining a horizontal bellows, it will be seen to consist of three stout horizontal layers or plates of wood, called respectively the top-board {c,figs. 16 and 23, 3Ss,ofigs. 19 and 20) ; the middle-board {d,figs. 16 and 23, also fig. 21) ; and the bottom-board {e,figs. 16 and 23, also fig. 22) : which " boards " are joined together all round by side and cross-fold boards called ribs. {Sttffff, vcifigs. 16 and 23 ; slsofigs. 24, 25, and 26.) 45. the top-board is usually made of pine, an inch or more in thickness ; and, in small bellows, consists simply of a plain, substantial board, 19 ledgered T\&a.x to each end, as shown in fig. 19. The top-board for larger bellows is frequently composed of a stout frame, divided crossways and lengthways by rails, resembling the stiles, &c., of a common door (fig. 20) ; with the interstices filled in, or in some instances covered in, with thick wooden panels. Very large bellows frequently have the top-board framed all round, and also across, with a lining two or three inches in height ; which increases its stability and its freedom from tremor. Moveable panels offer an easy means of getting at the valves of the middle-board below, if they become deranged from damp, excessive heat, or any other cause. tt tt a Q o a THE BELLOWS. 15 46. The middle-board {fig. 21) is made of rather larger the top-board ; a slight additional portion being required all round to form a substantial ridge for the support of the bellows on their sustaining frame-work. This is clearly shown at d, in fig. 16 ; also in figs. 23 and 35. To the middle-board are attached, at the sides and ends, and marking as nearly as may be the outline of the top-board, four thick boards {e e e e,fig. 21), some four or five inches broad, and set up edgeways {g,fig. 16), called the trunk-band, or lining, which "band" permits the various wind-trunks to be joined to the bellows at any part most convenient to fix them. See o and 7/, fig. 23. In some bellows, pieces of wood, the same height as the band, and of the same width as the ribs, are placed inside the band, and at right angles to it, which, with the band itself, form a firm resting place for the ribs. Besides this, three or four posts are inserted down the centre of the middle-board, of the same height as the trunk-band, with the thickness of the ribs, &c., added, which bear up the top-board and weights. Or, in very long bellows, instead of a few posts, a rib of inch pine (of the same height as the posts) is carried through the whole length of the middle-board (inside the band, glued to the middle-board and screwed through from the under side), which not only supports the top-board from end to end, down the middle, but also serves as a brace to the middle-board. These several insertions add materially to the stability of the bellows. The middle-board and trunk-band together form a kind of large, shallow trough, in the bottom of which lie the several " valves " or " suckers," marked /// in the adjoining figure. Sometimes the middle-board, like the top, has move- able panels, to facilitate the repairing or cleaning of the valves in the bottom-board, when required. 47. The bottom.-board {fig. 22) is made of good substance, like the other " boards " of the bellows. It is provided with suckers, like the middle-board, and forms the bottom to the feeder, as already exemplified in fig. 16. It is therefore ledgered on the under side, to prevent its " springing," when in forcible operation. The bottom-board sometimes approaches the top-board in dimensions ; at other times, not nearly so ; this often depending on the kind of feeder by which the reser- voir is fed. dimensions than 20 •a BBiaa! 01 HI jTy" 48. The ribs are the variously shaped pieces of wood that form, chiefly, the folds of the bellows. They measure about 24 3-8ths or half an inch in thickness, or rather / more when the ribs are broad or very long. \ > i6 THE WIND-COLLECTING PORTION OF THE ORGAN. -the parallel and the triangular. 25 2 26 49. Two general forms of rib are made use of- The former kind, represented in figures 24 and 25, is employed in the formation of the reservoir r— — of the bellows, and the spreading end of the "^ feeder (^fig. 17) ; the latter {fig. 26), for the ■''-— sides of the feeder. Those constituting the sides and ends of the reservoir are narrow and long, measuring usually three or four inches in breadth, and from three or four to ten or twelve feet in length, or even more, according to circum- stances. 50. The parallel ribs are classified into direct and inverted, in regard to a certain peculiarity in their shape. The former kind are those which have their shorter sides hinged together ; the latter, those which have their longer sides so united. The direct ribs (25) are used in the formation of the lower half of the reservoir ; the inverted ("24), for the upper half — at least, in modern bellows. In addition to this classification, the parallel ribs are further divided into side-ribs and end-ribs, in reference to the position which they occupy. 51. The triangular-shaped ribs, which are identical in shape with the side-ribs of a diagonal bellows, are made broadest at the end where the feeder opens widest (o, fig. 26 ; also e, fig. l6, and fig. 23) ; from whence they gradually diminish in width towards the other end, finishing off in a point. In the formation of the reservoir of a horizontal bellows, sixteen ribs are used ; four on each side, and as many at each end. These ribs are divided all round into two series of two each, by a frame called the middle-frame ; of which, however, only the edges are to be traced in a completed bellows, {b, figs. 16 and 23.) 52. The valves in the middle and bottom boards are formed of one, two, or three thicknesses of leather, glued together. They are made rather larger than the openings which they are designed to cover, that the closing may be effectual. (See figures 27 and 28 for the plan and section of the valves.) The valves are usually hinged on at one end {b) to the " board," the other end and both sides being left quite free to rise and fall. The end forming the hinge consists of one thickness only of leather, {,figs. 27 and 28), that it may be perfectly flexible. Occasionally the valves are attached with pieces of tape ; one piece at each of the four corners, with the other ends nailed to the board. The entire valve then rises ; the pieces of tape preventing its shifting from over the orifices or gratings. 53. These several openings or gratings are technically called suckers. They are sometimes made of an oblong form ; as shown at f f f, in fig. 21, and at «/ w, in fig. 23, and filled in with a metal or wooden grating ; or they consist of clusters of circular holes ; as shown at //, in fig. 22, and, on an enlarged scale, in figs. 27 and 28. The gratings in the square suckers, and the wooden substance that separates the holes of each circular cluster from one another, prevent the com- pressed air from forcing the valves downwards through the suckers. 54. As their names imply, the bottom-board forms the bottom to the feeder ; the middle-board occupies the intermediate position, and so serves the double THE BELLOWS. 1/ purpose of roof to the feeder and bottom to the reservoir ; while the top-board forms the top to the reservoir. 55. Of these three great layers of wood-work, the middle-board is the fixture, and supports the entire bellows. Below hangs the feeder, and above rests the reservoir. The bottom and middle-boards are furnished with perforations or gratings, with leather \-alves lying over the upper sides ; the use of which will be clearly understood from an explanation of the manner in which a horizontal bellows is worked. The Mvrkins of the 56. As the free end [g; Jig: 23"> of the feeder descends, the hotiiontal bellows: and external air throws back the valves (» :;•'< in the bottom-board, ^i^^'S^'^Mk^ ^^ rushes through the gratings v->- -'), filling the cavity of the for itself between the feeder : after which the ^■alves descend again over the gratings platss and folds of the and close in the wind. The hanging end of the feeder is then '*^*"'™^" drawn upwards, by which movement the enclosed air is strongly pressed against the surface abo\-e — ^that is, against the under side of the middle- board (rf). The exercise of this force throws back the \-alves i^j .f) that he over the apertures in the middle-board — the valves not being intended to resist the pressure of the wind in this direction, but only do^mwards, — and the wind ha\-ing thus cleared a way for itself, passes from the feeder into the reser\oir. The valves on the upper side of the middle-board (s s) then in their turn fall over the openings and prevent the return of the wind into the feeder. 57. At the moment wind is being thus transmitted, the folds {JffJ^ oj)en and the top-board (c) rises so as to form a sufficiently capacious receptacle for it. 5S. While the several processes just detailed are going on, some of the wind is, under the pressure of the surfece weights (/ / /), constantly flowing through the ^■a^ious exits or -utitid-fniai holes (o and '■} into wooden tubes (y) or ■seiad-trunis, and thence to the several departments of the organ suppUed by that bellows ; the top-board of the bellows descending and the folds coDapsing as the quantity of the wind in the reser\-oir is reduced, and rising again and the sides expanding as more wind is supplied. In %-j. 16, 23. 35, and also in the general section, the reservoir is represented as being fiiDy distended or charged with wind : and 'm_fig. 32 it is shown in a collapsed or resting state. ,q 50. The folds of the bellows are subject to a constant strain in consequence of the antagonistic powers exercised by the feeder on the one hand, and the compressing weights on the other ; the former forcing air upwards, while the latter press the top-board downwards. 601. To irive them the power of resisting the outward pressure of the contained air, arising firom these circumstances, a piece of frame-work of about three-quarters of an inch in thickness, some three or four inches in breadth, and of nearly the same outer measurement as the top-board (see .Ai' -^ is inserted between the two series of ribs, 61. This i'c:\idle-/nir>ie holds the ribs so firmly in their proper positions, that there is no Uability. under ordinary circumstances, of the folds bulging from the force above alluded to. TheconstnsccioaofUie 62. The se\-eral parts of the reservoir already described are ressTTOir. worked together in the following maimer. The ribs are first assorted into pairs : the proper sides of each couple being brought close together. A long strip of white-dressed leather is then glued over the contiguous edges ; THE WIND-COLLECTING PORTION OF THE ORGAN. a second piece being attached in a similar manner to the same edges on the other side. These pieces together form a strong hinge, which is called the middle-joint. 63. All the other couples of the ribs are then firmly united together in like manner. 64. The lower edge of the under series of ribs is then 3° fastened to the lining ; secondly, the upper edge of the upper ribs is united to the edges of the top-board ; thirdly, the lower edge of the upper series is bound to the inner edge of the middle-frame ; and, fourthly, the upper edge of the lower series is joined to the outer edge of the middle-frame. The openings at the four angles or corners, where the ends of the ribs nearly meet, marked a a a a,m^ fig: 30, are then closed with leather, which form what are technically called the gussets. The adjpining figure (30) is a plan of the folds of the reservoir. The construction of the 65. The folds and boards of the feeder '^^'^sr- are joined together in much the same manner, only that the end of the bottom-board is strongly fastened to the middle-board with several pieces of shoe-leather rope, girth-webbing, or something of the sort, to form the work- ing part of the great hinge. Over these is glued a stout coating of white leather, to render this joint equally air-tight with the others. A piece of wood running across the end of the feeder if c, fig. 31), and about equal in thickness to the folds when they are closed against the middle-board, admits of the feeder being drawn up without straining the hinge. Both corners, where the end of this cross-piece and the points of the side-ribs nearly meet, are covered in with leather corner-pieces. The adjoining figure (No. 31) is a plan of the folds of a single feeder, which are formed of six ribs, two to form each side, and two for the hanging end. The blowing-action. 66. The apparatus by which the feeder of the bellows is put in motion, is called the blowing-action, one of the simplest kinds of which, namely that for a single feeder, consists of a vertical pump-rod, a horizontal bellows- handle, and an upright standard, to which must be added the fork-shaped piece of wood that projects from the hanging end of the feeder, called the lug. The lower end of the pump-rod {a, fig. 35) is placed between the two prongs of the lug {w) and secured by an iron bolt {v) ; the upper is placed in a mortise cut in the near end of the bellows-handle, and similarly secured, while the bellows-handle itself rests in a deep cutting made in the upper part of the standard to receive it, where also it is secured by a bolt. Where there are double feeders, there are of course also two pump-rods (a a), which then communicate with a large lever {o 0), from which latter a rod {c) communicates with the bellows-handle {d). (See fig. 35.) 67. The disengaged end of the bellows-handle usually passes through a high and narrow cutting in the organ-case, and is worked outside. As, however, it is necessary that the bellows-blower should at all times know at what rate the wind in the reservoir is being exhausted, which will at times be rapid, and at others slow, and as the bellows themselves, are generally hidden from view, a kind of index, or, as it is commonly called, a tell-tale, is introduced to convey this necessary intelligence. This consists simply of a plummet fastened to a piece of whip-cord, which whip-cord is carried over a little wheel in the organ- THE BELLOWS. 1 9 case near to the bellows-handle, and then fastened to the top-board. As the reservoir fills and the top rises, the weight descends j as it is emptied the top descends and the weight rises. When the weight is down, the bellows are understood to be "full;" and when up, "empty." The most proper place to keep the weight is_ about midway between the two extremes. The action of the 68. By making the upper "fold" to open w^a/flr^/.f, while the myerted folds. lower does SO inwards, the former afifords more space for the wmd, just in proportion as the latter provides less. Thus the disadvantageous mfluence that would certainly be exercised by the one fold is neutrahzed by the opposite action of the other. The counter-balances. 69. The '' inverted folds" iorm&d a part of Cumming-s origmal improvement. One condition, however, necessary towards securing their corrective influence, was, that both should always be at the same relative degree of openness and closeness ; for otherwise an unequal wind would still result. To obtain this proportionate action, some light, moving) directing frame-work (fig. 16, w w) was applied to the two sides (or sometimes to the two ends) of the reservoir, and attached to the trunk-band {g), middle-frame {K), and top-board {c) of the reservoir, which "guide work" always kept those three portions at equal distances apart, and so effectually secured the required and exact contrary action of the two series of ribs which occurred in the spaces between them. The counter-balances, as the adjuncts in question were called, serve the addi- tional purpose of preventing the top-board, with its heavy weights, swerving to the right or to the left, instead of rising and falling. In large bellows the influence of the folds is far less than in small ones, as the width of the ribs is by no means increased in proportion to the superficial measurement of the bellows. The folds, therefore, of large bellows are narrower in proportion than in small ones, and their influence consequently less perceptible. The waste-pallet. 70. Another cause of inequality in the strength of the wind had to be guarded against. The consumption of wind would, under certain circumstances, be very slow and gradual ; the rate of the fresh supply from the feeder being then, most probably, much greater than that of the outflowing. This additional wind, accumulating in the reservoir, would soon fully distend it. If, while in this inflated state, more wind were attempted to be introduced, as the reservoir could expand no farther, the extra wind could only make room for itself by compressing that which was already within into a still smaller space. By doing this, the density of the organ-wind would be increased beyond the required degree. Besides causing the pipes to produce a shrill scream rather than a musical sound, the soundness of the reservoir itself would be endangered by the consequent over-tensioii, and the leather hinges liable to be strained or even rent by the violence. To obviate such evils, a clever contrivance, called the -waste-pallet, was devised. This, in its earliest form, much resembled the key of a wind instrument on an enlarged scale, and consisted of a plate covering a vent, with a lever (or tail) working on a centre, by which the plate could be raised. This pallet occupied the centre of the top-board, and was so disposed that when the top-board had risen to a certain and its proper height, the tail of the waste-pallet came in contact with some wood-work. If more wind were then passed into the reservoir — the retention of which would involve a farther distension of the reservoir, and consequently a farther rising of the top-board, — the tail of the pallet struck against this wood-work ; the other end was lifted N 2 20 THE WIND-COLLECTING PORTION OF THE ORGAN. up, the vent uncovered, and the extra wind thus allowed to escape. A spring, placed either above the waste pallet or under the tail, kept the pallet closed, except when purposely opened. 71. With a view to the saving of room, and other circumstances, the waste- pallet was, after a time, transferred from the upper to the underside of the opening, as shown in fig. 23, z, also at a and d in figs. 19 and 20, and there hinged on at one end to the top-board. It was, therefore, changed in plan from the key to the valve kind. The waste-pallet was now worked by a piece of rope {fig. 23, ^ ^ ^) or a leathern thong, one end of which was fastened to the pallet, and the other to the middle-board. This rope or thong was just long enough to allow the top-board (f) to rise to the desired height, without checking the pallet, and no farther. If any more wind were now attempted to be intro- duced, the top-board would, indeed, ride somewhat higher, but the pallet would be held stationary by the rope, now stretched at full length ; and the vent being uncovered, the superfluous air would escape. 72. In modern bellows, the waste pallet is often situated in the middle-board, to which part it was removed, because dust or cuttings sometimes worked their way on to the edges of the pallet and prevented its closing properly. When so placed, it consists simply of a reversion of the one just described. The vent is cut in the middle-board ; the pallet is laid over it, and raised by a rope fastened to the top-board, which latter, after rising to a certain extent, draws it up, allowing the wind to escape underneath, outside and to the rear of the feeder. Some organ bellows have two waste pallets, one opening into each feeder. In this case, as superfluous wind is introduced by one feeder, an equal amount is dis- charged into the other. 73. But whatever may be its situation, the waste-pallet is always introduced to serve the same end, in regard to the reservoir of a bellows, that a safety- valve does to the boiler of a steam engine ; namely, to guard it from more than the intended strain, by letting off all that might otherwise peril its soundness. 74. The above are the most important improvements for equalizing the wind made in the horizontal bellows up to within the last thirty years. The unsteadiness of the 75. There were Other ways, however, in which the strength of organ-wind arising from the organ- wind might be disturbed, besides those arising from unskilful blowmg, or ^, . , , _ , '. , , ., ^ , ° from irregtilar con- *e irregular Compression of the weights and ribs of the reser- sumption. voir, and ways which were beyond the power of the devices just enumerated to correct. For instance, if, instead of the bellows-handle being pressed down gradually— as it always should be — it were thrust down with a jerk, the wind in the feeder would be forced into the reservoir so suddenly that there would not be time for the top and sides to rise and unfold to receive it ; the result for the moment being an over-compression of the wind. The several kinds of 76. In the earliest kind of horizontal bellows, the reservoir was too small and the feeder too large ; the consequence being that every stroke of the feeder elevated the upper-board too suddenly ; and as the resistance arising from the inertia of the weight upon a bellows is increased in proportion to the velocity with which it is elevated, it followed that a blast of very varying strength was produced. The reservoir was therefore increased in size, and a plan devised for transmitting the wind more gradually and continuously by means of a feeder made on the principle of the little bellows of the common cuckoo toy, and hence called the cuckoo feeder. In this feeder the bottom-board instead of being fastened to the middle-board at one end, as in the instance of THE BELLOWS. 21 the single feeder (see figs. i6 and 23), was hung about midway between the two ends to a cross board running transversely beneath the middle-board (see e e, fig. 12, which presents a side view of a bellows with a cuckoo feeder). Each 32 'I'l half was provided with two end-ribs and four side-ribs, the latter with their points {o o p o, fig. 33) towards the cross- board. These several parts were fastened together in the usual way, and, with the addition of an under-lining, of the same depth in the centre as the cross-board, but inclining upwards towards each end {a a, fig. 32), formed two separate though smaller feeders. On referring Xofig. 32, the two feeders will be distinctly traced. "JT. A cuckoo feeder gives a supply of wind with the up- stro£e of the bellows-handle as well as with the down, which was not the case with the single feeder ; and the quantity of wind pumped in by the two strokes is about equivalent to that supplied by the one Stroke from the older kind of feeder. 78. In some cuckoo feeders, the under-lining {a a, fig. 32) is transferred from the under-side of the middle-board to the upper-side of the bottom-board, and reversed, as shown at a a, in fig. 34. This has the effect of greatly strengthening the feeder, the bottom-board of which is subjected to a considerable strain across the middle, where there is consequently a possibility of its "springing," but which tendency is entirely removed by placing the lining as shown in the figure below. This transfer of the under-lining does not weaken the middle-board, which is amply strengthened by the trunk band and the inside bracings. 34 t 79. A third kind, called the double feeder, differs from the cuckoo feeder, in having a separate bottom-board to each feeder, instead of one long board to V, ^\ ] a i . . \ \° 7 \ I V^ ^ 35 serve for the two. Feeders of this class are not simply " separate " feeders, as in the cuckoo, but are also "independent" feeders {e /, fig. 35), like those of THE WINU-COLLECTING PORTION OF THE ORGAN. the single species. They usually extend the cross-way of the reservoir, as shown in the accompanying engraving ; though occasionally they run lengthways. Double feeders present this advantage : if one becomes unsound, the other still can be used while the repair of the first is being proceeded with, which could not be the case with the cuckoo feeder. 80. In some large organs of recent construction, or renovation, the feeder and the reservoirs of the bellows have been made quite separately and distinct from each other. This has been done so that the feeder might still be placed in some convenient and remote part of the instrument, or even in a dry chamber below or behind it, and yet the reservoir be located close to the sound-board it has to supply. In some cases the number of separate reservoirs has been increased, and they have been distributed in various parts of the organ. For the purpose of yielding a more ample supply of wind to large organs, the vertical feeder has been devised. This differs from the ordinary feeder not only in position, but in having the same amount of motion at both ends, and through its length. (See fig- 36.) It is formed of three vertical parallel boards, / i i, the outer two of which 36 are fixtures, and the inner one, e, corresponding to the " bottom-board " of the ordinary feeder, moveable. The feeders are shown at a aj f \% the blowing rod ; 0, a wheel travelling on a plane to steady the motion ; b b the suckers through which the feeder receives the wind ; c c, the valves through which it is passed into the wind-trunk d, whence it is conducted into the receiver z for after-distribution. 81. Other causes of unsteadiness in the wind were -perceived to exist, besides those attributable to defective bellows or unskilful blowing. The wind became agitated — as indicated by the altered speech of the pipes — when many bass keys (the pipes of which consumed a great quantity of wind) were pressed down simultaneously ; and a similar effect was also noticed on their being suddenly allowed to rise. The disturbing cause in the former case originated with the large pipes, which consumed so much of the wind in the wind-chest, that what remained expanded by its own elasticity. Having thus lost some of its intensity or strength, the smaller pipes of the keys higher up in the scale supplied by it THE BELLOWS. 23 would in consequence speak with a kind of hesitation, which would continue till the flow of wind from the bellows had been accelerated in proportion to the increased demand, and the general mass had thus regained its accustomed power. 82. The agitation in the second case arose from the wind continuing to flow in the. same rapid and copious manner into the wind-chest for an instant after the great demand for it had ceased. The wind there, meeting with a check, accumu- lated, causing an over-compression ; and, by its thus acquiring greater force for the moment, brought about the defect the other way. 83. Some apparatus, therefore, was required, possessing the power of adding a small quantity of wind to the usual supply, when that supply, from extraordinary circumstances, would be scarcely sufficient, and of deducting some, when, from opposite causes, it would be too great and too strong. Such a wind-regulating apparatus the late Mr. Bishop devised, whose invention is now so generally known as the concussion-bellows. He adapted it, for the first time, to the organ he built for Covent Garden Theatre. The concussion- 84. This apparatus for steadying the wind is usually formed, bellows. of a board and six ribs (see_/^. 37), like a single feeder ; though occasionally it is composed of a board and eight ribs, resembling the top and lower' ribs of a reservoir. These form a small wedge-shaped reservoir (see fig. 37), which is fixed around and over a hole cut through one side of the wind-trunk (a), or some- times through the bottom of the wind-chest, with a metal spring behind ip), the strength of which is so adjusted as precisely to balance the ordinary pressure of the com- pressed wind. When the bellows are blown, the con- cussion bellows immediately becomes partly charged from the wind-trunk, or wind-chest, to which it is attached ; and, partly expanding, is then ready to operate either way. If any jerking now occurs at the bellows, or if the consumption of wind be suddenly reduced — either of which circumstances would cause a momentary over- compression of the wind, — the concussion-spring gives way, and the concussion-bellows opens further. More room being thus afforded to the wind, its density is reduced to the proper strength, and its extra force is in consequence removed, instead of being expended on the pipes that are speaking. 85. On the other hand, when a large and sudden demand is made on the wind, and the supply is likely to run short, the concussion-bellows, now acting in the opposite manner, collapses, as it always has a tendency to do under the influence of the spring, when the wind-resistance from within decreases, and, returning so much of the wind previously contained as the exigency of the occasion requires, raises the strength of the organ-wind to its proper force. 86. When the organ is not being played upon, but the "wind is in," the con- cussion-bellows remains about half-way open. The Anemometer. 87. The organ-wind is required to enter the pipes with not less than a certain prefixed and uniform force. This required strength the bellows do hot give to the wind unassistedly ; hence slabs of iron or large lumps of stone are placed on the top of the bellows to compress the wind. Stones are, however, very 38 24 THE WIND-COLLECTING PORTION OF THE ORGAN. unfitted for the purpose ; for, in cia/np weather, they absorb a great deal of moisiun and ^ain weight ; and in Aot weather, the moisture again dnes out and they lose weight ; the organ, in consequence, continually changing both in tone and tune. Slabs of iron are best, although they are of course more costly. The exact amount of weight to be used depends partly on the size of the bellows, and partly on the "strength of wind" they are desired to produce. 88. The precise power of the blast from the bellows is ascertained by the aid of a little machine, called the anemometer, or wind-gauge ; and the process is termed "weighing the wind." 89. The anemometer consists of a glass tube, bent in the manner represented in fig. 38, having the lower end {d) fixed into a socket, with the other {a) open to the atmosphere. When the wind-gauge is about to be used, a small quantity of water is poured in at the upper end, some of which passes through the bent part and finds its level on the other side ip b). The socket is then placed over one of the holes in the upper-board of the sound-board, through which one of the pipes is to receive its supply of wind ; and' the bellows are inflated. Under the influence of the sur- face-weights, the wind, on the opening of the pallet, rushes up to the sound-board, and, entering the socket, traverses the glass tube till it reaches the surface of the water, which it depresses, raising that on the other side to a corresponding extent. At first, the water oscillates ; but when it has ceased to do so, the deviation between the two surfaces is ascertained with a rule ; and if found to be, say two and a half inches the bellows are said to give a " two and a half inch wind." go. If a "stronger" wind than this is required, more weights are gradually added to those on the surface of the bellows, till the index shows the desired difference by a still further rising and falling of the water in the anemometer. 91. The "weight of wind," to which the manual portions of a church organ are usually "voiced," ranges from two and a half to three inches. The pedal stops, when suppUed by a separate bellows, are usually voiced to a wind a quarter or half an inch stronger than the above, which accelerates the speech and improves the tone of the large pipes. The amount of surface-weight necessary to produce the compressed organ-wind, is about three pounds and a quarter per superficial foot of the top-board, to give an inch wind. This is the average, for the thickness of the top-board makes a little difference. In large bellows, with inch-and-a-half timber in the top-board, the weight will only be about three pounds and two ounces j while in small bellows, with only inch timber in the top-board, the weight required will be about three pounds and six ounces; the variation in the weight of the timber accounting for the difference. On a bellows, therefore, that produces a three-inch wind, the average amount of surface weight will be nine pounds and three quarters per superficial foot. 92. Some of the French builders use different weights of wind for even their manual stops, and without increasing the number of bellows. This they manage by placing one or two reservoirs over that of the bellows; with expanding wind- trunks (like the sides of an accordion), reaching from the latter to the former. The upper reservoirs are then loaded with different proportionate amounts of surface weights, thus producing the varied pressure of wind. The organ in the Carmelite Church, Kensington, built by MM. Cavaill^ Coll, of Paris, is alimented after this manner ; so also is the organ recently erected by Mr. A. Gern in the French Church in Leicester Square. IDibtsion EII» THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN. CHAPTER III. THE WIN D-T R U N K S. The wind-trunks. 93- THE wind, having been collected and compressed in the manner detailed in the preceding chapter, is next distributed among and conveyed to the several main divisions or departments, i.e., great, swell, pedal, &c., of the organ, through the medium of wooden tubes, called wind-trunks. 94. In the early mediaeval organ the apparatus for conducting the wind was little more than a large nozzle reaching from the bellows to the wind-chest. In the seventeenth century organ it was a wooden tube, projecting from the under side of the hinge end of the bellows ; and the tubes of the several bellows were connected with a chief canal communicating with the great organ wind-chest ; from which those for the choir and "echo" branched out. Conjointly, however, with the introduction of the horizontal bellows, a more independent method of winding the several divisions of the organ was introduced ; each wind-chest then having a separate wind-trunk devoted to it, proceeding directly from the bellows. 95. The original wind-trunks of many old organs were not large enough to allow the quantity of wind to pass that was necessary to supply modern demands. The old system of English organ-playing was very "light" and "thin," as com- pared with the modern ; that is to say, but few keys were held down at a time, seldom more than three or four. Moreover, old English organs seldom possessed the advantage of " double stops " (which would exhaust much wind), neither were ' there even pedals to draw down the lower keys of the manual, the occasional use of which, therefore, had to be made with the fingers. The old wind-trunks, there- fore, were, no doubt, sufficient for all cotemporary purposes. But, as a more dignified style of playing, in broad and well distributed harmony, has since come into vogue, and the bass of, not simply one, but both or even all the manuals (if there be three), are brought under the proper use of the feet, the demand on the wind has been considerably augmented. Hence the insufficiency of most of the old trunks for modern purposes, and also of the necessity, in most " restorations," for new and larger wind-trunks — increased means for distributing the wind being of as much importance as increased means for supplying it by new horizontal bellows. 96. The size of a wind-trunk varies according to circumstances ; i.e., according to the number and size of the stops to be supplied through it, the distance at which the sound-board on which they stand is placed from the bellows, and so forth ; and, thus governed, it ranges from four or five to sixteen or eighteen inches in width ; from three to about six inches in depth ; and from two or three to twelve or fifteen feet in length. 26 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN. 97. The course that a wind-trunk follows, in traversing an organ, is direct or circuitous, according to circumstances ; but the organ-builder makes the route as short as possible, for the important reason, that the nearer the bellows and sound-boards are to each other, the more prompt and decided will be the speech of the pipes. The wind is apt to become weakened by a long passage, — to compensate for which, the wind-trunk has to be made larger, as well as longer, whereby a needless expense is incurred, — besides which, the wind becomes more susceptible of disturbance, from the greater elasticity of the then lengthened column. 98. As the bellows and the wind-chests are seldom, if ever, on the same level, the direction of the wind-trunks is changed after their advance from the bellows, and turned towards the particular wind-chest which each has to supply. They are, for this purpose, jointed in one or more places, and the contiguous parts glued and nailed together in such relative positions as will direct the wind to its destination by the least circuitous route {,y,fig- 23). The parts are seldom jointed at right angles to each other, as that form checks, disturbs, and renders irregular the current of wind. *To render the joints thoroughly air-tight and strong, they are covered with pieces of parchment, leather, or paper. Parch- ment or leather is best for the purpose, though the most costly : paper is very perishable, and therefore almost useless. Some organ-builders cover the whole wind-trunk, internally, with a thin coat of glue, to fill up the pores of the wood ; and externally, as well as a great portion of the wood-work, including much of the wooden pipe-work, with a coat of colouring mixture, compounded of glue and red ochre, called red size. A more agreeable looking compound for the last- mentioned purpose is of a dark slate colour, on which ground the lettering of the pipes, in white capitals, stand out very distinctly. THE WIND-CHEST. CHAPTER IV. THE WIN D-C H E S T. The wind-chest ; its 99. THE wind thus Conveyed from the bellows is received "'^'=- into what are called wind-chests. And now that the more minute distribution of the wind is about to be traced, it will be well, for the sake of perspicuity, to confine the remaining observations on this subject to a single division of the organ ; more especially as the arrangements for the further distribution of the wind are the same in principle in every part of the organ ; and, conseciuently, one description will serve for all its departments. 100. A wind-chest is a long and broad, but rather shallow, wooden case or bo.x, a ci-oss section of which is shown in Jig. 40 ; and a front view at c c, in Jig. 49. It is made of the same length as the sound-board above, to which it belongs ; from half to two-thirds the breadth of the same ; and about equal to it in depth, or perhaps a little deeper. loi. These general dimensions refer to modern work. The wind-chests of old organs, in some instances, measure little more than one-Jourth the breadth of the sound-board, and are therefore, of course, far less efficient than the later examples, and for the reason before explained, when speaking of the smaller wind-trunks of old organs. 102. In the wind-chest the compressed air accumulates ; and there it remains in a state of readiness for further and more minute distribution. A wind-chest, therefore, is in reality a second wind-reservoir, locally disposed, and designed 10 receive a due portion of the great body of organ-wind collected in the Jirst reservoir — viz. that of the bellows, — and to retain it for the supply of that special department or division of the organ to which the particular chest belongs. 39 Front 'Vieiv oj a poiiiun oj a wind-chest. 28 THE WTND-UISTRIBU TING PORTIONS OK THK ORGAN. itiaitM.daiitpart.s. 103. Through one of the fiu/s (a, fig- 39), or sometimes through the bottom (c c c. Jig. 40,1 of the wind-chest, the aperture is generally cut, at which the wind is to enter from the wind-trunfc. The t^iuk, called the wind- bar (d), passes imder all the sound-board-bars, crossways ; and is made of very substantial material, because it serves a second purpose, namely, that of affordmg additional support to the sound-board above it, and so prevents the sound-board yielding under the weight of the superincumbent pipe-work. 40 ijl ,-l. 1 ' w>-- L.. L- r^ ... t r i T Side view of a wind-o/icst. 104. The ends, bottom, and back of the wind-chest are all firmly wrought together, and to the sound-board, which forms the top thereto. The front-board (/, fig. 40), as the front is called, is made moveable, because the sound-board pallets [a, fig. 40), and {ccc,fig. 39), are immediately inside, and they are liable to temporary derangement from a variety of causes, and are therefore required to be easy of access, The front-board, then, is simply fastened on with screws (see fig. 69, e e c), so that it may be soon removed, if the pallets require cleaning or repairing. In old sound-boards the front-boards were secured with hooks, and the plan is still followed by some of the French organ-builders. 105. Immediately under each pallet a hole is drilled in the bottom of the wind-chest, through which the necessary communication is established between the sound-board pallets inside the wind-chest and the key-movement without. These holes, which are ranged in a line, are made much larger than the thickness of the pieces of wire that pass through would require (see figs. 39 and 40), for that in wet seasons wood-work is very apt to swell ; and the holes, if, in the first instance, made so as nearly to fit, might, from their becoming, through this cause, smaller, prevent the pull-downs from passing freely, and so produce a " sticking." To prevent, however, an escape of wind through these enlarged holes, a long, narrow plate of brass is fi.xed over, or rather under, them — for it is outside the wind- chest ; — and, through this plate, holes are drilled just sufficiently large to allow of the pull-downs working through them freely. The plate of brass is securely fastened on, by its edges being covered over with "a small wooden beading (r r, fig. 40), which, at the same time, guards the loops (/) of the pull-downs from injury. TITE SOUND-ROARl). 29 CHAPTER V. THE SOUND-BOARD. 41 106. The air that enters the wind-chest, in the manner aheady described, forms a sort of reserve, from which the several pipes of each key on the corres- ponding clavier receive their supply of wind. The ingenious arrangements and contrivances by which some of the wind is conducted from the chest to the pipes of any one of such keys, independently and exclusively of those belonging to the rest, next demand attention. 107. For every key on the clavier, a small special channel is usually provided ; so that if there be, say 54 keys on a manual, there will be the same number of grooves (as they are called) prepared to conduct wind to their respective pipes. This is the general rule, to which, however, there aie a few exceptions, which it is necessary to point out. 108. Some manuals,' of which the keys extend throughout, are entirely without sound-board and pipes of their own, to the 8-feet octave (as is the case with all " tenor c swells "), and which, therefore, would produce no sound at all below that key, were it not that the bass octave usually communicates with the corres- ponding twelve semitones on the choir or great organ, or even with the " pedal pipes." Again, some pedal organs, and more particularly "pedal pipes," after extending through about an octave of their scale, suddenly turn back or repeat on the remaining pedals. In all such examples, the number of grooves in their sound-boards will be less than the number of the keys. 109. On the other' hand, where the pipes to a key are numerous and large, as is frequently the case in the bass of great manual organs, one groove is not 30 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN. always considered sufficient to ensure a satisfactory supply to the whole ; and two .grooves are accordingly devoted to each key in the "great octave." Here, therefore, the number of grooves would exceed that of the keys. John England is said to have been the first English organ-builder who introduced " double grooves " for the bass keys of the great organ sound-board. The formation of a I lo. The manner in which the grooves are formed is as sound-board. follows : — A large and strong layer of wood, that is ultimately to form the roof ol the grooves, is turned upside down, so as to bring the under surface uppermost. Several pieces of wood, called sound-board-bars, having been previously cut and planed to the requisite degrees of thickness, one of them is well glued on to the so-called table. To this are attached two pieces of wood, called the fillings in, — one piece at each end, — of the exact width that the space or groove is to be ; to which again is fastened a second bar ; and so on, a bar and fiUings-in alternately, until the required number of channels or grooves are formed. Next, a shallow piece of wood, a few inches in length, is let a little way into each groove, to form .a hold, to which the tail pieces of the pallets, presently to be noticed, can be attached ; and similar pieces are also let in, in other places, to increase the amount of surface, to which the sheet of leather, forming the bottom, can be glued. 111. After the sound-board has been "glued up," as the process just detailed is sometimes designated, its two long sides, presenting the rough ends of the sound-board bars and the intermediate fiUings-in, are planed down ; and a stout piece of mahogany, from an inch to an inch and a half thick, is firmly glued and pinned on over them, to secure the bars, to strengthen the sound-board, and to give it a neat and finished appearance. These front and back surfaces are called the cheeks of the sound-board. 112. A large sheet of leather is then glued over the whole under surface of the sound-board, except in that part of the grooves which is to be enclosed within the wind-chest, where openings are left as, entrances for the wind. The sheet of leather (in old sound-boards, parchment) usually forms the only closing the greater portion of the grooves have underneath. 113. The sound-boards of old organs are generally of the frame kind ; that is to say, the bars are at each end let into a frame, about one inch and a half thick, instead of being separated by fiUings-in ; and the grooves are closed in above with wood, there then being no separate table ; after which, a sheet of leather is glued over the whole, on which latter the sliders work. In Germany and France, the sound-boards are still generally made in this way ; and Mr. Bishop retains the custom of making the sliders run on leather. 114. The grooves run parallel to one another, as represented in fig. 40. When the sound-board is turned right side upwards, about half of the under- side of every groove lies immediately over the wind-chest, as shown in fig. 39 ; the long openings already referred to being enclosed therein. 115. If all these wind entrances were to be left open, air would of course pass through all alike into the pipes, and thus cause every note in the scale to sound at once. To prevent this, the wind-entrances are first of all closed beneath by moveable pieces of wood, which, however, are so adjusted that any one or more of them can be drawn open at pleasure, and wind admitted into the correspond- ing groove. By these means the power is admirably secured of admitting wind to, or of excluding it from, the pipes of any of the keys. These pieces of wood are called sound-board pallets; and from them the openings which they cover are named pallet-holes. THE SOUND-BOARD. 3 I 116. To ensure the pallets closing firmly against and over the pallet-holes, a spring of brass or steel wire is inserted underneath each, which' presses them upwards. See fig. 40. The springs in question are, in old sound-boards, generally made of brass wire, with two or three curls ; in modern examples, they are frequently of steel-wire. How the sound-board n?- The Orderly arrangement of the sound-board pallets, pallets are brought side by side, in a row, will be found illustrated m figs. 39, contro. c c c, and II, c c c. As an organ cannot be played without some of the sound-board pallets being drawn open, and as the pallets them- selves are completely shut up in the wind-chest, means are taken for bringing them under outward control. 118. A small loop of wire {fig. 40, z) is inserted into the moving end of the pallet (a), called the pallet-eye j to this is attached a piece of steel wire (Ji), of suf- ficient length to pass through one of the holes {p) bored through the bottom of the wind-chest ; outside which it is finished off in a loop (z). Every pallet is similarly provided with 2l pull-down, as this piece of wire is called {see fig. 51 ; and thus the first step is taken towards making the pallets answer to the touch on the keys. To ensure their keeping their proper course, each pallet is furnished with two other pieces of wire, one placed on each side, called direction-pins {fig. y), b b b ■ see ■z\sQfig. 51) ; which prevent the pallet turning during its opening and closing, and thus secure its closing truly and entirely over the pallet-hole. Some of the above features may now be noticed somewhat more in detail. The sound-board bars. ng. The bars of a sound-board are all made of the same pre-arranged length and depth j but there is a considerable variation in their thick- ness. This is because they have a second office to perform ; for, besides separating the grooves, they have to sustain and resist the pressure of the pipe-work above. As, however, the pipes belonging to the treble portion of a manual sound-board are all comparatively small and light, narrow bars afford sufficient support for them and are therefore employed ; whereas in the bass, where the pipes are both larger and heavier, bars of greater substance are necessary to ensure stability, and are consequently introduced. For the intermediate bars, two or three graduated thick- nesses are adopted, according to their situation. 120. In addition to the variation in the substance of the bars in the same sound-board, the thickness and indeed all the proportions of sound-board bars vary much, according to the number and size of the stops that have to be sup- ported. Thus, the thickness of the bars ranges from one-third of an inch to an inch and a half ; their length, from about two to five or six feet ; and their depth, from two and a half to five inches. 121. Among the narrow bars of a sound-board, a stout bar is interspersed here and there, in order to give additional strength to the work, and to offer a good hold to the screws that fasten down the upper-boards. Two pieces of wood of extra stoutness, resembling sound-board bars in all other respects except their greater substance, form the extreme ends — also introduced to ensure stability — called the end-bars. The entire sound-board rests on a stout and substantial frame. 122. The sound-board bars are represented \a.fig. 39, by the white lines. The sound - board 123. The groovcs in a sound-board, like the bars, are fre- S'""^^'- quently made of three or four different widths. The narrow ones are of course for the treble keys, and the broad ones for the bass, where the pipes are large and a plentiful supply of wind is demanded. In all other respects 32 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN. the dimensions of the grooves are the same throughout a sound-board ; an increase in their width alone, or if not, then double pallets in the bass, being ordinarily sufficient to secure an adequate supply of wind to the same stops in the lower part of the scale or gamut. When even this addition is not likely to prove so, the groove is not further enlarged, but a second one is allotted to the same bass key, as already explained. For more stops, the grooves are made longer, to allow the additional pipes standing and speaking room above ; and also broader and deeper, that the cubic space in each groove may be adequate to the reception of the increased quantity of wind now necessary to feed the augmented number of stops. When these conditions, or any one of them, are not sufficiently attended to, the pipes do not all get enough wind to make them speak properly, and they are then said to " rob " each other. If the reed-stops are to be on a heavier wind than the flue, a piece of wood is glued in across every sound-board groove, to divide it into two : the wind-chest, which is then made as large as the sound-board, is divided longitudinally, and of course there are double pallets to the grooves. If the treble pipes are to be in a heavier wind, the wind-chest is divided trans- versely. 124. It will be seen, then, that there are no fixed dimensions for sound-board grooves, but that they vary according to the number and size of the stops. The extent of this variation is ordinarily from one-third of an inch to about an inch and a half in breadth ; from two to about five or six feet in length ; and from two and a half to five inches in depth. In large pedal sound-boards the grooves are some- times made as much as four inches in width. 125. The grooves are represented inyf^-. 39, by the dark lines. The sound-board pallets. 126. The soujid-board pallets are so many long and narrow pieces of wood, of a triangular shape {ss&Jig. 39, c c c). One of the three flat sur- faces is laid against tYie pallet-hole, to cover it and exclude the air from the groove. And, that the closing may be the more effectual, the surface so placed is coated with two or three thicknesses of white dressed leather (sheepskin), which allow the pallet to " bed " more closely against the pallet-hole than the bare wood could pos- sibly do. Besides assisting in completely excluding the wind, the leather silences the return of the pallet against the sound-board ; which takes place with rather a smart blow, under the combined influence of the metal spring and the compressed air in the wind-chest. 127. The second and third surfaces of the pallet, constituting the sides, slope off gradually downwards, and ultimately meet and terminate in a long edge. This edge, pointing downwards and presented to the wind, enables the pallet, by its sharpness, to cut its way through the compressed air with comparatively little difficulty. 128. The ends of the pallet {a b,fig. 40), as well as the sides {c c c, fig. 39), are bevelled off, upwards ; that forming the front (nearest the front-board) some- what acutely {a, fig. 40), and the other rnuch more gradually {b, fig. 40). By the latter, the pallet is attached to the sound-board, by glueing a long and narrow piece of leather to the tail of the pallet, and to the under-side of the sound-board ; and, so that the pallet may not accidentally become detached, from damp, &c., a piece of wood, called the tail-piece, is nailed over the end of the leather that is glued to the sound-board, which secures it {f,fig. 40). By the front end the pallet is drawn down or " open." The pallet-holes. 129. Now, as the grooves are made gradually broader as the' scale descends that they may hold the required quantity of wind, so are the pallet- THE SOUND-BOARD. 33 holes made gradually longer that they may admit the increased quantity of wind, and, consequently, the pallets themselves are also made larger. The pallet-holes range from about five to twelve inches in length, according to circumstances. The pallets are always made rather larger than the holes they govern, that they may ledge firmly against the bars and woodwork all round, and so thoroughly exclude the wind. Thus a pallet to cover a hole an inch wide is made an inch and a quarter in width. A twofold object has here to be attained, namely, of allowing sufficient margin to the pallet for the purpose just mentioned, without unnecessarily increasing its size, and therefore its resistance and tendency to ciphering. The less the pallet pro- jects beyond the pallet-hole all round, of course the less space will there be for the lodgment of " cuttings," or any other substance that might fall through the sound- board on to the pallet ; and an eighth of an inch on each side is amply sufficient to render a pallet perfectly " sound," if it is quite " true" in all other respects. 130. Some pedal pallets are made as much as sixteen or eighteen inches in length, and from four to five inches broad. The resistance, however, which the wind offers to so large a surface moving through it being very great, several organ- builders have devised means for overcoming this difficulty. 131. Mr. Hill, some years since, invented a new pallet, which allows of the passage of a large quantity of compressed air, without making so great a demand on the muscular powers of the performer to set it into motion as did the old clack- pallet. This new kind, called the box-pallet, is formed like a small box {a a, fig. 42), the bottom of which is open, but fur- nished with a moveable covering. On pressing down a key, this covering is drawn sideways," and up by the side of the box, as shown in fig. 43 ; returning again under the influence of a spring at each end, when the pressure ceases. The circular motion enables it to escape the pressure of the wind during the opening ; an edge only, instead of a broad surface, being all that is pre- sented to it ; and the calculation is, that it thus reduces the resist- ance to one-fourth of that presented by one on the old plan ; and admits, at the same time, double the quantity of wind. The leathered faces of the valve-seat are so arranged (the centre of motion of the valve being slightly eccentric to the curvature of the valve-seat) that all parts are thrown out of contact at the first moment of motion, consequently there is no friction of surfaces. A silver medal was, in 1841, awarded by the Society of Arts to Mr. Hill, for his ingenious invention. 132. Th.e jointed-pallet of Mr. Holt, of Bradford, consists of a pallet of the usual kind, with the front end {a, fig. 44) divided from the remainder, though jointed by means of the leathering above, so that the front may descend about the 43 44 sixteenth of an inch before the hinder portion is set in motion. In a pallet fifteen inches long, about two inches and a quarter is thus separately hinged. The front O 34 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN. part descends first, admitting air into the groove ; after which the button c takes hold of the forlc d, and by it draws down the rftnainder of the pallet without the finger having to overcome more than the resistance offered by the spring. The great organ pallets of the instrument in Leeds Parish Church were altered agreeably to this plan, and the average resistance reduced from nineteen ounces to seven. 133. The valve-pallet, invented by Mr. Jardine, of New York, and introduced by his nephew (of Manchester) into this country, is formed, as its name would imply, by attaching a second pallet, of diminutive size, to the back of the first one, covering a small circular orifice through the free end of the latter. See ^ifiS- 45j ii which c represents a brass wire, tapped at both ends, screwed firmly 45 \ n into the large pallet above, and furnished with a strong button (a) below ; the middle part — passing through a hole in the small valve of sufficient size to allow the pallet to work freely — being left smooth, to prevent friction. On pressing down the controUing key, the small valve is lowered about the sixteenth of an inch, uncovering the orifice, and allowing some of the compressed air to pass through into the groove above. The atmospheric pressure now becoming the same over as well as under the pallet, there is only the resistance of the spring — ■ necessary to ensure the return of the key-movement— to be overcome. The small valve, in descending, touches the button a; resting on which, it now draws down the large pallet with it. The jointed-pallet and the valve-pallet areobviously the same in principle, although the manner in which the ultimate object is attained in the two is totally dissimilar. There is no disagreeable " second " touch discernible in the action of either of the last-mentioned pallets. 134. The relief--^3\\^t, fig. 46, invented by Messrs. Hill & Son, is unsurpass- able for simplicity in construction, and lightness and elasticity in touch. It is completely surrounded with wind, except at the shaded parts, a, b, c; so that the pressure has the least possible amount of influence upon it. A small piece of " filling-in," e, in the groove, prevents the passage of wind through the division in the pallet immediately below. The pull-down lowers the under part of the pallet a until it touches the button c, resting on which the remainder of the motion draws down the second member of the pallet, reaching from between c and e to the back end of the pallet. THE TABLE. 35 CHAPTER VI. THE TABLE. The Table. j^j. Xhe grooves, as already described, are entirely closed or roofed in by a layer of stout and tough wood-work, called the table. Through this table the wind has to make its exit. For this purpose, there are bored over each groove as many holes, or nearly so, as there are pipes to be supplied from each groove. 136. The accompanying engraving {fig. 47) represents the table of a sound- board thus perforated. On referring to it, and comparing it with the preceding illustration, showing the grooves of a sound-board, it will be at once seen that the rows of dots, circles, and squares, that may be traced by casting the eye in a line directly across the table, as from b to b, represent the several holes which occur in the roof of a single groove. And on turning to the general section that forms the frontispiece to this volume, the reader will there see represented the several pipes belonging to a single groove in each of the four sound-boards, drawn to a comparative scale. 137. But other series may be detected. For instance, if the eye be now directed along the table instead of across it, as from a to a, it will select from each of the transverse series, a single aperture, with certain deviations presently to be noticed. Each longitudinal series thus compounded constitutes the outlets for the wind from the grooves to the pipes of some single and independent stop. A portion of a longitudinal series will be found represented in^^j. Ji, 52, and 53. 138. Some of the longitudinal series in the foregoing illustrations are so drawn as to illustrate certain peculiarities in either the arrangement of the perforations, their boring or grouping, which require to be explained. O 3 36 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN. 139. In England, the room allowed for a church organ is seldom of sufficient width to permit the pipes of the stops being arranged in a parallel and unbroken series. What is wanting, therefore, in width, has to be secured in the depth of the organ. Only every alternate pipe of a stop is therefore usually ranged in a straight line, the other pipes being planted at a short distance behind. 140. Now, as the holes in the table are bored in the first instance to suit the arrangement of the pipes, each longitudinal series has the zig-zag appearance shown in the drawing. Sometimes, when the pipes of a stop are very large, as is the case with those of the manual 8-feet posaune at the upper end, only every third pipe is placed in a straight line, thus necessitating a three-fold distribution of the corresponding series of holes. 141. In some instances, again, the longitudinal series of holes is not continued over the entire length of the table, as indicated a.t c c c c. This is generally the case when the stop to be placed above is not to be of the full compass, but minus the pipes to those grooves over which a blank is left, and consequently to those keys which govern them; and which, moreover, are not to be "grooved" into the bass of any other stop. Thus the blanks at c c, over the six wide grooves at each end of the table, indicate that the stop above will have no pipes to the bass or 8-feet octave. 142. In other cases, instead of there being simply one hole over each groove in a longitudinal series, there will be a cluster of from two to Jive smaller ones {d d) over every treble groove, and either the same number or an oblong one over each bass groove. These groups of little holes indicate the part of the table over which a compound or mixture stop is to be planted, and which always has from two to five pipes to a key. 143. The holes forming a longitudinal series are not made of a uniform size, but of graduated dimensions ; the smaller holes being over the treble and the larger above the bass grooves. The latter are also sometimes made square instead of round, as shown at a a, 'vD.fig. 47. Neither are the several longitudinal series of holes bored of the same size, as all stops do not require the same amount of wind. For instance, a 4-feet stop consumes little more than half as much wind as one of 8 feet ; while one of 16 feet requires nearly three times as much. The size of the holes in the table, therefore, obviously depends on that of the pipes and stop to be fed through those holes. At the same time, in order to secure the plump and ready speech of a pipe, the sound-board hole is made much larger than what would be necessary to feed the pipe, that the " flush of wind " may be ample. Thus the hole for the lower C in the Great Open Diapason is made an inch, that for the Principal, four feet, three-quarters of an inch in diameter. To ensure an energetic and unhesitating tone from an organ, all the wind-courses, from the bellows to the pipes, should supply twice as much wind as is required for actual consumption. 144. Sometimes a small quantity of air will escape through a groove-hole, and make its way up to some pipe, and cause it to produce a low, disagreeable, and continuous humming. This is called a " running ;" to prevent which, little cuttings are made in the surface of the table, or in the upper-boards, in a zig-zag or waving course, passing between some of the holes, as shown zX e e e, in fig. 47. If now any wind escapes, before it can reach the next pipe, it is caught in some one of these channels, and by it conducted to the edge of the sound-board, where it escapes through a small triangular hole, without doing any mischief. 145. A running is sometimes caused by a sound-board bar "springing" {i.e., becoming partially separated) from the table ; thus aUowing a " leakage" of wind from one groove to the next. An accident of this kind can only be thoroughly THE TABLE. 37 cured by taking the wind-chest to pieces ; but an expedient is in such cases often resorted to, technically called "bleeding," which consists in making a small hole in the groove through the " cheek," which allows the air to escape ; or the sound- board is disconnected, turned upside down, and hot glue poured into the grooves between which the leakage has occurred, which closes the fissures. 38 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN. CHAPTER VII. THE UPPER-BOARDS. 146. The detection of the several transverse series of holes just now will assist in illustrating the next particular to be noticed. 147. If the pipes belonging to the grooves were to rest on the table immediately over the series of holes just described, the wind, on entering any one of them, would pervade all the pipes of that groove, and the organ would in consequence be incessantly pealing forth its tones at their greatest power ; none of the numerous modifications so necessary to accommodate the strength and character of the organ-tone to required purposes would be attainable ; but all would be powerful, monotonous, and meaningless alike. Such, nevertheless, was the case up to the sixteenth century, at which period the organ had, as to number of pipes to a single key, been to some extent developed, but not so the mechanism whereby to separately control those pipes. Up to the twelfth century the organ appears to have consisted of unison pipes only. In that century two or three pipes were added to each key ; sounding the fifth and octave, or the third and tenth. The organ thus became, as it were, a great mixture-stop ; which it continued to be until the idea occurred of devising some mechanical means by which these added pipes could be allowed to sound or be silenced. This first step in the construction of ■registers or stops had been taken in the fourteenth century, — when so many other improvements in the organ are recorded to have been effected, if, indeed, it were not made before. It consisted in placing under every tier of pipes required to be under individual control, a separate row of pallets, like the usual sound- board pallets. These comphcated " spring sound-boards" remained in use up to the beginning of the sixteenth century, when the slider sound-board, still in use, and about to be described, was invented by a German. The power of subduing the organ-sound even to a mere whisper, if required, is now secured by the introduction of two additional layers of wood-work over the table, by means of Which, the wind from the grooves can be excluded from or admitted to any or every longitudinal series of pipes at pleasure. 148. The upper layer of wood-work is, as nearly as possible, a counterpart of the table, and is placed at a distance of about one-third or half-an-inch from it. (See fig. 48.) Indeed, it may be said to be a repetition of that part of a sound- board, rendered necessary by the introduction of the mechanical work that is to control the speech of the pipes, and which must be over the air-tight grooves, yet under the pipes. The area of its surface is similar in all respects to that of the table ; the holes also correspond, for the most part, both in number, situation, and arrangement. It is not, however, made in one connected piece, like the table, but in several pieces, much narrower than the sound-board, though of the same length (at least frequently so in England), and which, when laid collectively side by side, present a plain surface, as shown in the above figure. 149. A sound-board is, in consequence, said to have, not one, but several upper-boards ; and it is an advantage to have as many of these as possible ; a separate upper-board for every stop, if practicable. The reason of this is, that if a slider below warps or " binds," it can only be effectually set right by being first THE UPPER-BOARDS. 39 removed, and then planed ; and as, by way of preliminary thereto, the upper-board must be taken off, and of course the pipes above it disturbed, this can be done, if there be a separate upper-board to each slider, without displacing more pipesthan those the disarranged slider governs ; but if there are one or two other stops on the same upper-board, those stops also must be removed before the upper-board can be taken off. 1 50. A narrow upper-board is also less liable to " cast." 151. One exception to the general rule, that "the perforations in the upper- boards agree with those in the table," occurs in the case of " conveyanced-off pipes." When the sound-board, from whatever cause, is made so short that all the pipes cannot have proper standing and speaking room thereon, a situation has to be found for some of the larger pipes elsewhere, and the wind has to be con- ducted from over the holes in the sound-board to their new locahty. If this situa- tion be on nearly the same level with the sound-board, a groove is cut in the substance of a kind of second upper-board, called the groove-board, from over the former to the latter, and then the surface outlet is made ; and when the pipe is below or above the level of the sound-board, a metal tube, called a conveyance, is introduced to conduct the wind from the groove or the groove-board to the pipe. 152. It sometimes happens, particularly in modern churches, that the site for the organ is so circumscribed that there is neither adequate width for the sound- boards, nor height for the pipes. It is this latter circumstance that renders it necessary for the organ-builder to place some of the large pipes one or two feet below the sound-boar^. 153. Another exception to the general rule sometimes occurs in the case of mixture or compound stops. In the bass part of the table, the preparation for a stop of this kind sometimes consists simply of one long hole. But as each key is provided with from two to five pipes, the upper-board on which they rest is required to have an equivalent number of punctures, instead of a single hole, and so causes the deviation in questioH. 48 1 •*..•.::::■?:.••;:::;:;!•;:::; . • . • .'.•.•.•.*.•.%♦.•.•.•.•.•.•.•.'.•.•.•.•.•. .•»♦.•.%•« v.v .v.*. • ,•.••• .•*•.*.•.•.•«'. •.•.»,•.•»•,•.•»'»•.•••.•< .•.*.•-* ' o ° o ° o ' • • .•.•.*.*••.•.•.•.•.•.•.•.•.•.•.•. .'. ° o ° o o O ° o ° O ° o ° o°o*. *.*,'.%*,* ,V, *.*,'• V. .. .0 o 0° O ° 40 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN. CHAPTER VIII. THE SLIDERS, BEARERS, AND PIPE-RACKS. 154. Between the table and upper-boards (the first and third layers) is the second layer of wood- work. Certain portions or longitudinal strips of this layer, like those above and below it, 2x^ fixtures; while the intermediate parts are move- able. The fixed parts are called bearers {ff/f, fig. 49) ; and the moveable, from their being so, sliders {a b c d e). The latter are the wind-regulating features. 49 x: ■ • • • i^nzsc • . • Tl\i /-^EH T 155. The sliders are so many long and flat pieces of oak or mahogany, lying over the longitudinal series of holes in the table. Each of these sliders is pierced with holes corresponding precisely with those in that part of the table on which it rests, and with those in the upper-board above. 156. This may be seen by comparing the accompanying woodcut (representing the sliders and intermediate bearers) with the preceding two cuts, illustrative of the table and upper-boards. 157. The relative position of the three layers of wood-work, between the grooves of the sound-board and the feet of the pipes, could not of course be shown in the preceding plans ; but they are represented in the " front section of a portion of a sound-board," _/?^. 51,, where they are marked a d e, and to which section the reader might here refer, as it will illustrate the following explanation of the manner in which a slider operates. The action of a slider, ijg. On drawing a slider (a) a little way out, its perforations are brought exactly over those in the table {e), and therefore immediately under those in the upper-board {d). The three series of apertures now agreeing, the air can pass up uninterruptedly from any groove into which it may be admitted, through all of them, into the pipe of the stop that stands immediately above ; the THE SLIDERS, BEARERS, AND PIPE-RACKS. 4I pipe being thus made to sound The grooves are, vd fig. 51, represented by the unshaded vertical divisions. 159. On moving the slider back into its former position, the holes in it are brought over the sound-board bars, the shaded parts, and the blank substance of the slider substituted for the holes over the grooves. The wind now, instead of finding a free outlet as before, is checked by the intervening material of the sUder. The wind-passage between the first and third layers of wood-work being thus intercepted, and the communication for the wind from the grooves to the pipes of this particular stop consequently cut off, it becomes silent, and the stop is said to be "in." 160. Every separate slider, as a rule, controls a separate stop ; so that any stop may be allowed to sound or not, according as the slider is " in" or " out." 161. In some sound-boards certain of the sliders are "cut," so that the portion which controls the bass part of the stop above can be drawn independently of the remaining part. The stop is then said to " draw in halves." \-!xfig. 49, the sliders marked b and c are represented as being constructed in this manner. 162. Other sliders, again, which do extend through the whole length of the sound-board, are not perforated, in some cases, in that part which lies over the bass grooves. (See fig. 49, d e.) SUders that are thus only partially bored, are intended to control stops that are of inferior range to the manual. 163. Whei) all the shders are drawn, the organ peals forth its amplest tones ; when all are in, no sound is heard, because the wind cannot reach any of the pipes. 164. The sliders measure from one and a half to three or four inches in breadth ; from one third to half-an-inch in thickness ; and a few inches more in length than the sound-board itself. Two additional holes are cut through each slider ; one in that portion which, in consequence of its greater length, projects beyond the sound-board {a, fig. 49) ; the other, in some other part that is con- venient for the purpose. The former receives the end of the lever by which the slider is moved to and fro, on the drawing out or the pushing in of the controlling knob at the side of the manuals. The second hole receives a stout iron pin, which is fixed into the table, and allows the slider just sufficient motion to cover or uncover the holes in the table. If this motion were to exceed or to fall short of what is necessary, the holes in the table would, in either case, be partly shaded, thus cutting off a portion of the supply of wind from the pipes, and preventing their speaking with proper strength or in tune. 165. Other holes are sometimes cut through the opposite end of the slider. This is often the case when the " composition pedals " act directly on the sliders. The bearers. 1 66. The bearers receive and support the edges of the upper- boards, which are screwed down to them, and sustain the weight of the upper- boards and pipes above — hence their name. The sliders are thus relieved from all pressure, and left entirely free to work. 167. In modern sound-boards there is commonly a bearer between every slider and its neighbour ; but in old sound-boards there is more frequently only one bearer between every two or three sliders. The modern plan is obviously the best, as one slider cannot, in moving, rub against another and disturb its position. The pipe-racks. 168. The greater number of the pipes stand on the upper- boards, but cannot of course support themselves on their apex without more assistance : a frame-work, therefore, is used to keep them in an erect position. 169. The frames work consists of some thin planks of oak, mahogany, or pine 42 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN. wood, called rack-boards {d, Jig. 50), laid parallel with, but four or five inches above, the upper-boards (a), and is there sustained at all corners, and in other con- venient situations, either by wooden pins, called rack-pillars {fig. 50, h h), or by some other connecting wood-work. These rack-boards are furnished with holes cut immediately over those in the upper-boards. Through these rack-board holes the lower and narrow ends of the pipe-feet pass {s s), while the upper and broad ends of the pipe-feet {b b) axe made to fit tightly into them ; and to prevent the feet from shifting about, and the pipes getting out of the perpendicular, the " noses " (j s) of the pipes are sunk a little way into the upper-boards, which are " counter-sunk" to admit of this. 170. Most of the metal flue pipes, all the small and moderate-sized wood-pipes, and also the boots of the reed-pipes, are racked in this manner. 50 ^jL/ UftU ^ THE ARRANGEMENT OF THE GROOVES AND STOPS. 43 CHAPTER IX THE ARRANGEMENT OF THE GROOVES AND STOPS. The situation of the 171. ix has been explained, on page 31, how the grooves in?hc Mund-boarf°°™^ ^'^' ^^^^ ^^ ^^"^^ ' ^^^ '^°^ ^°™^ ^'^^ broad, others narrow. Nothing, however, has yet been said concerning the order in which these broad and narrow grooves are arranged with regard to one another. The primitive and most natural arrangement would be semitonal, and this is shown to have been a not unfrequent one in old times by the position of the pipes, as illustrated by some of the woodcuts in the "Historical Introduction." This plan is followed by some organ-builders even in the present day. 172. Several other ways or "plans," however, are in use, the selection of the particular one from among which is influenced by many considerations ; as, for instance, the size of the sound-board ; the department of the organ for which it is destined ; the terms on which the organ is to be constructed, &c. ; some descrip- tion of groove-arrangement calling for a more complicated and costly kind of key- movement than others. 173. The organ-builders of the seventeenth "and earlier part of the eighteenth centuries, when fixing on the situation of their sound-board grooves, were often influenced much by the design of the case in which the instrument was to be enclosed. For instance, if the case was to have three towers, with the largest one in the centre, say of five pipes ~ each, some of the largest grooves, — namely, those for some of the lowest keys, — were placed on each side of the centre passage- board, i.e., at the inner end of the two halves of the sound-board ; the grooves next in size, at each outer end of the two halves ; and the smaller grooves in between the larger. In distributing the grooves after this fashion, the builders had two objects in view : (i) to keep the front pipes, which, of course, were " conveyanced off," and the grooves from which they were to receive their supply of wind, as near to each other as possible ; and (2) to distribute the large and the medium-sized grooves throughout each half of the sound-board ; doubtless from an impression that if all the large grooves were placed at one end of the " half," and the small grooves at the other end, the consumption of wind at one end of the wind-chest might at times be so great as to risk the partial withdrawal of that required for the smaller grooves at the other end. 174. The peculiar and complicated "plantation" of pipes, however, which such a distribution of the grooves rendered necessary, was most inconvenient. It caused a cluster of large pipes to accumulate at each end of the halves of the sound-board ; while there were the " prospect pipes " in front, and the large reeds in the rear. The small pipes were thus walled in on all sides ; and although little pipes are much sooner affected by change of temperature, dirt, &c., and therefore require looking to more frequently than any other pipes in an organ, except the reeds, yet they were thus rendered the most difficult of access. Several of the large pipes had, in the majority of cases, to be removed before the tuning or cleaning cpuld be commenced ; which handhng and shifting about, in addi- tion to involving considerable trouble and loss of time, was not unattended with danger to the instrument. 44 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN. 175. These manifest disadvantages soon led to an amelioration of the then prevalent method of laying out and winding an organ. The sound-board grooves were made deeper, the pallet-holes lengthened, the wind-chests made broader and deeper, and the dimensions of the wind-trunks much increased. The grooves appear generally to have been made of a satisfactory width originally ; and the borings in the table, sliders, and upper-boards, were of ample size. These several improvements, and more particularly the subsequent introduction of double grooves in the bass, admitting of the introduction of conveyances of larger bore, the close proximity of the large pipes to their grooves, although at all times an arrangement most desirable, no longer remained a matter of such vital importance as before ; and, as the the old plan of groove arrangement was so very objectionable in all other respects, it was allowed to fall into disuse, and was entirely and finally abandoned before the middle of the last century. 176. At the present time, the English organ-builders usually adopt one of four different plans of groove arrangement, according to circumstances. Some of these plans require the adoption of a special kind of key movement ; and as it will be convenient to refer to these plans separately, the terms "first plan," "second plan," " third plan," and ""fourth plan," are here adopted ; and in the description of the key-movement, they will be briefly referred to under these heads. First plan of groove 177. In the first plan, the grooves are placed alternately on arrangement ^^^ ^jj^ ^^ ^^ Organ, i.e., the groove belonging to the C C key is planted at the extreme or outer end of one half of the sound-board, the groove belonging to the C C sharp key being similarly situated at the extreme end of the other half. The grooves throughout the sound-board are then arranged in the like alternate manner ; ultimately bringing those belonging to the two upper keys (if3 and/s, say), one on each side of the passage-board (see_/ff. 51). In this first plan, therefore, the grooves occur in tonal succession on each half of the sound- board (seeyf^. 51). The "half" to the left, as the performer sits at the keys, con- tains the grooves for C C, D D, E E, F F sharp, gamut G sharp, A sharp, and their octaves. To the right are the grooves for C C sharp, D D sharp, F F, gamut G, A and B, with their replicates. As a consequence of this distribution, the ' largest pipes stand at the outer extremities of each half of the sound-board, and the smallest in the centre. 51 .^ THE ARRANGEMENT OF THE GROOVES AND STOPS. 45 178. This groove arrangement is much used for large great-organ (chief manual) sound-boards, both on account of the symmetrical arrangement of the pipe-work to whicn it leads, and the facility it offers for the purpose of tuning, &c. The shortest pipes standing, as they then do, immediately on each side of the passage-board, with the largest farthest off, and those of intermediate length between ; the tuner can, without difficulty, adjust either the small pipes at his feet, or, reaching over them, arrive at larger pipes, if they require his attention. 179. The half of the sound-board on which the C C groove occurs is called the C side ; and the other half, the C sharp side. The " sides " are named after the lowest note on that half of the sound-board. Thus, in a G G organ, the side on which the G G groove is placed is called the " G " side ; and so on. 52 UttUiUUU Second plan. igo. The second plan {fig. 52) maybe described as a reversion of the first plan. The groove for the lowest key in the scale, instead of the highest, is placed in the centre of the sound-board ; while the other grooves, instead of increasing, decrease as they diverge from the middle. The largest pipe of each stop, therefore, is planted in the centre of the sound-board ; the two smallest standing one at each end. The pipes on a sound-board having the grooves arranged in this manner, present a pyramidal outline, as shown in the accompanying woodcut. 181. This second plan of groove arrange- ment is very generally adopted for swell sound- boards. It is very seldom that room can be spared inside the swell-box either for a passage- board down the centre, or for one round the pipes. The pipes are therefore arranged according to the second plan ; and each side of the swell-box is furnished with a moveable panel. On removing this panel, the pipes of one half of the sound-board present themselves arranged in a graduated series from small to large ; and the remaining half the pipes are reached by the same simple means from the other side of the swell-box. Third plan. 1 82. In the third plan, the smallest groove is placed some- what to the right of the centre of the j 2 sound-board— as it is viewed from the front of the case,— and those for every semitone, as far as tenor c, are arranged in regular chromatic suc- cession to the left of the first groove. Those for the lowest or " great octave" are then disposed alternately to the right and left, as in the "first plan," occupying, as before, the extremi- ties of the sound-board. See>^. 53. 183. This third plan is most fre- quentlyadopted for the chief manual sound-board of small-sized church and chamber organs ; and admits of a much more simple kind of key-movement than the first and second plans. 46 THE WIND-DISTRIBUTING PORTIONS *OF THE ORGAN. Fourth plan, 1 84. In this plan, the grooves and pipes follow the semitonal arrangement throughout the entire scale. It is much used by Schulze, of Paulin- , zelle ; Walcker, of Ludwigsberg ; Kirtland and Jardine, of Manchester ; Brindley, of Sheffield, &c., and admits of the most simple kind of key-movement. The arrangement of 185. The stops — or, to use the technical phrase, " contents " the stops on the sound- — ^j- jj^g g^g^j organ are usually so arranged that the flue stops stand in front and the reeds behind ; and the largest flue stops, such as the unison and double diapasons, are generally placed first, the remaining stops being planted in rotation according to their size, the mixtures thus being brought next to the reeds. This arrangement of the stops is illustrated "oy fig. i in general section. When there are duplications of any stop, as two open diapasons or two trumpets, it is usual to place other stops between the first stop and its replicate. Thus, in Harris's organ, at Doncaster, lately destroyed, the second open was placed between the two trumpets ; and in the organ at Ripon Cathedral, by Father Smith, the second open diapason stands between the trumpet and the sesquialtera. 186. The inside choir organ has its stops planted the reverse way to the above, i.e., with the flue stops behind and the reeds in front, that the latter may be under the immediate inspection of the tuner. Thus, yn.fig. 2 in general section, the clarinet and bassoon are placed nearest the passage-board. 187. In the swell, the ijpeds are usually placed in front — as in the choir — ^because the tubes offer less impediment to the egress of the sound than would the more bulky flue pipes. See fig. 4. 1 88. The pedal stops are also planted in the same manner, and for the same reason. The mechanism of the 189. Having described the apparatus by which wind is col- °''s^- lected for the use of the organ, traced its course from that source through the various channels, great and small, till it reaches the pipes, and noticed the sound-board pallets and the sliders by which the organ-wind is made subservient to musical purposes, we will now proceed to investigate, in detail, the several systems of mechanism, through the intervention of which the pallets and sliders of the several sound-boards, and, by consequence, the several pipes and stops of the organ are brought so admirably under the control of one performer.' 190. Of those numerous distinct systems of mechanism, there remain the following to be considered, viz. : — The key and pedal movements. The draw-stop action. The composition pedals. The coupling movements. The sforzando coupler. The pneumatic action, The swell action, and The tremulant. The sound-board pallets, sliders, and the blowing-action have already been described. THE CL,AVIERS AND KEY MOVEMENTS. 47 CHAPTER X. THE CLAVIERS AND KEY MOVEMENTS. 191. Before, however, describing the appliances, through the agency of which the impulse given by the fingers or the feet of the performer is conveyed to the sound-board pallets, a few words may Be said concerning the several ranges of keys assigned to receive such impulse— namely, the claviers. The manuals. jga. The Organ, as is well known, is played partly by the pressure of the fingers, and partly also by the pressure of the feet, upon suitable claviers or keys. A davis (a word derived from the Latin, and signifying a key, in French called touche) is a small lever (from levare, to lift up) ; and a clavier is 'an assemblage of such levers or " keys^' rightly assorted. The various sets of keys (of which every perfect organ contains several, and among these at least one for the use of the feet*) are classed under the one general term clavier j and those intended to be used with the hands are called " manual clavier?," or simply « manuals " (from the Latin word manus a hand) ; and that for the feet, " pedal clavier," " pedal-board," or simply « pedals," from the Latin word pedes, the feet. The keys, as well of the pedals as the manuals, are divided into long and short keys, like those of a pianoforte ; and the former are readily distinguishable from the latter by their magnified scale. 193. It is necessary to bear in mind the great distinction that exists between the terms clavier, manual, and pedal-board ; as, otherwise, frequent uncertainty is likely to arise. The word clavier is of general application, and means simply a set of keys; which, however, may be for the use of the hands, or for the use of the feet ; while the two other words, manual and pedal, are of special application, and define for what purpose, and by which members of the body, the clavier so named is to be employed. 194. In Germany, the terms manual and pedal are used in a more extended sense than is usual in England. In that country, they refer to the department of the organ on which the claviers operate, as well as to the claviers themselves: hence we frequently find it stated that there are so many stops " on the pedal," or so many " on the chief manual." Moreover, when a manual is said to be of 8-feet compass — i.e., descends to C C, — the manual organ is understood to be of corresponding range. 195. In the present work, the word clavier will be used whenever the passing observation refers equally to the keys for the hands or for the feet. In all other cases, the more explicit terms will be employed. 196. It has been already stated in the " Historical Introduction," that so late as the thirteenth century, the keys of the organ were so heavy and clumsy in their touch, that they had to be played with blows of the fist, the keys being made many inches in width for this purpose. When it is borne in mind that there were as many sets of pallets and springs, of rude and primitive construction, as there were separate stops, * Some Continental organs have, in addition to three or four manuals, tivo sets of pedals, as at St. Paul's, Frankfort, &c. 48 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN. it is easy to understand why the touch should have been so ponderous and resisting. A very few stops must have been sufficient to have made it so. In the fourteenth century the keys were made smaller and neater, so that they could be pushed down with the fingers ; and in the fifteenth century we read, for the first time, of different materials being used for the keys ; as in the year 1475 Conradus Rosenburger built an organ for the Barefooted Friars' Church in Nuremberg with ebony naturals, and ivory " sharps and flats." The keys of the English organs of the seventeenth century, made usually of oak, were capped in a similar manner, though this arrange- ment of the black and white keys remains only in such specimens in which the subsequent alterations have not kept pace with the progress of modern improve- ment. The original keys of many of the instruments of this time, as those of Smith and Harris, were very short and disagreeable to play upon, the short keys of those by the last-nientioned builder being 2^- inches only in length, and the longer keys 4| inches. Those of Snetzler's organs were generally longer, and therefore more pleasant to the finger. Previous to the year 1720, the thumbs had been but little used in organ-playing, and usually hung down in front of the manual ; consequently the portion of the naturals that projected forward in front of the short keys, was made to do so as little as possible, that the fingers might reach the so-called sharps and flats with the more ease. It was the custom, moreover, instead of raising the fingers from the knuckles, to draw them under towards the palm of the hand, which accounts for the short naturals of old organs being scooped out into hollows in the centre by the friction of !he nails. 197. When the thumbs came to be more freely used on the naturals — a method of fingering that was introduced by Francis Couperin, organist and court musician to Louis XIV. and XV., who printed the first fundamental instructions in 17 13, and who died in 1733 — the front part of the naturals was made a little longer ; and when they were also employed on the short keys — a system dating as far back as the time of John Sebastian Bach — those in their turn had to be slightly elongated. Thus, from the naturals being, in /old organs, little more than four inches in length in front of the cross-beading, they are in modern instruments sometimes made from five to six, and with the short keys in proportion. 54 rv Side view of manual keys. 198. The manual keys of modern organs are usually made of lime tree wood, with the surface of the long keys covered or capped with ivory ; and that part of the short keys which rises above the level of the naturals, is either made of ebony or some other wood stained black. Each manual key is punctured towards its centre with a small hole, passing downwards, to admit a metal pin (a, fig. 54), that rises from a piece of wood or pin-rail beneath (b), and which pin serves as a pivot for the key to work upon. The hole through the key is not cut exactly midway between the two ends, but rather nearer to the back end, leaving about five- ninths of the entire length in front of the pin. A second hole is bored in the under- side of the front end of each key, to admit a pin that rises from a rail (c), running across under the front of the keys, and upon which pin the key descends as it falls. This pin renders the fall of the key true and steady under the finger. Two or three thicknesses of green baize, or some such woollen stuff, laid at the root of the pins, prevent the keys from coming into noisy contact with the front-rail. These two rails are strongly united to two pieces of wood, cilled key-checks, the front ends of which appear on each side of the set of keys, finished off in something of an ogee form, as THE CLAVIERS AND KEY MOVEMENTS. 49 indicated by the dotted lines in^^. 54. As the manual keys would, on the removal of the finger, spnng up beyond their proper level under the influence of the returning ' key-movement," unless something were done to check them, a piece of wood is laid transversely across the keys, immediately to the rear of the veneered part, so as to be just out of sight, which is loaded with lead on the upper side to make it so heavy as to stop the rise of the key, and lined underneath with green baize to silence the blow of the key against the board. This piece of wood is called the thumping-board. The pedals. igg_ The pedals are made either of oak, mahogany, beech, or some other hard wood, and are, as before said, chiefly distinguishable from the manual keys by their magnified scale ; the order of the keys, long and short, being the same in both cases. The pedals work on a centre at the back {a, fig. 55), and fall under the pressure of the foot, in front {b), that is, at the end under the manuals. A spring under each pedal (c) causes them to resume their original position on the removal of the foot. The pedals are placed at a proper distance below, arid under the manuals, that they may be conveniently played upon by the feet of the performer. 5S ^ 0~ Side view of pedal keys. The situation of the 200. The claviers of an organ are usually placed in the front of the organ-case, in the centre, just beneath the impost ; though want of room and other circumstances sometimes render other arrangements neces- sary. Thus they are occasionally found at the side, as at Hanover Chapel, Regent Street ; or even at the back, as at Christ Chapel, Maida Vale. In some instances, the claviers are not in the instrument itself, but separate, and, to all appearance at least, unconnected with it. This is the arrangement observed in the organ at Windsor Castle, constructed on a plan suggested by His Royal Highness the late Prince Consort, where the keys appear in a kind of manual table, situate twenty-two feet from the body of the instrument. At Westminster Abbey, again, the claviers are similarly detached ; the great organ being in front, the swell behind, the choir to the right, and the pedal organ, with its large pipes lying horizontally, to the left of the organist. The ApoUonicon had its numerous claviers so arranged that the several performers sat looking towards the audience. 201. Concert-room organs are generally furnished with what is called a "long movement," a modification of the usual mechanism that admits of the keys being placed in the front of the orchestra, while the instrument itself stands at the back. The first long movement made in England is said to have been that attached to the organ in Vauxhall Gardens, by Byfield, and which served Green as a model for the long movement applied by him to the organ he erected for the Handel Commemora- tion in 1784. At AU Saints' Church, Manchester, the communication between the keys and sound-board pallets is estabhshed by means of a movement 87 feet in length. 202. But the most remarkable long movement is that attached to the organ in the church of St. Alessandro in Colonna, at Bergamo, built by Serassi in 1782. The organ has three manuals, the first and second of which serve for the great and choir organs, in the same part of the church ; while the third, by means of a long move- ment passing underground, acts upon another great organ situated at a distance of nearly 115 feet from the keys, 203. Some organs have two, three, or even four manuals. These are arranged P so THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN. one above another, and so that the lowest stands out farthest and each succeeding one recedes. 204. In an organ having two manuals, the keys of the great organ form the lower row, and those of the swell the upper. Where there are three manuals, the great manual is usually in the middle, with the swell above and the choir below. In Avery's organ, at St. Margaret's, Westminster, however, the great manual was originally below, and the choir organ keys in the centre. The key-movement. 205. The key-movement is that system of the mechanism of an organ which establishes the communication between the keys just noticed and the sound-board pallets that control the entrance or otherwise of the wind from the wind-chest into the grooves. 206. In the ancient organ, with its spring sound-board and large keys, this con- sisted of strings and ropes. In a modern organ, there is usually, for each clavier, a separate " movement." And as the clavier and its corresponding sound-board are variously located in regard to each other, according to circumstances — sometimes being placed in close proximity, at other times at a long distance apart ; sometimes in a direct line with each other, at others at right angles ; sometimes so that the performer faces the organ, and at others so that he sits with his back to the organ — it is obvious that the "movement" introduced for the purpose above mentioned must not only vary very much in detail in various examples, but in some cases must be far more complex than in others. This would be the case even if the grooves were always arranged in the same order ; but as they are sometimes dis- posed agreeably to the regular semitonal " fourth plan," and sometimes according to the crossing first or second plans, the key-movement from this cause becomes in some respects still more diversified. 207. Yet, although so multifarious as to detail, there are in reality only two distinct kinds of key-movement in common use in England ; namely, the lever or fan-frame movement, and the roller-board movement. A third kind is noticed in a subsequent chapter. 208. The fan-frame movement is the simpler kind of the two. It consists of three parts only; namely, a small upright rod, z- called the sticker {c, fig. 56) ; a horizontal lever, ^ called the backfall {h) ; and a second vertical rod, called the tracker (/). The lower end of the sticker {c) rests on the tail (b) of the key {a), and the near ,^ end {d) of the backfall {h) on the top of the sticker. The far end {e) of the backfall is attached a . fi to the tracker (/), which latter passes up perpen- ' ^ dicularly, and communicates with the pull-down that draws open the pallet {g). 209. The stickers, which are made of pine or cedar, and of a round or square shape, reach from the key-tails to the backfalls— a height varying cy from a few inches to a foot or two, as may be requisite. From the n top of each sticker a wire pin rises about an inch {a, fig. 57), and oil passes through a puncture in the backfall, to prevent its slipping off instead of rising with the sticker. A small piece of wooUen stuff, placed over the top of the sticker, prevents that and the backfall rattling together; a similar noise at the lower end being obviated by the leather on the tail of the key already noticed. 210. Sometimes the stickers are made to pass through a register * — a rule of wood laid transversely and flatways above the tails of ' — the keys, and perforated (c) ; in which case they have each a small piece of wood THE CLAVIERS AND KEY MOVEMENTS. SI or leather attached. This, by resting on the register, prevents the sticker falling through, and so allows of the temporary removal of any key, or even the entire set, without disturbing the arrangements of the stickers. 58 211. The backfalls are made of some hard wood, such as oak or cedar, and of the shape indicated in the adjoining cut {fig. 58). They range from one to about three feet in length, according to the distance, in a direct line between the pallets and the keys ; from one to two inches in depth ; and from three-sixteenths to one quarter of an inch in thickness. A small wooden beam, called the backfall-frame, sustains them in their proper situation; the frame itself being scored crossways with numerous narrow cuttings, made to receive that portion of the backfalls which is below the centre. The centre consists of a piece of stout iron wire passed through the middle of each backfall, and fastened down with small staples. 212. The trackers {fig. 59) are so many strips of some light wood, as pine, measuring about five-sixteenths of an inch in width, one-eighth in thickness, eg and, in the situation under consideration, not more than about two feet in ar. length. Each tracker is furnished at the lower end with a tap-wire {b) — a piece of brass wire about three inches long, incised or tapped at one end like a screw, and slightly hooked at the other, by which it is bound to the tracker with thread, afterwards covered with size. The upper end is provided with a hook {a) of copper wire, that communicates with the pull-down. 213. The tap- wire at the lower end is passed through a small hole in the free end of the backfall, indicated by dotted lines at c, in fig. 58 ; and the latter is then firmly secured to the former with a small circular piece of leather, about one-third of an inch in diameter, turned out of thick leather like that used for the soles of shoes, and called a button {c,fig. 59). The action of the key- 214. The several parts just described operate one on movement. ^^ x\.&!it in the following manner : — On pressing the key {a, fig. 56) down, which moves on a centre (^), the tail (i5) rises, lifting with it the sticker {c). This in its turn raises the near end {d) of the backfall, which, by moving on the centre {K), causes the far end {e) to descend. In doing so, it draws down the tracker (_/"), which pulls the pallet {g) open. 215. Some of the wind from the wind-chest now rushes through the pallet- hole into the groove, and from thence makes its escape through such apertures in the roof as have been uncovered by the drawing of the sliders above, as explained in detail in previous sections ; but, in doing so, it is compelled to pass into pipes placed over those holes, which are thus made to sound; and having thus performed its destined duty, it regains its freedom. 216. The key-movement just described is found chiefly in conjunction ,with a sound-board made according to the " third plan," and, therefore, most frequently in small organs. Where the grooves follow in semitonal succession, rollers are not usually required ; and, as simplicity in the mechanism is always desirable, the above movement, as the least complex, is preferred, where and so long as the consecutive groove arrangement is observed. This accounts for the omission of rollers, as also for the presence of the backfalls as levers; though not for their taking Hsi&fan form, which latter circumstance arises from another and independent cause. ■217. A. sound-board is always wider than the manual, sometimes extending to twice its width, or even more. It follows, therefore, that the grooves, instead of running parallel with their respective keys, and differing only in being located at a P 2 52 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN. higher level, are, with few exceptions, more or less out of the line with them. This being the case, and yet it being necessary that the far end of every backfall shall be under its own groove, at the same time that its near end shall still rest on its proper sticker, all the backfalls, with the exception of the middle two or three, which swerve but slightly, are made to diverge, until at last the extreme ones are at one end considerably out of a line with their near end. 218. The spreading out of the backfalls causes the set to bear a sufficient resemblance to the ribs of an open fan, to account for the adoption of the name by which this portion of the movement is generally known. 219. In the notice of the " third plan" of groove arrangement, it was mentioned that the grooves for the lowest or bass octave were placed alternately at each end of the sound-board. While, therefore, all the bass keys are to the left extreme of the manual, six of the corresponding grooves, at the least, are at the extreme right of the sound-board. To bring these, through the governing pallet, under the control of their respective keys, a horizontal rod or roller is provided for each key, extending along behind the backfalls, to transmit the motion the requisite distance to the right. 220. These rollers — of which the accompanying engraving {fig. 60 ) is a plan — 60 Uy « a 1 1 11 {a a) are each provided with two arms {b c), one {b) projecting immediately over the descending end of the backfall, the other (c) directly under the pallet. Instead of the tracker now drawing down the pallet as before, it lowers the first roller-arm ((5) ; and the roller itself {a a) being thus made partly to revolve, conveys the downward motion to the second roller-arm {c), which, descending, draws with it a second tracker in communication with the pallet-wire, which latter opens the pallet. The rollers just referred to are made from an inch to an inch and a half in width, from five-eighths to one ijich in depth, and from an inch or two to about five feet in length. They are each provided with two metal centre-pins, projecting about an inch from each end, which pass into holders or studs standing out from the roller- board. These pins form the centre at each end on which the roller partly revolves, while the studs hold them suspendedly over the keys. 221. The rollers are mostly ranged one over the other ; though in some cases, where convenient, two are placed in a line. In cramped situations, wooden rollers are omitted, and iron ones substituted, as occupying much less space. The arms of the rollers, which are, in the instance of wooden rollers, made either of wood or iron, are best of the former material, as the metal arms, coming in contact with the metal hooks of the trackers, are very apt to cause a rattling noise. They are, however, more costly, The eyes in the arms of iron rollers are sometimes advan- tageously bushed with leather. lovement"''"''"^ ^^^" ^^^^ ^^^O'o.d variety of key-movement is that known as the Roller-board Movement. This description of movement is a usual accompaniment to all sound-boards in which the grooves are disposed according to the alternate or any other irregular arrangement, and is therefore a common adjunct to such as are made agreeably to the " first and second plans," among others. ?23. In a sound-board so constructed, the CC and CC sharp grooves and pallets occur, m separate halves of the sound-board, at a distance sometimes of seven or eight feet from one another, while the keys lie side by side on the manual. And aU the other grooves, as already explained, are arranged alternately right and left, THE CLAVIERS AND KEY MOVEMENTS. S3 while the keys of course continue their scale gradually and uninterruptedly upwards. In consequence of the order of the keys and grooves never agreeing, every key is generally furnished with a roller. After the motion of the key, therefore, has been conveyed inwards to the necessary distance, which is effected, in this case, either by parallel backfalls, or by squares and trackers, it is transferred to the right or left by a long or short roller, until it is brought under the right pallet. The groove arrangement therefore leads to the introduction of a great number of rollers, and the movement is in consequence named after them. The roller-board, which sustains the rollers, is the large irregularly shaped board, or sometimes a frame, that may be seen placed edgeways, and occupying much of the space under the wind-chest, and extending to nearly the entire width of the sound-board. Square and tracker-work. 224. But in most Organs some of the sound-boards are necessarily situated at a greater distance from their manuals than that to which the key-movements, in the condition already described, can reach ; more particularly those for the choir and swell departments, as will be obvious on referring to the general section. A modification and extension of one of the movements just noticed — rusually of the roller-board movement— therefore becomes necessary, and is effected by first dividing it. The roUfer-board still occupies its usual position underneath the sound-board, and the stickers theirs on the tails of the keys. The backfall frame is altogether dispensed with, and the communication between the stickers arid now distant rollers is established by " square and tracker-work." 225. The " work " last mentioned may be familiarly compared to the crank and wire-work of bell-hangers (see general section). The trackers traverse distances either horizontally, perpendicularly, or diagonally, like the wires, while the squares transmit the motion round corners, from one tracker to the next, like the cranks. 226. The trackers in the modified movement now under consideration are often made very long, extending to ten or twelve feet, or even more ; or, what comes to the same end, several shorter trackers are hooked together, so as collectively to make up the necessary length. These great " lengths " of tracker are generally carried through registers or bridges, which afford them support, if they run hori- zontally, and also prevent their flapping together. The pedal movement, which in most examples closely resembles the last-mentioned, is noticed in conjunction with the pedal coupling movement. 227. The squares mentioned just now are so many centres {ste Jig: 61), formed of some tough wood, furnished with two arms each {a b), about three inches in length, also of the same material as the square, or sometimes of iron, or even of brass. The angle (c) of each square is placed in a corresponding cutting made in the square-frame {d d d) to receive it, and the squares are sustained in their proper positions by a small metal rod {e), on which they move freely to and fro. 228. Occasionally, squares are cut out of a single piece of wood ; but that is not a good way of making them ; for, in that case, one arm must necessarily be the cross way of the grain, and will not long bear the " tug," but will snap off short. A much better kind of square is that wherein two pieces of wood are dovetailed together, at a right angle, the strong way of the wood ; but these are more expen- sive, at the same time that they are much more durable. Mr. Forster, of Hull, has a plan of fixing his squares so that any one can be taken out separately, without disturbing the set of fifty or sixty to which it may belong. The French builders also frequently set their squares in independent holders. The organs in the Carmelite Church, Kensington, and in the French Church, Leicester Square, have their squares and adjusters. 54 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN. CHAPTER XI. THE COUPLERS, AND SFORZANDO PEDAL. 229. Besides the several primary systems of mechanism already described, which are indispensably necessary for working the organ at all, most instruments are provided with a greater or less number of members belonging to an im- portant subsidiary class, called coupling movements, or, more briefly, couplers. . 230. A coupler is an appliance by which either a second clavier and its stops can be brought into play while the performer's hands or feet are engaged upon the first, or the same clavier can be united to itself in the octave above or below ; in any case, the result being an increase of the resources of the department receiving such accession. For the time being, the stops or pipes, according to whether the coupler be another clavier altogether, or the pipes of the same clavier, but united in the octave above or below, appear to belong to the key actually struck, and new combinations and effects become thus producible, which are not otherwise attain- able on the same instrument. Seidel* supposes the idea of the manual copula to be as old as the fourteenth century. It is certain that so long ago as the year 1 65 1, some movement of the kind existed in Geissler's celebrated organ in the Cathedral at Lucerne, in Switzerland ; and the circumstantial manner in which the operation of the registers in question is described in the old account still existing, over the keys, leaves little doubt that couplers were at the above date great rarities, if not absolute novelties, at any rate in Switzerland. The account states that originally the organ contained " several registers, whereby one may make use of the three manuals together, or one or two of them separately." Manual couplers. 231. Couplers are classed under two heads— viz.. Manual Couplers and Pedal Couplers. Of the former kind there are three varieties — viz., the Unison, Octave, and Double Couplers. 232. The Unison kind of manual coupler unites any key of one manual to the corresponding key of another. One of the most usual couplers of this nature is that for uniting the upper manual to the lower ; in other words, for attaching the "swell to great." This is commonly formed of a set of short stickers {d. Jig. 62), one to each key, reaching from the upper surface of the great organ key to the under side of the swell key. These stickers pass through a rod {e) extending over the great organ key-board from side to side, between the centre and tail of the keys, and between the two manuals. This rod is capable of being turned partially round by drawing out a handle at the side of the keys, communicating with appro- priate medium work, which places the stickers in a perpendicular position, as shown in the accompanying cut. If any key of the lower manual {a) be pressed * See "Historical Introduction," p. 46. THE COUPLERS, AND SFORZANDO PEDAL. 55 down while the " coupler is out," the sticker above will be raised, lifting the tail of the corresponding key on the upper manual (6), so that whatever is played on the lower manual is also executed on the upper. When this union of manuals is not required, the governing handle is thrust in, causing the rod and consequently the sticker to resume their original positions, as shown by the dotted lines. That of the latter at such times is at an angle of about 45 degrees with the great manual keys ; their lower ends (f) being then raised sufficiently far to admit of the keys of the under manual being set in motion without coming in contact with them. The tumbler coupler has a tendency to throw the fillers oflF the keys, when drawn on while the great organ is being used, or if not this, to disarrange itself, or even become broken. This defect does not appear in the sliding coupler represented in fig. 63, which is formed in the following manner : — The great organ key has a portion of its upper side cut away, leaving an inchned plane {a), covered with leather and black-leaded. The under side of the swell key is similarly hollowed (^), the shape of the cutting being reveraed. The coupler, when not in action, is stationed as indicated by the dotted lines, the sticker {It) dropping into the register (« «). The hollow in the great organ key then allows the key to rise without touching the sticker. When required to be used, the roister, which is held and moves fireely in a slot in each key frame, is carried a Uttle backwards () being drawn open by the square [c), wind passes through the orifice {d) into the receiver {e e), and hence into the pneumatic bellows {///), the square pallet {g) being at the same moment closed by the motion of the wire (z). On the key being released, the lug {k), under the influence of the spring (/), returns, draw- ing with it the wire {m), closing the pallet {a), and uncovering the aperture {o), through which the wind escapes, the beUows {///) then descending. 62 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN. CHAPTER XIII. THE DRAW-STOP ACTION. 248. The several longitudinal series of pipes on the various sound-boards have already been explained to be governed by sliders, which either permit the wind to enter the pipes or not, as circumstances may require. The sliders, as already mentioned, are an invention 'of the sixteenth century. The earliest mechanism for moving them consisted simply of so many levers, the sliders, doubtless, being too " stiff" to be drawn or closed by the fingers unaided. This "first kind" of draw- stop action appears to be shown in the engraving on p. 35 of the "Historical Intro- duction," where the free ends of the levers are directed upwards. In the interesting remains of an old organ at Radnor, similar levers, of iron, about eighteen inches in length, were the only means by which the five stops of that instrument were origi- nally controlled. Before the end of the century a complete draw-stop action had been invented, although it was not always brought into the most convenient position for the use of the organist. Even in some of the English organs erected soon after the Restoration, a troublesome arrangement still existed. For instance, in the organ by Father Smith in Manchester Cathedral, and in Pembroke and Emanuel Colleges, Cambridge, the choir organs of which were in front, the draw-stops of those departments were in the choir organs themselves, and therefore at the back of the player. In the organ at St. Paul's Cathedral, by the same builder, and in Harris's instrument in Worcester Cathedral, the choir stops were indeed made to draw through the great organ case, but through the Jambs below the manuals, and quite out of convenient reach. So late as ten years ago the choir stops of Silber- mann's celebrated organ in the Cathedral at Strasburg could only be drawn from the choir organ itself, which stood at least six feet to the rear of the player. The reason why in English organs arrangements such as the foregoing proved to bp sufficient for their time, was, that in the church music then existing "musical colouring" formed by no means a general feature, and, therefore, "instrumental colouring " had not become, as it has since, a necessary and looked-for contingent. In organs built to meet modern necessities, the draw-stops of all the departments are brought within easy reach of the performer. Of the mechanism introduced to effect this end, called the Draw-stop Action, there are many varieties, designed to meet the exigencies of particular cases. 249. The first kind proposed to be noticed, is that which may be described as the Wooden-trundle Draw-stop Action. The wooden-trundle 250. To understand the necessity for the presence of the raw-stop action. several parts of the action just named, it is requisite to point out the relative position of the performer, and the end of the sliders to be operated upon. We will suppose the sound-board to be ranged longitudinally immediately behind the front pipes — the usual position occupied by the great organ sound-board. The situation of the slider-ends, then, as compared with that of the organist, would ordinarily be inwards ; to the right, we will suppose, though it may be the left ; and upwards to a higher level. This route is, in the above action, followed by the draw-stop rod {a, fig. 70) which traverses the organ inwards ; the trundle ifi b). THE DRAW-STOP ACTION. 63 which conveys the motion round an angle, the trace {c), which continues the motion at right angles with the draw-stop rod, and the lever (rf) which conveys it upwards. 70 A description of the 25 1. T/te draw-stop Tods usually measure about an inch severa parts. square across, for they are made round or square according to fancy, and fi-om about one and a half to ten feet or more in length, according to the distance of the trundle from the manuals. The front-end is made of oak, and the remainder of pine, the two parts being neatly spUced together. The near end of each draw-stop rod is furnished with a handle, formed of some dark-coloured and handsome-looking wood, into which is inserted a circular plate of ivory, bearing an inscription, announcing the kind of stop that is controlled by that particular handle and attendant parts.* The farther end of the rod has a horizontal mortise made in it to receive the trundle-arm, a small iron bolt fastening the two together, so that the one cannot be drawn forward without the other accompanying it. The draw- stop rods run horizontally from the front of the case inwards, in the direction of the back of the organ, bordering the manuals (with which they run parallel) usually on each side, where they are arranged one over another, forming one, two, or three tiers, as the case may be. 252. The wooden-trundles are made of good thickness, to prevent their spring- ing, which casualty, were it to occur, would prevent the perfect drawing or closing of the slider. Each trundle is furnished with a stout pin at both ends, which passes into frame-work above and below, and which form pivots for it to revolve upon. The arms {gh) are made of wood or iron ; the former material, however, rendering the action more quiet in its operation. They have no fixed positions ; but the first arm (^) is placed as nearly as possible in a hne with the draw-stop rod (a) thit is to act upon it, and which may be high or low in the row wherein it appears ; while the second (A) is placed in a hne with the lower end of the lever ( d"). 253. The trundles usually stand under the sound-board to which they belong, bordering the draw-stop rods perpendicularly, as the rods do the manuals hori- zontally. 254. The traces are rods of deal, reaching from the second arm of the trundle to the lower end of the lever ; hence their name. They are mortised at each end ; at the one {p), horizontally to receive the second trundle-arm ; at the other (/), * The custom of distinguishing stops one from the other by a particular name was introduced in the sixteenth century. 64 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN. vertically, to admit the lower extremity of the lever. The traces may usually be seen under the sound-board, running in the direction of its length. 255. The levers are generally constructed of some hard wood, as oak, beech, etc., though in some old organs they are met with of iron. They are hung on a centre about two-thirds from the lower end, and the lower extremity is narrowed to allow of its admission into the mortise in the trace ; while the upper is made altogether smaller, that it may pass into a hole prepared for its reception in the projecting end of the slider. How the draw-stop action 256. When the Organ is about to be used, the inscriptions operates. jj^^j. ^^^ ^^ jj^g stop-handlcs. Or sometimes over or at the side of them, are referred to, and the handle bearing the desired name is drawn forward. The rod brings with it, in the same direction, the first arm of the trundle {g,fig. 70) and' the trundle itself {b) partly revolving, causes the second arm ip) to swerve round and draw the trace (c) in the direction from the side towards the middle of the organ. This latter having the lower end of the lever (z) fastened to it, draws that with it inwards j the upper end (/) in consequence taking an outward motion, and moving the slider the same way. The passage way is thus made clear for the wind from the grooves through the holes (w) in the upper-board into the pipes. 257. In the draw-stop adtion for small organs, wooden trundles are not usually employed, but iron squares are more frequently used. The iron trundle draw- 258. In the second or iron-trundle draw-stop action {fig. 71), stop action. ^j^g trundle and the arms are formed of wrought iron. The trundle itself {a a) stands at the edge of the sound-board {b b b), instead of under- neath it, as in the former case, with its upper end {c) rather above the level of the bottom of the sound-board. There is no trace used, the bottom arm {d) being made much longer, that it may extend from the trundle to the draw-stop rod (e), and the top arm (/) is placed quite at the upper end of the trundle, from whence it gradually inclines upwards, until it reaches the slider {h), where it is finished off with a small bolt {g), that passes through the slider {fi), and acts upon it. 71 /I 259. When a sound-board is remotely situated, its draw-stop action is modified, and the trundles are sometimes placed horizontally, instead of perpendicularly ; all such matters of detail being of course regulated by the nature of the situation to which the organ is being adapted. 260. In the organ originally built by Messrs. Hill & Son for the Panopticon and now in St. Paul's Cathedral, the draw-stop action was made upon a principle then entirely new to this country, the sliders being put in motion by small bellows, and the weight of the long vertical trace rods was ingeniously balanced by counter weights attached to the end of short horizontal levers. THE DRAW-STOP ACTION. 65 The pneumatic draw-stop 26 1. The bellows now mostly used for the pneumatic draw- stop action consists, like the vertical feeder already explained, of three vertical boards, the two outer of which {a a) are fixtures, the middle one (d) being moveable. The two sets of ribs in between are marked c and d; e e e is the wind-chest ; o the D valve, the hollow of which is long enough to reach from the wind entrance to one member of the bellows to the exhaust, marked m. The draw- stop movement is attached to k, and / communicates with the slider. The wind passes from the wind-chest [e] through// into ^^, distending it. On drawing out k, the condition of the two members of the bellows becomes reversed. The hollow of the D valve is drawn sufficiently to the right to uncover the wind entrance r, and consequently to reach to the second one z. Wind from e now passes through r, following the course s s, entering i /, carrying 6 close up to a. The wind from g^g- at the same time descends through //« into the D valve, and is conducted through the exit m into the vacant space n n. ■' ■ \ ■ t I -. T. . 66 THE WINn-DISI'RinUTlNC l'ORTI(.)NS dh" THK flRGAN. CHAPTER XIV. JOY'S PATENT HYDRAULIC ENGINE. 262. Wb; must not leave the consideration of the mechanical parts of the organ without noticing Joy's Patent Hydraulic Engine for blowing the bellows of organs. This machine, the invention of Mr. David Joy, engineer, of Middlesborough, was originally arranged for the large chamber organ, the property of his brother, Mr. Walker Joy, of Leeds, and it was on its proving a marked success that it was patented and then made public. The engraving {fis;- 73) is taken from a photo- graph of one of the engines, now at work in the Leeds Town Hall, and is similar HI every respect to those now usually supplied. 263. The engine consists of a cylinder similar to that of an ordinary steam engine, the piston having a rcciprocatory motion given to it l.\ (lie pressure of a joy's patent hydraulic engine, 6j column of water, admitted alternately to the top and bottom of the piston by suitable passages. The admission of the water to the cylinder is regulated by a slide valve, the back of which is attached to a small double piston working in cylinders formed at the top and bottom of the valve-box. The pistons are actuated by the water-pressure, the ingress and egress of which is regulated by a four-way cock. The plug of this cock is attached to, and moved by means of a small lever, which is connected to a vertical rod, the upper end of which is secured to an arm fitted to the piston-rod. The vertical rod is fitted with set nuts, by means of which the action of the four-way cock may be adjusted. In the outlet port of the four-way cock is a set screw, by which the area of the port can be diminished so as to retard the escape of the water, and thereby regulate the speed of the valve. The water-main is fitted with an ordinary stop-cock, to which is attached a lever connected with the reservoir of wind. This lever is so arranged that when the reservoir is full the cock is closed, and when the reservoir is about one-quarter exhausted the cock is full on. By means of this self-regulating action the wind reservoir is kept constantly filled. Under this arrangement of the engine the motion of the valve can be adjusted to suit any pressure of water that may be at command. 264. Many of these engines have been at work for nine years and upwards, in some cases absolutely without attention. Those now at work in the Leeds Town Hall, after being at work seven years, were stopped and examined, and found to require nothing but cleaning, as no parts needed renewal. Even the valves, which are of lignum vita, hardly showed signs of wear. These engines work under a pressure of water equal to 90 lbs. per square inch, and, when all are in full operation, they develop about 8-horse power. 265. One of the points aimed at and accomplished is that the engine may be put in a cellar, connected with the bellows above, and cannot go wrong, even if entirely neglected, requiring not even greasing during very lengthened periods, as the water is arranged to act as a lubricant to those parts requiring lubrication. 266. The consumption of water, of course, depends entirely upon the size of the organ, the wind pressure in it, and the pressure of water used to actuate the engine. The size of the engine in Mr. W. Joy's chamber organ is No. 5, the pressure of water is 42 lbs. per inch, and, by actual and repeated measurement, it is found that, for a musical evening, lasting four to five hours, when various classes of music are almost continuously played, using the organ in all its combinations from solo stops to the full, the consumption of water is about 600 to 700 gallons, and for this the water company charge at the rate of 6d. per 1,000 gallons, measured by a Siemen's water metre. Another case, the Leeds Parish Church organ, is blown by one large engine, size No. 10, working two large horizontal feeders, and for all ser- vices, both Sunday and daily, and practices, the cost of water amounts to about ;^l 5 per annum. 267. The following is a list of some of the principal organs to which this machine has been applied, and comprises all varieties of circumstances and sizes of organs ; in some cases the water is supplied by cisterns at the top of the building in which the organ is placed ; in others they are fed direct from the water-mains of the town supply, and are worked with pressure of water varying from 12 lbs. to 100 lbs. on the square inch ; the regularity of arrangement being perfectly available at any pressure ; in some cases the water, having worked the engine, is passed into a cistern, and is then used for other purposes : — Q2 68 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN. No. of Engines. Leeds Town Hall 5 Manchester Free Trade Hall 2 East Parade Chapel, Leeds i St. George's Church, Leeds i Thomas Baxter, Esq., London ... 3 Walker Joy, Esq., Leeds i John Waterhouse, Esq., Halifax... i Joseph Smith, Esq., Hatton Gar- den, London I Independent Chapel, Halifax 2 W. Gray, Esq., York I Manchester Art Treasures Exhibi- tion 2 W. Eraser, Esq., Kensington Palace Gardens, London i Mrs. Gott, Armley House, near Leeds 1 George Freeth Esq., Duporth, St. Anstell's, Cornwall i Temple Church, London 2 Joseph Teale, Esq., Leeds i St. Paul's Cathedral, London i King's College, Cambridge 2 Wm. Brougham, Esq., Brougham Hall, Penrith 1 J. Woolright, Esq., Liverpool 2 H. D. Brandon, Esq., Paris i Dr. Monk, York i Buckingham Palace, London i Geo. Cook, Esq., Paragon, Clif- ton, Bristol Edinburgh Parish Church, Leeds Wm. Slater, Esq., Cheatham Hill, Manchester Rev. R. C. Singleton, York — Leather, Esq., Leventhorpe Hall Josiah Spode, Esq., Rugeley, Staffordshire Croydon Church Wellington College, Sandhurst... Henry A. Hankey, Esq., Portman Place, London Kirkstall Church, Leeds St. John's Church, Taunton R. D. Coddington, Esq., Black- burn John Birchall, Esq., Preston ... St. Paul's Church, Dundee H. O. Wills, Esq., Clifton, Bristol Col. Miles, Burton Hill House, Malmesbury Bramley Church, near Leeds ... Hobart Town, South Africa, per Messrs. W. Hill & Sons Roscoe Place Chapel, Leeds ... — Parish, Esq No. of Engines. THE ELECTRIC ACTION. 69 CHAPTER XV. THE ELECTRIC ACTION. 268. Having explained the several kinds of organ mechanism in ordinary use, notice may now be taken of the recent application of electricity to the purposes and uses of organ construction and manipulation. It has been shown in what manner the communication between the claviers and the sound-board pallets, and between the draw-stops and the sound -board sliders is established in compactly built instruments. An explanation has also been given of the way in which these systems of mechanism are developed in large organs, or in organs of which the claviers are placed at some distance from the main body of the instrument ; and the means by which the organist is at the same time relieved from unnecessary toil, through relief pallets or pneumatic agency, have likewise been illustrated. For such situations — of claviers in relation to sound-boards — the electric action is applicable in common with, and possesses advantages and conveniences over the mechanism in general use, to compensate for its greater, cost, though it will probably be employed mostly for large organs, unless there be unusual peculiarities to be met and overcome. There are some positions or circumstances in which the intermediate space, as to width and depth, between the two parts, takes such a direction, or is so small, that such situations have hitherto been considered extremely difficult of treatment, or altogether impossible. The usual mechanism, besides travelling horizontally and vertically, can turn any angle — equal, obtuse, or acute ; — or can foUow a diagonal, splayed, or spreading course. But it cannot climb an incline, as from the front to the back of an orchestra. The downward drag of the action was always considered too much for the pallet springs, and the alternative action, running horizontally inwards to the organ, then upwards to the instrument, rendered so much valuable space under the orchestra useless for all other purposes, that the plan, which originally existed at the Hanover Square Rooms, and the concert room of the old Opera-house in the Haymarket, has been abandoned in nearly all modern orchestras. At the"recent Gloucester Festival, September, 1868, the electric action allowed the organist again to be placed near the conductor, while the organ itself stood at the top of the orchestra, and not in a line, but on the right hand side. 269. The electric wire, having no motion, attaches no weight to the pallet ; and it can be laid down in any required or conceivable direction. Any circumscribed positions are sufficient for its accommodation, and it can describe any curves as well as follow any angular course. It can traverse round pillars, or ascend in any form or direction where there may be an inch of space for it to pass through. In fact, it is as free and unfettered in its power of adaptation as the gutta percha tube of a garden engine. It has been mentioned that the speciality of the electric action recommends itself for very large organs, in which instruments the " Pneumatic lever" is almost a necessity. The following particulars, therefore, referring to ■ Mr. Barker's invention of the latter, and to his development of the same, taken almost verbatim from his own " notes," will, without doubt, prove interesting. Before giving them, however, a few more words may be said respecting relief pallets. 70 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN. 270. Figure 74 is a pallet patented by Mr. Willis in 1861. The outside resembles an ordinary pallet, but is hollowed out on the top side, leaving only the portion of its surface that laps its seat ; the top is covered all over with the usual soft leathern packing. Holes communicate through the outside into its interior, several bars forming a grating are placed inside the groove between the sound-board bars to prevent the leathern packing being blown in by the pressure of air on the under- side ; on opening this pallet the edges leave their sqat first and offer little resistance, the air having passed in in sufficient quantity relieves the pressure on the under- side. 271. Figure 75 is a compensating pallet. The small bellows attached to the tail have a communication from their interior with the atmosphere, the compressed air in the sound-board has therefore an inclination to collapse them, and the force expended in. this direction counterbalances the pressure against the pallet. 272. Figure 76 represents the section of a single pneumatic lever showing the action of the throttle valve {a) (patented by Mr. Willis in 1853) and the double exhaust valves {b), and auxiliary spring which closes them with the first motion of the key, instead of being pressed home only by the last, thus ensuring rapidity of action as well as certainty. Many modifications of the original form have been used, but the following explanation will suffice : — 273. The lowest chamber on the right {d) contains highly compressed-air, derived from a reservoir ; the lever ie), carrying the valve (/) which cuts off the communication between this chamber and the one immediately above it {g), works through an air-tight leathern purse {h) in the centre, and the left-hand end of the lever moves the double exhaust-valves {b), and is attached at the extremity by a tracker (z) or connecting rod to the tail of the key. On raising this end of the lever the double exhaust-valves are immediately closed, cutting off or preventing the atmosphere from entering the interior of the power-bellows (/); at the same time the valve at the other end is opened, so as to allow the compressed air to pass through the chamber above into the power-bellows, and so inflate them. As THE ELECTRIC ACTION. 71 they rise they dra\y up the throttle-valve, which is attached to the top board, so that on its reaching the seat provided for it, it cuts off further supply of compressed an-, and checks the motion of the power-bellows almost noiselessly {fig. 77). This movement of the top-board is communicated to the sound-board pallets by the usual train of mechanism. Immediately the key is released by the finger it is returned to Its former position by the spring underneath, the compressed air escapes by the exhaust-valves, and the power-bellows collapses and allows the sound-board pallet to close. These pneumatic power-bellows are usually arranged in a frame of seven or eight tiers, the width of the manuals, and placed as near to them as possible. J, 1 , - ' .^, 1 ) ^ 1 ' 4,/^%/M/'J^/AJ^//^/k'//y^ M^iS;f//M^/// ,/4A lU 274. The following are the observations of Mr. Barker alread)- referred to :— "It was in 1832 that Mr. Barker, then established as an organ-builder in Bath — his native city — was led to reflect on the serious inconvenience arising from the extreme heaviness of touch in all large organs, and as more particularly exemplified in the one then but recently constructed for York Minster Cathedral. His persevering studies having revealed to him an efficacious remedy of this defect, by the invention of what has since been called the pneumatic lever, he wrote, in 1833, to Dr. Camidge, then organist of the Cathedral, announcing his discovery, and begging to be allowed to give a proof of its efficacy, by applying it in a temporary way to one of the heaviest keys of the organ. Dr. Camidge in his reply wrote; 'To such an instrument as ours it (i.e., the discovery) would most certainly be very important, where four organs have to be played occasionally by one set of keys, and I should be most happy to recommend its adoption. Mr. Hill, of the late firm of ElUot & Hill, has erected our organ, and, I assure you, the playing it is no sinecure ; on the other hand, it is most laborious \vork to go through a grand chorus or last voluntary witli the whole power of the instrument. Such a difficult touch as that of York Cathedral organ is doubtless sufficient to paralyse the efforts of most men, I assure you. I, with all the energy I rally about me, am sometimes inclined to make a full stop from actual fatigue in a very short time after the commencement of a full piece.' Notwithstanding Dr. Camidge's 72 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN. wish and recommendation, financial difficulties stood in the way of Mr. Barker's invention being adopted in York ; nor was he more successful in his proposition for applying it to the Birming- ham organ opened in 1834 or 1835. It was about this period that the eminent French builder, M. Cavaill^, was occupied in building a colossal organ for the royal church of St. Denis, near Paris, and it was already sufficiently advanced to convince Mr. Barker that, for heaviness of touch, it would rival or even surpass the York Minster and Birmingham organs in their then condi- tions ; indeed, it might have been fairly questioned, whether any organist of acknowledged talent would risk his reputation by attempting to play it. Mr. Barker heard from a friend who visited the Continent occasionally that such an instrument was building, and Mr. Barker wrote immediately to M. Cavaill^ to propose the introduction of his pneumatic lever, accompanying his letter with a certificate from his since lamented friend, Mr. Merrick, who had played on a small instrument Mr. Barker had fitted up for demonstration, each key of which presented a resistance of several pounds. This was in 1837. M. Cavaill^ replied, engaging Mr. Barker to go over to France, and examine the possibility of applying his invention to the magnificent organ in question. Mr. Barker visited Paris, and the application was decided on, under his immediate superintendence. However, in order to establish his priority as inventor, and protect at the same time his interests, previous to doing anything more in the matter, he took out, in 1839, a French patent, and soon after the pneumatic lever was applied with the greatest success, and for the first time, to the St. Denis organ. After having passed an agreement with M, Cavaill^ to grant him^ licence, under Mr. Barker's patent, as he might require, and which led to its application to the organs in St. Roche, La Madeleine, St. Vincent de Paul, etc, Mr. Barker's connection with M. Cavaill^ ceased, and he then was led to undertake the direction of a large organ-building establishment recently formed in Paris, under the name of Daublaine & Callinet, and where he had frequent opportunities of introducing his invention. This company having been dissolved about 1845, Mr. Barker undertook to carry on the concern for a M. Ducroquet, a capitalist who had purchased it, and built for him, among other important instruments, that of St. Eustache, as also the small but very complete organ which appeared in the French department of the London Universal Exhi- bition of 1 85 1, and for which M. Ducroquet received, in addition to the English prize medal, his nomination of Chevalier of the Legion d'Honneur from the French Government." Reverting to the English Exhibition of 1851, Mr. Barker's French organ presented, for the first time, a complete specimen of the application of the pneumatic lever to the finger boards — that is to say, including the unison, octave, and sub-octave couplers. Mr. Hill exhibited an organ in which the pneumatic lever was applied to the draw-stop action only; and Mr. Willis, a large organ in which the lever was applied both to the key and draw-stop action, but to the former without acting on the couplers. From this time the advantages of the pneumatic application were more appreciated ; and the adoption of the system became more frequent in England, France, and Germany. In fact, workmen who had been familiarized with the construction ot the lever in the work- shops of M. Cavaill^, lent aid and assistance in England, so that when Mr. Barker proposed to take out — alas ! too late — a patent in this country, he found he would be only bringing coals to Newcastle. At length came the great Paris Exhibition of 1855, to which Mr. Barker was admitted as an exhibitor on his own account, independently of M. Ducroquet, who was on the point of retiring from business, but for whom Mr. Barker had built for the last time and for the Exhibition, an organ of twenty stops, three manuals, and separate pedal organ in which the pneumatic lever was turned to good account, and enabled him to place all the powerful reeds of the great organ in tlie swell box, and to obtain by that means unusual poweh oi crescendo. At the close of the exhibi- tion, he was honoured with a first-class medal, and his nomination as Chevalier in the Imperial Order of the Legion d'Honneur. Mr. Barker cannot, in this rapid and imperfect biographo-historical sketch respecting the pneumatic lever, pass over in silence the claims of priority which have been put forth by other parties to the invention. In the first place, that of Mr. Joseph Booth, organ-builder in Wakefield, and who, it is alleged, introduced a contrivance of this nature into the Brunswick Chapel organ in Leeds, in 1827. "A small bellows, called a puff valve, is said to have been placed in connection with one of the double grooves of the sound-board, and by its inflation, on one of the pallets being drawn, to have THE ELECTRIC ACTION. 73 acted automatically on the second. In suffering this description to be correct, there would be evidently here the germ of the pneumatic lever, as in the early trials of Papin was contained implicitly that of the steam engine, perfected later by Watt, Stephenson, and others, but in the one as in the other case, how great the distance which separates the elementary fact from its ultimate results — how great the difficulties to be overcome. Free to admit that Mr. Booth was in possession of a fruitful idea, he kept his light, so completely under a bushel, that, sterile in its consequences, no one heard of it till twenty-four years after, when it had long ceased to exist. It is superfluous to say that Mr. Barker had no previous knowledge of this attempt or any other in the direction of his pneumatic lever, which, it is well known, constitutes in the organ as constructed by him a motive power directed by the finger of the performer to all the mechanical parts of the instrument. The foregoing remarks are, in part, equally applicable to the pneumatic apparatus of Mr. Hamilton, but with this difference, that this gentleman does not substantiate any claim to an application anterior to 1835, two years later than Mr. Barker's correspondence with Dr. Camidge. It might seem, in the presence of the comparatively satisfactory results obtained by the pneumatic lever, that, as a means of facilitating execution on large instruments, nothing better could be wished for. This, however, is not so absolutely the case as might be inferred at first view, as will fully appear from the following considerations. The great defect of the organ, and especially large instruments with several key-boards, lies in the number and excessive complication of its mechanical parts, all of which, however, accurately adjusted, are, from their nature, particularly subject to the effects of atmospheric, or to speak more exactly, hygrometric influence. Thus, under the effect of damp, the long trackers lengthen, the levers swell and move with difficulty on the bearings. The solid framing which supports the sound-boards and the mechanism adds by its swelling or shrinking to the general disorder ; and every organist is aware that in summer the touch of his instrument is often reduced to zero, whilst in winter it is deepened, and he is exposed to continual cypherings. To remedy as far as possible these serious inconveniences, the parts of attachment of the various mechanical parts of the instrument are provided with regulating screws and nuts, by which means the virtual length of these organs of transmission may be mtegralement established when changed. But how many difficulties to be got through before accomplishing this labour of Sisyphus, which is considerably increased by the introduction of the pneumatic lever and its couplers. It occurred to Mr. Barker, as it already had to many others, that seeing what has been accomplished in telegraphy, by which the most delicate movements are transmitted to indefinite distances, with rapidity and precision, it might be possible to apply the same principle to the organ, in which the key-board represents the manipu- lator and the pallets of the organ the receptors of the telegraphy bureaux. Now this has been actually and successfully accomplished by, Mr. Barker in presence of repeated and uniform failure on the part of his predecessors. The reasons for this will appear in the course of the explana- tions of his system, as applied by Mr. Barker in France to the large St. Augustin organ, in which the key-boards have not offered the slightest derangement although the instrument has been erected more than a twelvemonth, and, consequently, has been during that time subject to great vicissitudes of temperature. The applications of Mr. Barker's patent in England by Messrs. Bryceson Brothers & Co. have been equally successful. " An essential condition in the electric transmission in the organ, and which had been generally overlooked by Mr. Barker's predecessors in this direction is to diminish the resistance of the pallets to a minimum by means of a peculiar construction, or to attack them by the intervention of a pneumatic lever reduced to a simple inflating bellows and debarrassed of all its usual acces- sories in the shape of couplers, etc., which can now be all affected electrically. " This new system offers three inestimable advantages in its application ; — " I. A great simplification by the suppression of a multitude of moving parts, replaced by simple insulated wires. " 2. The possibility of transmitting the movements to any required distance irrespective of the relative positions of the organ and its key-board. "3. The invariability of the key-boards under the greatest changes of temperature. " It is now about five years since Mr. Barker made his first experiment for the application of electricity to the organ, and proposed applying it to the large organ which he had just received the order to construct for the church of St. Augustin, upon the favourable report of the commis- sion charged to examine the new mode of construction. This organ was opened about three 74 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN. months since, and the commission having made another and final report in most favourable terms, Mr. Barker is now charged with the construction of another large organ for the new church of St. Fran9ois de Xavier, which, with those of St. Augustin, Salons, and Montrouge, is the fourth application of the electric principle in France." 275. During the Paris Exhibition of 1867, the attention of Mr. Bryceson was directed to the electric organ in St. Augustine's Church, in Paris, then nearly completed, and he at once determined to introduce the electric system into' England, and made arrangements with Mr. Barker for that purpose. 276. Dr. Gauntlett, who had dorte much towards the introduction of the Conti- nental or CC compass of organs in this country, now universally adopted, may claim to be the first who conceived the idea of applying electricity to organ mechanism. The following notice occurs in the Orchestra of March 28th, 1868; — " The using of electricity as a motive power in organ building was first mooted about twenty years ago by Dr. Gauntlett, who at the time of the Great Exhibition of 185 1 proposed a scheme for playing all the organs in the place at one and the same time. The plan met with great opposition, and nothing was done ; but on the announcement of the Crystal Palace Company, Dr. Gauntlett met the Provi- sional Committee, and proposed the erection of facsimiles of the eight most celebrated organs in Europe, and playing them altogether or separately in the centre of the building. The original prospectus of the company put forth the exhibition as one of still life, and one which might be grasped in one view. All such exhibitions fail unless accompanied with music, and Dr. Gauntlett's proposi- tion was to supply the place with a continual stream of music at an outlay much less than that for the maintenance of an orchestra. Messrs. Anderson and Fuller, two gentlemen of the committee, met the proposition with a decided negative. ' Dr. Gauntlett,' said Mr. Fuller, ' you will never hear a note of music in the Crystal Palace ; the exhibition is intended for far higher purposes. We do not want music and we shall never have it !' And thereupon Dr. Gauntlett departed, but not without telling the committee that without music the whole affair would become bankrupt. Dr. Gauntlett patented his speciality in 1852, and in 1863 another plan was patented by Mr. Goundry." 277. Dr. Gauntlett's patent of 1852 comprehends playing organs, both finger and barrel, as well as seraphines and pianofortes, through the electrical agency. For organs he proposed placing a powerful electro-magnet immediately beneath each pallet, and fastening the armature on the end of the pallet itself, an arrange- ment that would require much space and an expenditure of electric force requiring a very large battery to supply a sufficient current. He mentions that an apparatus known as the " pneumatic lever " may be worked with the electro-magnets and armatures, though he does not describe any form of arrangement. The draw-stop and swell action are also alluded to, but there is no explanation as to how they are to be accomplished. Dr. Gauntlett's contact at the key did not act till the key was quite down, and, being simply a touching contact, would soon become oxidised. 278. In 1863, Mr. Goundry patented a very elaborate electric system, chiefly in connection with the introduction of the enharmonic scale, which requires forty sounds to the octave. He describes several known forms of light pallets, and proposes to open them direct by the electro-magnet in a similar manner to Dr. Gauntlett. The pneumatic lever is also mentioned, and a form given for its appli- cation. Mr. Goundry shows a very elaborate arrangement for coupling purposes, and also for throwing up the melody. In his draw-stop action he proposes that a spring should pull the slider in, and that it should be drawn by a pneumatic power- bellows, actuated by an electro-magnet, around which the current of electricity THE ELECTRIC ACTION. 75 would be passing all the time the slider remained drawn, thus involving a great consumption of battery power. 279. No organ-builder embarked in either of these patents ; and no organs, to illustrate their practicability, appear to have been attempted. 280. Mr. Barker's English patent, taken out in January, 1868, protects his special arrangements of the following applications, which, with the exception of the draw-stop action, were then based on his actual experience, gained in the construction of three electric organs, which he had already erected in France : — ist. His arrangement of the electro-pneumatic action to the keys and pedals, including a method of making the contacts by means of immersing copper points in mercury cells. 2nd. A contrivance for coupling the various manuals as well as the pedals, either in unison or in octaves. 3rd. An arrangement for drawing the stops. 4th. The manner of commanding the large valves in wind trunks, kno-i\'n in England as ventils. 5th. An automatic system for suspending all waste of electrical agents in the battery -ivhen not actually in use. 78 2S1. Figure 78 is a copy of the drawing attached to Mr. Barker's Enghsh patent, dated January 28, 1868. It represents the end section of a divided sound-board, such as would be used when two different pressures of wind are required, or where the number of stops is so great as to require two pallets to supply a suffi- cient quantity of wind. The chamber (e) in the wind-bar is supplied with com- pressed air, and is continued the whole length of the sound-board. This is to supply the pneumatic power-bellows (li), which are all fixed externally on the bottom side of the sound-board, one of these power-bellows being provided beneath each pallet (d). Immediately below the air-chamber and upon the fixed table of the power-bellows is a small double-action disc-valve (/) attached to a vertical rod. In a state of rest, as shown in the drawing, the top disc-valve is closed, cutting off the compressed air, and the lower one is open, so as to establish a communication from the interior of the power-bellows with the atmosphere, and allowing the sound-board spring (i) to hold the power-bellows shut. The disc-valve is actuated by the armature {A) of an electro-magnet (g) placed below, and attached to the vertical rod (/), so that when the electro-magnet becomes excited by the current of electricity, and, therefore, attracts the armature, the position of the disc-valve is reversed : the lower one being shut and the top one opened, it allows the com- ^6 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN. pressed air from the chamber above to rush in and inflate the power-bellows, which, being attached to the sound-board pallet, immediately pulls open the same. Directly the electric current ceases the armature is of course released, the disc- valve returns to its former position, the compressed air is cut off, the sound-board spring collapses the pneumatic power-bellows, and the air escapes by the bottom disc or exhaust valve, which is now open again. 282. The draw-stop action for each slider in the sound-board consists of two large pneumatic bellows, acting alternately in opposite directions, the inflation of which is governed by two double-action disc-valves, worked again by small acces- sory power-bellows and two electro-magnets, acting positively and negatively. 283. A sound-board, therefore, with its electro-pneumatic power-bellows applied to both pallets and sliders, requires no train of moving mechanism to connect it to the key-board and draw-stop knobs, however distant, but simply the necessary num- ber of insulated copper wires to conduct the electric currents from the console, or stand, which holds the manuals, pedals, &c. The console, thus detached from the main body of the instrument, contains a vast amount of accurate and beautifully- arranged work. Its dimensions may be compared to those of a large harmonium ; and, besides holding the various key-boards, it contains, first, the rocking-lever be- neath each key, which, being furnished with copper points, plunges them in mercury cells directly it is depressed, and so establishes the electric current ; secondly, the various couplers, which are bars of wood, on which are screwed copper springs for each note ; when drawn by the knob these metallic springs press against corre- sponding copper-plates, and so cause the electric current to divide and actuate the additional electro magnets and pallets at the same time ; thirdly, the drawstop knobs and traces, to which contacts of a similar nature are attached, and which likewise complete the circuit of the electric current to their respective positive and negative magnets ; fourthly, all combinations which act mechanically upon the drawstop traces, and other accessory movements and pedals, &c. 284. To prevent the waste or destruction which would take place in a powerful and active battery if the electrodes were left immersed in the exciting liquid, it is necessary to lift them out of their cells when the organ is not in use ; and as this operation would probably often be forgotten, the last provision of Mr. Barker's patent refers to a self-acting arrangement. For effecting this object, he places the jars containing the liquid on the top of a wind reservoir supplied from the main bellows, and suspends the electrodes in a frame above them ; when the bellows are blown the reservoir becomes inflated, raising the cells so as to immerse the electrodes ; when the wind ceases the reservoir gradually collapses, and the jars sink down, leaving the electrodes suspended dry above. Mr. Barker also protects the reverse action, the cells remaining stationary, and the electrodes being made to descend into the Uquid ; this is effected by the same agency, and amounts to the same thing. Mr. Barker does not patent a battery of his own, having found his requirements satisfied by modifications of more than one already known and in common use. The battery is not placed within the console, and close to the keys, as some have supposed, but in any convenient position within or near the organ itself. 285. From what has already been explained with regard to electric key action, it will have been perceived that two intermediate agents are employed to make the depression of the key open the pallet in the sound-board — viz., electricity and pneumatics, and it might seem that such an arrangement would tend to cause a certain amount of delay or slowness in its operation. This, however, is not the case in actual practice : the velocity of electric currents requires no comment, and, in the short circuit employed in the organ electric action, electricity perfonns its THE ELECTRIC ACTION. 77 work simultaneously with contact being made at the key. The pneumatic power- bellows, unlike those employed in a mechanical organ, where they have to be large enough to pull open several pallets at once, besides moving long trains of action, are now only recjuired powerful enough to open one pallet, and are therefore so small that very little compressed air is sufficient to inflate them ; moreover, their small and sensitive valves arc not impeded by mechanical attachments. The practical result is, that no perceptible difference of time can be discovered between the depression of the key and the speech of the pipe. This is best proved by the excellent repetition touch obtained ; in this it far surpasses any mechanical action. 286. It was, however, obvious that a great advantage and saving of work would be gained if, as Mr. Barker suggested, a perfectly new form of pallet could be contrived which would offer no resistance in opening, and admit of being acted on direct by the electro-magnet instead of being attacked by the intermediate pneumatic lever as heretofore. To effect this, Mr. Bryceson turned his utmost attention, and at length succeeded in constructing a pallet fulfilling all the requirements. 79 287. Figures 79 and 80 are copies of drawings attached to Mr. Bryceson's patent, dated April 6th, 1868, and show the complete arrangement of his new pallet as applied in a double and single pallctted sound-board ; figure 81 (p. 78) being enlarged to show a section of the pallet of the latter. The pallet consists of a small diagonal bellows, formed with top and bottom boards attached to each other by flexible leathern ribs {k). The upper side of the top-board {a) is covered with soft leather, and forms the valve which beds close against the underside of the sound- board bar ((5)— it is kept in this position when at rest, by a common spring {c) pushing upward from the fixed bottom-board. The back or tail end of the bottom- board is hollow, and is fitted into a square mortice in the wind-bar, through which a channel {d) is continued to a chamber (?'') on the other side. The front end of the bottom-board is fixed sufficiently bclon- the top-board, so as to distend the 78 THE WIND-IJISTKIBUTING PORTIONS OF THE ORGAN. leathern ribs (/;■) nearly to their full extent. On the other side of the wind-bar are t\yo chambers (/, i"^)- The upper one (/) runs the whole length of the sound- board, and contains compressed air of the same pressure as is supphed to the sound-board. The lower chamber {i"-) is the one in communication with the interior of the pallet ; it is partitioned off separately for each note, and contains a double-action disc-valve {g) fixed on a vertical rod. The position of this valve determines the communication with the chamber above containing compressed air or the atmosphere below outside. In a state of rest the top disc-valve is open so that the compressed air from the chamber above is inside as well as around the pallet, and of course by its pressure holds the top-board firmly against the sound-board bar — indeed, if the wind could always be kept in there would be no necessity for a spring at all, which is only to keep up the top-board till the pallet is inflated. The lower disc-valve is now closed, and prevents the escape of the compressed air. If the position of the disc-valve is altered and reversed by raising the vertical rod {g) by means of the armature of an electro-magnet (;//) the compressed air is at once stopped from entering the interior of the pallet, and the pressure on the outside of the leathern ribs collapses them, and they draw down the upper board and allow the wind to enter the groove of the sound-board, and thence, if the sliders are drawn, supply the pipes above. The air in the interior of the pallet is allowed to escape into the atmosphere through the lower disc-valve, which is now open. When the vertical rod is released by the amiature of the electro-magnet, the disc-vah-c returns to its original position, the 'escape-valve is closed, the compressed air again enters the interior of the pallet and shuts it firmly against the sound-board groove. In cases where it may be considered necessary to open the pallet very wide, as in pedal sound-boards, etc., a third chamber (/'), running the whole length of the sound-board, from which the air is exhausted, could be placed beneath the lower disc-valves instead of allowing them to open direct into the atmosphere ; the top-board would then be drawn hard down on the bottom-board, which can be fixed at a greater distance, and thus secure either a horizontal or diagonal opening to provide a great supply of wind to the sound-board groove for distribution to the pipes. 288. This new pallet might appear to resemble a form known for many years, and used in several instances by both Messrs. Gray & Davison and Mr. Willis for pedal sound-boards, but in reality it differs widely in its condition and mode of action, inasmuch as it is held closed by the pressure of wind in its interior, and THE ELECTRIC ACTION. 79 opened by the disc-valves allowing this wind to escape or exhaust, so that the pressure around it is enabled to force in the ribs of leather, which in yielding actually pull the top-board away from its seat against the sound-board bar, whereas the old form of pallet just alluded to had ribs sufficiently distended only to counterbalance the resistance of the wind, and was pulled open by a connecting link in the same way as an ordinary or common pallet. Neither disc-valves nor attenuated air were used in conjunction with it, and the interior was in communi- cation with the atmosphere instead of being filled with compressed air when in a state of rest. In Mr. Bryceson's pallet he gains the advantage, that, when closed, it has the full force of the wind to press it soundly against its seat, and thereby prevent any tendency to leakage, a fault common to all other compensating or balanced pallets, which must be closed by strength of the spring. Again, the ribs of his pallet, being distended to their full extent when at rest, present the most favourable position for being acted upon by the compressed air in the sound-board directly the escape-valve is opened, at which time the first movement of the pallet from its seat requires most force to be expended. Any single pallet can be easily taken out for repair by raising it from the fixed rail in front, and pulling it out of the mortice in the wind-bar. As no pull-down, link, or connecting-rod is attached to it, and guide pins are unnecessary, these very frequent causes of derangement are thus entirely avoided. The dimensions of the pallet can be varied from that required for the smallest treble note to the largest necessary for any pedal sound- board. It is equally available for mechanical and non-electric action, in which case a spring would have to be introduced just sufficiently strong to return the key and action ; this would constitute all the resistance presented to the finger of the performer. The cost, as well as the space required, is less than when the ordinary pallet is employed with a separate pneumatic power bellows placed externally. 289. In most cases where organs already built are to be re-constructed on the electric system, the old arrangement of the sound-boards will prevent this new pallet being conveniently used ; Mr. Bryceson has therefore found it best to apply externally a pneumatic power-bellows beneath each original pallet, similar to Mr. Barker's arrangement, but placed in two tiers, to get them in in the length of the sound-board. These he works with exhaust or attenuated air instead of pressure, for the following reasons : — The ribs or sides of pneumatic power-bellows, if not made very rigid, and lined with cardboard, are subject to being overstrained and inverted when inflated, and thus either locked open or destroyed. If made stiff enough to be secure from this defect, they will not work as freely as desirable in the treble or smaller sizes. By the use of exhaust instead of pressure, no stiffening for the ribs is necessary, the cost of manufacture is reduced, and greater durability and freedom from noise are attained. Mr. Bryceson is not aware that exhaust or attenuated air has been proposed or applied for pneumatic power-bellows by any other firm besides his own. Mr. Willis, however, took out a patent almost simul- taneously with himself, in which exhaust and pressure are proposed to be employed alternately for actuating what Mr. Willis terms a " floating valve " in connection with a novel arrangement of draw-stop action. From the way in which provisional patent specifications are lodged it is impossible either could be aware of the con- clusion arrived at by the other ; and it is a singular coincidence, that a new principle in organ-building, which is likely to be of great service for intermediate purposes, should have been thus introduced for the first time. Mr. Bryceson was led to adopt exhaust for reasons already stated, and because the saving effected in a single power-bellows, however small, was a great consideration in the aggregate or large number employed in electric organs. 290. Figures 82 and 83 show the section of two electro-pneumatic arrange- 8o THE WIND-DISTRIBUTING I'UkTKjNS OF THE ORGAN. ments, as patented by Mr. Bryceson, for moving the sliders. In large organs, where highly-compressed air is used for supplying certain stops of pipes, as well as exhaust-bellows for working the pneumatic key-action, he has used the arrangement shown in the left-hand figure, and the method of its action is as follows; — A large pneumatic power-bellows (;/), connected by a lever and trace to the slider, is fixed on a table {I), and at the back of this table are three chambers (k k k). The top one is supplied with compressed air, and the bottom one has the air exhausted from it. The middle chamber communicates with the interior of the power-bel- lows, and also with either the top or the bottom chamber, according to the position of a large double-action disc-valve {m in). The drawing shows the top chamber cut off by the valve being closed, and the bottom or exhaust chamber in commu- nication. The power-bellows is therefore collapsed, and the end of the lever 82 CD .jjz: drawn to the right-hand. When the double-action disc-valve is reversed the exhaust-chamber is cut off, and the communication opened with the top or pressure chamber ; the compressed air rushes in and inflates the power-bellows, causing the end of the lever to be moved to the left hand. To gain rapidity of action it is necessary that the ports covered by the double-action disc-valves should be of considerable size, and also that the valve itself should have a movement of at least one-quarter of an inch. As this would require a very powerful electro-magnet, and great expenditure of battery power, it is found advantageous to introduce a small accessory pneumatic power-bellows (/). This is placed immediately under and attached to the rod carrying the large disc-valve, and its position will be deter- mined by its inflation or collapse. This accessory power-bellows is commanded by a very small double-action disc-valve (//) attached to a vertical rod {g) THE ELECTRIC ACTION. 8i connected to the double armature of two electro-magnets (ss) ; the chamber (r) above this small double-action disc-valve is supplied with compressed air. The drawing shows that the left-hand electro-magnet was last used. It attracted its end of the double armature and the little double-action disc-valve, admitting the compressed air to inflate the small accessory power-bellows. When the right-hand magnet is actuated the small double-action disc-valve will be drawn down, the compressed air will be cut off from, and allowed to escape by, the bottom val\e - E^--^/^ykii|it,^iii^f^s%ypy%y<$%>.»^ from the accessory pneumatic power-bellows, which will immediately collapse. The two electro-magnets are connected to the positive and negative contacts of the draw-stop trace in the console by insulated copper wires. In organs, when highly-compressed air is not required for other purposes, the expense is avoided of constructing such bellows expressly for working the draw-stop pneumatic power-bellows, and both the on and off movements are obtained from the exhaust alone. For this purpose Mr. Bryceson has employed the arrange- ment shown in figure 83, and finds it acts most satisfactorily. Two large R 82 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN. pneumatic power-bellows (« n) are coupled together with a connecting rod (o) in such a way as to ensure the expansion of one on the collapse of the other. Three chambers ikkk) are placed between their fixed tables (//) ; the centre chamber has the air exhausted from it, the top chamber is in com- munication with the left-hand power-bellows, and the bottom chamber with the right-hand one. The communication of these chambers with the middle one is alternate, and governed by two double-action disc- valves (m m), arranged similarly to the one in the first figure already explained. These are also com- manded by small accessory power-bellows {p) and two electro-magnets {ss) in the same way as before described ; therefore, as the contact is made at the console, the corresponding power-bellows is collapsed, drawing the slider in the desired direction. As combination pedals are not used in France, but only ventils, which cut off and introduce the wind to certain groups of stops by means of pedals, provision had to be made for an elaborate system of combination move- ments when required, as in England these most useful accessories for changing the stops are held in high estimation by our organists. It will be sufficient for the present to remark that electricity is most favourable for the extension of com- bination movements in novel ways. 291. Figure 84 (p. 81) represents Mr. Bryceson's patent double action draw-stop movement, with one electro-magnet and one pneumatic power-bellows to be used in conjunction with an electric signal at the key-boards. The pneumatic power-bellows V) is fixed on the table {a). On the under side of this table are three chambers, i, 2, and 3. These chambers communicate with each other, and also with the atmosphere by four holes in their partitions. This commu- nication is regulated by the position of the double action valve (b), composed of a rod and two discs. The end chamber (2) communicates through the table {a) with the interior of the power bellows {c). The chamber (i) contains compressed air. The double action valve is operated by an accessory bellows () will consequently be reversed ; the bellows (c) and (. 84 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN. 295. The opposite end of the lever is attached by a rod or wire to the armature of a small electro-magnet which is connected with a special battery and the draw- stop slider. Near the end of the slider is a fixed block of some non-conducting material provided with two metal plates to form terminals. 296. On the end of the slider itself is fixed a forked spring. When the slider is moved back this spring will be brought into contact with the terminals on the block ; and by completing the circuit the electric current will pass through the electro-magnet (s), which, by acting on its armature, will draw down one end of the lever and raise the coloured disc behind the hole, and thus indicate that the slide is on. Upon depressing the button the next time to close the draw-stop slider, as already explained, the slider will be drawn back away from the terminal block, and the electric circuit being thereby broken, the lever, with its disc, will fall into its original position, indicating to the player that the stop is off. 297. For combination movements in connection with this draw-stop action, a bell-crank lever (v) is connected to each slide by its upper arm, as shown in figure 85. Two metal springs {z>) are fixed at the ends of the other two arms, so that by the movement of the draw-stop slider they are alternately brought into contact with the metal surface of the blocks (w w). These metal springs are, by means of the conducting wire (x), in connection with one of the poles of the electro-magnet, which works the slide of that particular draw-stop. On the depression of the combination knob or pedal, an electric communication will be established from one pole of the battery to the terminals of each of the bell-crank levers. The current can, however, only pass through those levers which are in a suitable position.' For instance, figure 85 represents the slider on— that is, with the spring of the lever in contact with the block (w), thereby completing the circuit so as to allow that slider to be withdrawn. Should any of the stops of that com- bination be already withdrawn or closed, the lever would be in the opposite position, the circuit would be broken, and therefore no effect would be produced, as the slider would be in the required position without alteration. Should these stops be required to be brought on, another combination knob or pedal must be depressed, when the electric current would pass to the blocks (ro), and from thence through such of the springs as were in contact therewith to the lever, and thence to their magnets. If, however, any of the stops should happen to be open, the lever would be in the position shown in figure 85, and consequently their springs would not be in contact with their blocks ; and the circuit not being complete, no effect would be produced on those particular sliders, as in the opposite case. No insur- mountable difficulty stands in the way of opening the swell louvres by means of an arrangement of electro-pneumatics, but as it is necessary for the purpose of gaining a gradual crescendo effect to employ more than one electro-magnet, and as the electric current would have to be in circulation around them during the long intervals that the swell is locked open, it becomes an expensive arrangement as far as battery power is concerned. Mr. Bryceson has, therefore, adopted a hydraulic means of communicating the motion of the swell pedal at the console to the swell louvres at the organ. To effect this he uses two small brass cylinders —one placed immediately under the pedal, and the other beneath the connecting- rod of the swell louvres. These two cylinders are connected together by a small lead pipe filled with water. When the plunger at the pedal is depressed, the one under the swell is raised to a corresponding degree,— the motion being as much under the control of the player as if a connecting-rod was carried through, and of course with far less friction in long distances. The principle has been used with success in connection with the steering of vessels : Mr. Bryceson does not therefore claim it in his second patent as an invention, but only as a new adaptation to the THE ELECTRIC ACTION. 85 298. In the first organs Mr. Bryceson built on the electric system he was unable to overcome a certain difficulty connected with the draw-stop action, which did its work perfectly, except under the following circumstances : — If the knobs at the console were moved at a time either before the blowers had commenced or after they had ceased, no corresponding movement of the sound-board slider could of course take place, therefore the organist would be misled as to the real position of the sliders. It was also possible to move the knob so rapidly that the large pneumatic power-bellows had not time for inflation, before the momentary contact had again broken. These shortcomings no longer exist, as he has invented an arrangement which provides that, however quickly the knobs are moved either singly or collectively, the contact will be prolonged to any length of time found necessary to insure the inflation of the large pneumatic power-bellows, and also on the bellows being filled every slider will be moved so as to correspond with the position of the knob to which it belongs, although these may have been moved during the time there was no wind in the organ. This arrangement Mr. Bryceson patented Feb. 3, 1869, and describes as follows : — Each draw-stop trace is provided with a metallic forked spring. Three metal plates are fixed near it in such positions that one arm of the spring is always in contact with either the second or the third plate, according to the position of the draw- stop trace. These two plates are respectively connected by two insulated wires with the positive and negative electro-magnets of the draw-stop apparatus, by means of which the slider in the organ is moved and thence with one and the same pole of the battery. The first plate is connected by an insulated wire to one of a pair of mercury cells placed near each other, and the other mercury cell communicates by another insulated wire with the other pole of the battery. Hence when the two mercury cells are connected together an electric circuit is completed round either the positive or negative electro-magnet of the draw-stop apparatus. The position of the draw-stop trace will show whether the forked spring is connecting the second or third plate with the first, and will therefore determine round which electro- magnet the electric circuit is completed. 299. The mode of establishing the connection between the two mercury cells is as follows : — A small pneumatic bellows, called the contact bellows, is fixed on a table, and kept distended by a suitable spring. The end of the top-board of this contact bellows carries two metallic points connected together and fixed in such a position as to dip into the two mercury cells on the depression of the top-board. Each draw-stop trace is also provided with a double incline, and one arm of a roller or lever is raised by this each time the trace is moved out or in. The other arm of the roller or lever thus pushes down the top-board of the contact bellows (the air being allowed to escape from the interior by a valve placed externally for that purpose), and by immersing the two metallic points in the mercury cells establishes a connection between them. 300. When the draw-stop trace is either quite out, or in, the arm of the roller or lever will exert no pressure on the top-board of the contact bellows which will be slowly raised by the spring, and thus the electric current will be broken. The duration of the contact and therefore of the current of electricity can be regulated by the dimension of the bellows, the depth of the immersion of the metallic points in the mercury, the strength of the spring that returns the top-board, and the size of the inlet to the bellows. 301. One contact bellows may be made to serve for a group of draw-stop traces by connecting all the first plates together and arranging each trace so as to move the roller or lever that depresses the top-board of the contact bellows. 302. In order to insure a correspondence between the position of each slider and the position of the knob at the key-board to which it belongs in case such ' 86 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN. knob has been moved while the wind was not in the bellows of the organ, a small tube is connected with the interior of the contact bellows and carried into one chamber of a double box near the battery. In this box there is another chamber which communicates by another tube with the interior of the main exhaust bellows. The partition between these two chambers is fitted with a valve which is connected by means of a lever and trace or other suitable mechanical contrivance to the frame holding the electrodes in such a manner that when the electrodes are only partially immersed the communication between the two is open. 303. When the bellows begin to rise, the electrodes are gradually immersed, and consequently the communication between the main exhaust bellows and the contact bellows is at first open and then closed. The result of the communication being open is, that the top-board of the contact bellows is depressed ; hence, if, at the time the blowers begin to blow, the position of the slider does not correspond with the position of the knob at the key-board to which it belongs, it is at once moved into its corresponding position by the action of the electric current on one of the electro-magnets ; and then, the communication being closed between the main exhaust bellows and the contact bellows, the top-board of the contact bellows rises, and the electric circuit is again broken. If a battery be used in which the electrodes are always immersed, a separate pneumatic bellows can be used to open and shut the valve between the two chambers of the box, which can then be placed in any convenient part of the organ. Valves are placed in the contact bellows to prevent the air in the tube from passing into them when they are depressed by the draw-stop traces. The same patent protects Mr. Bryceson's arrangement of opening and closing the swell louvres by a column of water and two cylinders with plungers, as before described. Also, the application of hydraulic cylinders and a pressure of water for working the combination movements, so that they can be commanded by the performer without offering the usual great resistance. 304. It has now been explained in detail the construction of an electric organ as regards the sound-board, key, and draw-stop action, combination movements, method of opening the swell box, automatic battery attachment and console. The grouping of these parts so entirely depends on the nature and extent of the organ which is to be built, that it is impossible to present any diagram which will show properly the relative positions they will occupy in an entire instrument. 305. Before dismissing the matter of construction, it may be well to observe that the battery employed is simple, inexpensive, and easily replenished by any careful person. It will not require attention more than four or five times a year. There are no grounds for supposing electricity to be a treacherous or uncertain agent. It is well known that chemicals of the same quality will, under similar circumstances, give the same result in their action. Ample notice of any decline in the power of the battery is given by the galvanometer placed in the console for that purpose, which serves as well to show whether or not the wind is in the organ, as indicated by the immersion of the electrodes. Thunder storms, or the electric condition of the earth, have no effect on an electric organ, as earth currents are not employed as in telegraphy. The adoption of electricity and insulated wire to replace or supersede the mechanical action in large organs is not merely a new process to attain the same end, but, independently of the suppression of a multitude of moving parts, many new advantages are presented otherwise unattainable. The touch is more delicate, rapid, uniform, and invariable. The durability is increased owing to the absence of wear and tear. The key-boards can now be placed at any required distance from, and quite irrespective of, the relative position of the organ ; therefore the organist may choose a position where he can hear the effects he produces, and the voices he leads or accompanies, without in any way increasing the comphcation or proportionate liability to derangement. Many THE ELECTRIC ACTION. 87 • positions can now be utilized with the grandest effect that were formerly utterly impracticable. Powerful west-gallery organs may be played from the east end of the church, entirely through a cable of insulated wire an inch in diameter, or attached to additional manuals provided for that purpose at a mechanical organ placed close to the choir. Again, in Roman Catholic churches, an altar organ, to accompany the priests, can be similarly played from the west-gallery organ, and thus one organist will be able to accomplish the duty performed by two, as in foreign churches. Many other novel dispositions and architectural arrangements suggest themselves now as perfectly practicable. 306. The electric principle is applicable to the reconstruction of organs already built, though in such cases all existing mechanical action must be thrown away ; consequently it is more expensive than when applied in new organs. The cost must necessarily exceed that of ordinary construction, unless similar conditions are imposed, in which case comparison will be favourable, although in addition much more valuable and imperishable materials are employed in the electric organ, and the larger it is, the less the proportionate cost of the application, besides the greater the advantages gained. Should the manuals not require removal, but occupy the ordinary position, close to the organ, an electric key-action, to ensure a light touch, may be employed with a mechanical or common drawstop-action, and so save expense. 307. Mr. Bryceson's first electric organ was built for Her Majesty's Opera, Theatre-Royal, Drury Lane, carried on there on account of the destruction of the old house in 1867. This organ, erected within three months of the time he obtained the concession from Mr. Barker, was placed behind the scenery on the O.P. side, fifty feet away from the key-board, which was in the orchestra, where the organist could see the conductor and instantaneously realize his suggestions and directions. It was first publicly used the 25th of May, 1868, and continued in operation till the end of the season without the slightest derangement or requiring attention. He then erected it in the Polytechnic Institution, Regent Street, where it has been performed on twice daily ever since. This was the first organ which had an electric draw-stop-action and a cable of insulated wire through which it was played. No such example yet exists in France. 308. The next was built for Christ Church, Camberwell. It contains two manuals and independent pedal organ, twenty sounding stops and five couplers. It stands above the vestry, in a chamber on the south side of the chancel, and the console is on the opposite side amongst the stalls for the choir ; fifty-five feet of cable intervenes, and runs beneath the encaustic tiles, passing through a drain- pipe provided for it. Exhaust is used for the key pneumatics, and exhaust and pressure for the draw-stop-action. This organ was previously erected for the Festival, Gloucester Cathedral, September 7th, 1868. Mr. Bryceson has also just completed the reconstruction of the large organ in St. Michael's, Cornhill. This fine instrument contains three manuals and independent pedal organ, thirty-seven sounding-stops, and seven couplers. The console is opposite, and facing the organ at a distance of thirty feet, thus placing the choir between the organist and organ. The cable contains 336 insulated wires and measures i^ inch in diameter ; it is carried through a small drain pipe under the chancel floor, and this constitutes, with the exception of the lead pipe for the swell cyhnders, the only connection between the organ and the console. Exhaust is used for the key pneumatics, and exhaust only for the drawstop-action. He is also finishing a large electric organ for St. George's Church, Tufnell Park, to be placed over the west door, and he has others in course of construction for St. Augustine's Church, Highbury, Minley Manor, near Farnboro', and Her Majesty's New Opera-house, Haymarket, all on the electric system. 88 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN. CHAPTER XVI. THE SHIFTING MOVEMENT, AND THE COMPOSITION PEDALS. The shifting movement. jog. BESIDES the means just described for bringing the sliders under the control of the hands of the organist, others were in the course of time devised for bringing some of the stops of the great organ under the control of the feet of the performer, called shifting movements. Many of Father Smith's smaller church organs consisted simply of one manual organ of full compass, with perhaps also an "echo" to middle c'. This was the case in respect to his instruments in the churches of St. Mary-at-Hill; St. Mary's, Oxford; the Theatre, Oxford, etc. There being no choir organ for softer playing. Smith attached to most of such instruments — perhaps to all of them — a movement worked by a pedal, the depres- sion of which silenced particular stops — usually all the flue stops of smaller size than the principal, and also the reed-stop — and so they remained as long as the pedal was held or hitched down ; and on raising or releasing it, they again came into play. Snetzler also made use of a similar appliance for his small organs. The shifting movement had to be supplied with springs to draw back the sliders on the removal of the foot, the resistance of which had to be overcome before the pedal would act ; and this must have rendered its frequent use a matter of some toil and difficulty. The composition pedals. 310. These drawbacks led to the invention of the composition pedals; a system of mechanism in which springs acting in the way just described are entirely done away with, and wherein the sliders are left to remain as the pedal arranges them, until the hand, or another pedal, effects a readjustment. The merit of this invention appears to be due to the late Mr. Bishop, though a claim to some- thing of the same kind was made also by the late Mr. Flight. 311. Of composition pedals there are two kinds— the "single-action" and the " double-action." The single^action com- 3 1 2. A single-action composition pedal operates in onevfuy post ion pe a . ^^^j^ . ^j^^^^ j^^ .^ either draws out or thrusts in a given number of sliders, but does not do both. 313. For example, one composition pedal of this kind will simply draw out stops, say Nos. i, 2, and 3 ;* a second, stops Nos. 4, 5, and 6, and so on. But the first pedal will not draw in all the stops, except Nos. i, 2, and 3 : this, if done at all, must be accomplished by a third pedal. Some single-action composition pedals, therefore, only draw out stops ; others merely draw some in. They are now seldom if ever made. The double-action com- 3,4. A double-action composition pedal performs both offices. position pedal. j, .„ -.j. -i ,, ; It will either draw out all the stops up to a certain one, or it will draw in all to the same certain one. Or, supposing a combination to have * Instead of making use of the names of stops in this explanation, figures are employed, as it is thought the description will be rendered more clear by being divested of all technicality. THE SHIFTING MOVEMENT, AND THE COMPOSITION PEDALS. 89 been previously prepared, composed partly of stops below and partly above the number acted upon by a certain pedal — as, for instance, Nos. i, 2, 5, and 6 — on pressing down the composition pedal that throws out stops Nos. i to 3, the stop No. 3 will be added to Nos. i and 2, and Nos. 5 and 6 will be drawn in. 315. The full operation of the "double action" can be interestingly brought under observation in the following manner : — If the mixtures and reeds only be drawn, and the pedal that acts on the great organ stops " to fifteenth " be pressed down, the stop handles that were previously in will all be thrown out, and those that were out will be drawn in. 316. To modern organs of moderate size there are usually 3, 4, or 5 double- action composition pedals, controlling the great organ stops ; and sometimes there are also others which affect the swell and pedal stops. 317. The second composition pedal is usually designed to prepare a louder combination than the first ; and the third, if there are only three, generally brings into operation the remaining and most powerful stops. 318. The second one will therefore draw the sliders up to, say No. 6, {{fewer are out ; or it will draw in to that number, if more are out. The third will generally draw out all the remaining sliders, or such of them as may previously have been left undrawn ; and so increase the tone of the great organ to its fullest power. Occasionally, indeed, the trumpet is not thus drawn, but is left to be added by the hand. The composition pedal action. 319. Of the composition pedal action there are many varie- ties, almost every organ- 86 builder having some plan which differs, either in principle altogether, or in some matter of detail, from that adopted by all the others. The kind of action represented in the fol- lowing engraving, however, has been very generally used. It consists of two iron rods, or " composition irons," disposed horizontally {a a b, fig. 73), furnished with vertical iron arms (c c e e e) ; the whole of which are brought under control in the region of the manuals, through the aid of some simple mechanism, such as that indicated at df. Tlie way in which the 320. On pressing down the composition pedal (/), the action operates. horizontal arm {d), projecting from the first composition iron {a a) is drawn downwards, partly turning the composition iron on its axis. The upright arms at the end (« e e) are by this motion turned inwards, towards the sound-board, thrusting back the sliders with which they are brought into contact. The composition irons are supposed to be placed at the opposite end of the sound- board to the draw-stop-action ; consequently their motion produces an effect the 7-everse of what they would do were they placed at the same end of the sound-board. Thus, thrusting in the sliders at the one end is of course equivalent to drawing them out at the other. The first three sUders being thrust back, the draw-stops acting thereupon start forward, and the three stops governed by those draw-stops and sliders respectively are now ready for use 321. As the first composition iron revolves, the contact (o) strikes against the contact {h) belonging to the second composition iron (*), and causes the second composition iron to revolve the contrary way to the first. The arms {c c), being 90 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN. made to move only with the body, take also the contrary course, moving the other sliders with them ; and thus is it that the " double-action " is established, and the power secured of restoring any combination of stops to one particular form, by simply the pressure of the foot upon a pedal. 322. Every " double-action composition pedal " made upon this principle is provided with two of these composition irons, one for drawing off such sliders as the other does not draw on. 323. The composition pedals are usually placed immediately over the German pedals in a row, and nearly parallel with the swell pedal ; but occasionally they project through the jambs, as that of the swell often does, some on each side of the pedal-board. 324. Mr. Willis constructs his composition appliances so that they may be worked with the fingers by the aid of pneumatic levers ; and for which method of putting them into operation he has secured a patent. No pedals are used, but simply studs or buttons, which project through the beading under the manual keys. Messrs. Bryceson sometimes use both the pneumatic buttons and the composition pedals in the same instrument. 325. Mr. Hill introduced into the Panopticon organ a piece of mechanism, worked by a pedal, which drew out all the great organ stops, singly and in succes- sion, producing thereby a gradual and complete crescendo ; after doing which, it drew them in again, one by one, producing as complete a diminuendo. Herr Walcker, of Ludwigsburg, produces a crescendo of the entire organ, which he has done at Ulm Cathedral, and also in his famous Boston Music Hall organ in America. 326. In the modern French organs by Cavailld Coll, and others, the combination pedals do not act upon the draw-stops, but upon, the wind. For instance, if you put down the pedal to take off the reeds, it does not shift the sliders, but cuts off the communication of the wind from the reed sound-board, which of course effec- tually silences the stops. The Festival organ at the Crystal Palace has pedals of this kind ; so have Cavailld's at the Carmelite Church, Kensington, and Mr. Gern's at the French Church in Leicester Square. Schulze's combination pedals in the new organ at Doncaster Church act in the same manner. 327. In Germany, composition pedals are scarcely known ; consequently the organs of that country are mostly without one of the greatest modern advantages, Batz, of Utrecht, is beginning to introduce composition pedals. 328. In arranging the composition pedals, some of the English organ-builders place the " loud pedal " to the left and the softest to the right, while others reverse this order. The adoption of one uniform plan is most desirable. Some of them, however, have a movement for disconnecting the powerful pedal stops — as will be seen on reference to some of the Foreign Specifications— which practically answers the same end. THE ECHO AND SWELL. CHAPTER XVII. THE ECHO AND SWELL. 329. Most of the old English organs originally possessed, and a few of them still retain, a department called the " echo." 330. The Echo organ consists of a duplication of the treble portion of some of the stops found on the other manual organs closed in a wooden box, to render their tone soft and more distant sounding than that of the stops of the same name in other parts of the instrument ; planted on a small sound-board of their own, and provided with a separate half row of keys. The name of this now nearly obsolete department in English organs plainly indicates the purpose for which it was originally designed. In the year 1712, a most important improvement on the old echo was effected by Abraham- Jordan, whereby the sound produced from its stops could be made to rise or fall on the ear with increasing or decreasing strength. This power was gained by making the front of the box that enclosed the pipes open in- stead of solid, as before, and furnishing it with a moveable shutter, fitting closely to and entirely covering the opening, and running up and down in a sash, like a window. A rope or lever attached to the shutter raised it, on the performer pressing down a pedal placed to his right and near to the ground, which action, gradually raising the sliding shutter, uncovered the opening in the box, and allowed the sound produced by the pipes within to emerge. The echo, in this greatly ameliorated form, was called the " swelling organ " or " swell," and rose so rapidly into repute, that the echo in its former primitive state fell into entire disuse in a very short space of time. 331. The " nag's-head swell" as the above early kind of swell was called, was not well designed, nor happily adapted to its purpose in a mechanical point of view. The weight or resistance to be overcome by the pressure of the foot was so great that the shutter could be set in motion only with difficulty ; and when it was in motion, there was equal difficulty in regulating the rate or extent of its ascent ; for it would then not unfrequently run up almost of itself. Its descent was similarly beyond control, and it would often fall with an audible noise. The nag's-head swell continued in use for upwards of half a century, till it was superseded by what has since been denominated the " Venetian swell." This kind of swell was adapted to the organ by Samuel Green ; it having previously been applied successfully to some of the better class of harpsichord. 332. The peculiarity of the Venetian swell consists in the front being composed of a series of " shades " or " shutters," measuring from six to ten inches in breadth, and from one and a half to two and a half inches in thickness. Each shutter is hung on an axis placed one-third from the top of its breadth. The edges of each shutter are bevelled away at an angle of about 45 degrees, so that the bevelled surfaces are parallel to each other, and each two contiguous boards are made to overlap each other, the bevelled surfaces meeting, so that the whole front may be quite ilush or even when the shutters are closed. An arm projects a few inches from each shutter, in a line one above another, and these are -all connected with a perpendicular rod, so that when the rod is raised, which is done by means of a pedal, all the shutters are opened. The bevelled surfaces of the shutters are covered with felt or some such substance, to make them fit closely and shut in the sound. Cloth and matting were 92 THE WIND-DISTRIBUTING PORTIONS OF THK ORGAN. for some time used as a lining to the box to deaden the sound when the swell was closed ; but they exercised a similar influence also when it was open ; besides which the former material harboured moths, and the latter crumbled into dust, some of which found its way into the pipes. Brown paper well coated with glue, covers the pores of the wood of the box, and so keeps in the sound when the shutters are closed, at the same time that it presents a hard surface to reflect the sound when they are open. 333. The resemblance which the shutters of a modern swell bear to Venetian window-blinds, readily suggested the designation by which they are now so generally known. 334. When the shutters of a swell are narrow, they are of course more numerous ; and in such cases, when open, they present a greater number of thicknesses of wood to check the egress of the sound. On the other hand, when they are broader, and consequently fewer in number, they are more liable to " cast." 335. The swell-box and shutters are shown in profile in the general section. See fig. 4. 336. On a well-constructed Venetian swell, a practised performer can imitate, not only a gradual crescendo and diminuendo, but also a sforzandoj a very small opening being sufficient to make an immediate burst on the ear, while, when the shutters are closed, a close imitation of an echo is produced. When the shutters are closed, they take that position either from their own weight, or from the influence of springs or weights. 337. In the lower part of the swell-box, in front, or at the back, or sometimes in both places, according to the plantation of the reed-stops, there is usually either a long moveable panel or a wooden flap, corresponding in length with the swell- shutters, behind which are ranged the pipes forming the reed stops, to which access is thus easily gained, for tuning purposes. 338. Other facilities for tuning are usually provided, having special reference to the adjustment of the flue stops. These consist of large openings in each side of the swell-box, ordinarily closed by doors or panels. By removing these, the tuner can reach the top of any flue-pipe that may require his attention. 339. Large swell sound-boards have frequently a centre passage-board, in which case there is an entrance door provided through the centre of the front of the swell, and the shutters are divided into two smaller sets. 340. A good Venetian swell, constructed on the ordinary principle, is capable of producing great effects of light and shade ; yet attempts have been made from time to time to increase its contrasting powers. 341. One plan consisted in enclosing the original box in a second case, with a space of a few inches left between the two at the sides, back, and top, and filling the interstices with shavings, sawdust, or any other material that would prevent the escape of sound. In the front were placed two or even three sets of shutters, which did not all open simultaneously, although acted upon by one pedal, but, by a suitable arrangement of cranks and levers, on the gradual depression of the pedal, one set commenced its motion, then a second, and finally the third, each of the latter two with an accelerated pace, as compared with that of the one that preceded it ; so that all three sets arrived at their extreme opening at the same moment, the shades falling into parallel lines, presenting scarcely any obstacle to the free escape of all the sound which the enclosed pipes were capable of producing. The box of the swell in the organ at St. James's Church, Bristol, built by Smith of that city in 1824, under the direction of Dr. Hodges, was constructed in the manner just detailed. 342. Another plan provided the back as well as the front of the swell-box with Venetian shutters, as was the case at the parish church, Doncaster ; while the chief peculiarity in the third plan, devised for the same purpose, consisted in furnishing THE ECHO AND SWELL. 93 both the sides as well as the front of the box with shutters, as at York Cathedral. In this latter example the side shutters were made to work vertically. The shutters of the swell in the fine new organ recently erected in the church of St. Vincent de Paul in Paris, made by Cavailld Coll, also work in the manner just mentioned. The swell-box in this instrument presents the peculiarity of having its sides and back provided with plate-glass panels, by which means, not only is a perfect view of what is within obtained from without, but the inside of the swell is nearly as free from darkness as the other interior parts of the organ. 343. A swell imparts to the sound of an organ an agreeable undulating effect, similar to that produced by the wind on the sound of a peal of bells when it bears their tones first towards, then from the listener. An organ with a swell is, in fact, as much in advance of an organ without one, so far as the power of giving expres- sion to music is concerned, as a modern pianoforte is superior to the old harpsichord ; on which account, it is rapidly finding admission into the organs of France and Germany. 344. The compass of the early swells was very limited, usually extending only to middle c', fiddle g, or at most to tenor f. The swell of the fine organ in St. Maiy Ratcliff Church, Bristol, built by Harris and Byfield in 1715, descended to gamut G ; while that of the equally fine instrument at Great Yarmouth, erected by Jordan, Bridge, and Byfield, in 1733, went to tenor c. The shorter ranges, never- theless, were generally adhered to until the time of Samuel Green, who held this department of the organ in special estimation, and improved it in a variety of ways. In two of his instruments he again extended the swell compass by nearly a whole octave. The admirable organs in which these evidences of Green's sound judgment are to be found, are those in St. Katherine's Church, Regent's Park, brought from the demolished structure of that name, near the Tower, and in the chapel of Green- wich Hospital ; in the former of which the swell descends to gamut G, and in the latter, a tone lower — namely, to FF. Green originally enclosed even the great manual organ of his instrument in St. George's Chapel, Windsor, in a great swell. Cavailld's organ at Kensington is so enclosed. 345. Some of the old swell boxes were furnished with a wooden tube, not unlike a wind trunk, projecting from the back of the box, and passing out into the tower of the church. This was the case with the organ at St. Martin's-in-the-Fields, built by the elder Gray. The end of the tube attached to the swell-box was furnished with a trap, which opened when the swell Was closed, and closed as the swell was opened ; by which means the subdued effect of the swell, when shut, was increased, on account of an outlet being thus afforded for the SQjmd. This contrivance suggests a method of overcoming a difficulty with regard to the larger swells of modern organs. If the swell is much used without being opened, and the shutters fit accu- rately, the atmosphere within the swell-box becomes increased in density by the o-reat quantity of wind that rapidly passes through the large pipes into the circum- scribed area of the box, which has the effect of flattening the pitch of some of the pipes. If, on the other hand, a little leakage be allowed, the escaping air, by caiTying some of the tone with it, renders the softened effect of the swell less perfect. By adapting a tube, as above, there would be free ventilation within the swell-box, when closed as well as when open, whereby the freedom of speech of the large as well as small pipes would be better secured ; the pipes would not be thrown out of tune by being smothered ; and the fullest contrasting powers of the swell would be preserved. If the swell were likely to be exposed to two temperatures — a second and lower one from the tower when the shutters were closed — this might be rectified by a small gas jet placed at a safe distance from the mouth of the tube. In his Exhibition organ, Mr. Willis secured a free circulation of air by putting the swell bellows inside the swell box. 94 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN. CHAPTER XVIII. THE TREMULANT. 346. The tremulant is a small apparatus that gives to the tone of any depart- ment of an organ to which it may be applied a waving or undulating effect, resembling the vibrato in singing, and the tremtilando in violin playing. It has long been known in England by tradititon. A " shaking stoppe " formed part of the organ made by Dallam, in 1606, for King's College, Cambridge ; another was included in Loosemore's organ for Sir George Trevilyan, built in 1665 ; a " Trimeloe" occurred in Smith's organ at St. Mary-at-Hill, 1693 ; and another formed a portion of the original work of Snetzler's organ in the Lutheran Church, at the Savoy, Strand. The old tremulants, however, were very noisy contrivances ; hence they were not favourably received in this country, and they were latterly also omitted from most of the new organs in Germany. In Paris a better kind of tremulant action was devised, not many years ago, on which, nevertheless, the English builders have succeeded in making considerable improvements ; the first church organ in this country to which a tremulant of the new kind was applied, being that at St. Luke's, Old Street, the addition being made by Mr. Davison. 347. The accompanying engraving {fig. 74) represents one of the most successful 87 tremulant actions. It is supposed to be fixed to one of the broad sides of the wind-trunk. The wind passes through a hole in the wind-trunk (//), into the wind-box {a a a), and hence through an internal aperture in the slab {b b b), info the tremulant {c c c), which also has an aperture through it, covered by the pallet (ddd) held firmly down by the screw {i). The tremulant is thus set in motion. The rod {K) turns the screw half-round in the socket (/), the pallet (ddd) being thereby raised shghtly ; the tremulant {c c c) immediately follows the pallet (d), by reason THE TREMULANT. 95 of the internal pressure of air on its under surface ; but it is immediately thrown back by the spring (^), which, in power, just counterpoises the upward pressure of the tremulant (c c c). These two opposing forces — viz., the wind inside and the spring outside, impart a trembling motion to the tremulant, which motion is com- municated to the bar {K). The rapidity and regularity of the vibrations depend upon the length and thickness of the vibrating bar, influenced, in some examples, by a small sliding weight at the end, on shifting which nearer to or farther from the tremulant, the vibrations are accelerated or retarded. 348. The tremulant is here described in connection with the swell, because that is the department to which it is the most usually attached in England ; besides which, its effect is considerably enhanced when brought into conjunction with the numerous other resources of the division of the organ just named. The effects of forte, piano, crescendo, diminuendo^ sforzando, and tremulando are then all attain- able from that one department alone. 349. The tremulant effect in an organ is of older date than the tremulando and vibrato effects in instrumental and vocal performance. This fact may be gathered from the following passage taken from Grassineau's Musical Dictionary, ed. 1740, p. 289:— 350. " Tremolo, Tremolante, or Tremente, 'tis not often used, except thus abbreviated — Trem. or tr.j to intimate to the instrumental performers of a piece, that they make several notes on the same degree or pitch of tune, with one draw of the bow, to imitate the shaking on the organ. Tho' this is often placed in the vocal parts of a song." We have examples of both in Mr. LuUy's opera of Isis. ?DtiJision Cf. THE SOUND-PRODUCING PORTIONS OF THE ORGAN. CHAPTER XIX. THE MATERIALS USED FOR ORGAN-PIPES. 351. Having now described the wind-collecting and distributing portions, as also the mechanism of the organ, the next subject to be considered is the nature and construction of those parts from which the ione of the organ is more imme- diately produced. 352. The sound of an organ emanates from an assemblage of pipes, which are made either of tin, metal, or wood ; are round or square, long or short, broad or narrow, according to circumstances. But first of the materials. 353. The various substances of which organ pipes are made are tin, metal, lead, antimony metal, zinc, and wood of various kinds. Tin. 354. Of all the materials just specified as being used for organ pipes, tin ranks first in point of excellence ; and of the many existing varieties of this substance, that found in England is held in the highest esteem, not only by some of the organ-builders of this country, past and present, but also by the Continental artists, by the latter of whom it still continues to be used in liberal quantities. Thus we find English tin mentioned as being used for a greater or less number of stops in some of the specifications of foreign organs contained in the Appendix to this book ; while in other cases, other kinds of tin are named, as Prussian tin, probe tin, or simply " tin." 355. Tin has occasionally been used by English organ-builders for organ stops for many years past. Greenwood, of Leeds, introduced a dulciana of this material into the organ in Brereton Hall upwards of twenty-five years since ; Mr. Hamilton, of Edinburgh, has employed it exclusively for many years past ; and more recently it has been used by Mr. Davison for the great Open Diapason, and an interior stop in the Eton College Chapel organ (built 1852) ; also for the choir Open Diapason in the Glasgow Town Hall organ (erected in 1853); 3-id by Mr. Walker, for the Open Diapason and Dulciana forming the Bass continuation to the Viol di Gamba in the organ at Holy Trinity Church, Vauxhall Bridge, finished in the year 1852. 356. Tin recommends itself as a material for organ pipes by its great durability, its superior silver colour, and its lightness. It is very ductile, on which account pipe-work made of such material does not nearly so soon become cracked or broken round the top by the force necessarily exercised with the tuning-horn during the process of tuning. Neither are pipes of this metal so soon attacked by the strong acid in the wood-work that sustains them (the upper-boards), but which will eat away the lower part of pipes made of many other materials that are more frequently used. It undergoes but little change, either from exposure to the THE MATERIALS USED FOR ORGAN-PIPES. 97 atmosphere, or to the impure exhalation produced by the breathing of a closely packed audience ; and it resists the influence of sulphurous vapours, such as the furnes from gas. Nor is it oxidised even by the combined action of air and moisture ; on which last account it has always been liberally used for the pipes of organs in those countries where there is a humid atmosphere, as in Holland ; and the use of wood pipes at the same time avoided, as far as possible, on account of their tendency to swell from the damp. Of the sixty stops in the Haarlam organ, only one is of wood — namely, the pedal Siib-bass— and that is a subsequent insertion. The front pipes of that celebrated instrument, the largest of which is nearly forty feet in length, are of pure tin ; while the inside pipes are made of metal compounded of half tin and half lead. 357. Tin, again, is less susceptible of change of temperature than are many of the compounds in common use, on account of its greater hardness : consequently pipes of this material stand much better in tune. 358. Tin does not soon become tarnished ; hence its peculiar appropriateness for ungilded " front-pipes," for which purpose it has indeed been used for centuries in even the humblest village church organs in Germany ; and when it does at length become dulled, its splendour is easily recovered. 359. The lighter specific gravity of tin, again — fully one-third less than that of lead — is in its favour ; a given quantity of the former going much farther than an equal weight of the latter. This is supposing the pipes to be made from sheets of the sajne thickness; but as this is but seldom the case — the i6-feet front pipes of the organ at St. Roque's Church, in Paris, however, forming an exception, they being of tin, and of remarkable substance — the tin would probably go as far again as the lead. The great cost of tin — five or six times that of lead — and more parti- cularly the baneful " low-contract" spirit which unfortunately pervades most modern tr'ansactions in organ-building matters, preclude its use to any great extent in this country, although it would, on account of the greater durability of the material, prove to be the cheapest in the end. The easy fusibility of tin renders the joining together of the edges of sheets of that metal a work demanding great care, as it is possible otherwise for the melted solder to fuse them instead of uniting them into a seam ; hence a small portion of alloy (lead) is frequently added, which renders the substance less susceptible of heat. According to a late experiment, tin fuses at 442°, whereas lead requires 612° of Fahrenheit's thermometer. CavailM Coll, the eminent organ-builder of Paris, generally proportions i-ioth of lead to 9-ioths of tin ; and Schulze, one of the most excellent builders in Germany, uses i-4th of lead to 3-4ths of tin ; and for his ordinary metal, half tin and half lead. The two ingredients just named are said to fomi the hardest compound, when the propor- tions are i-4th of lead to 3-4ths of tin. 360. Some German organ-builders draw a distinction — and a very good one — between " pure tin " and " tin." The term " pure tin " of course explains itself ; but the material is still called " tin " so long as the proportion of alloy is so small as to improve the mass ; and this is considered to be the case so long as the alloy forms no more than i-4th of the total weight of the metal. Pipes composed of this material are said to produce the greatest amount of tone, combining brightness with fulness. When the pipes are of " pure tin," if they are also made of good substance and well blown, the tone has a tendency to become rather piercing ; if, on the other hand, they are made thin and less copiously winded, the sound will be very musical, though not so weighty as that from more solid pipes of the same scale made of the alloyed tin. Hence the latter material is preferred for the Strongest-toned stops ; and the former for others of a clear, cutting, crisp, or light intonation. Thus the Gambas, Salicets, &c., in Germany, and the choir Open S 98 THE SOUND-PRODUCING PORTIONS OF THE ORGAN. Diapason and Dulciana of English organs, are not unfrequently made of " pure tin." 361. The original front pipes of the Temple organ, made by Father Smith, are rather more than 3-4ths tin. The specific gravity of the metal of the last- mentioned organ is 7-911 (that of water = i) ; and its composition is as follows :— Tin 76'95o4 per cent. Lead 21-9017 „ Copper -5183 „ 99'3704 362. The presence of copper, which is only about a half per cent., is no doubt accidental, and was in combination with the tin ; a small quantity of copper being commonly found in ordinary commercial tin. The above composition very nearly accords with what would be called by the German organ-builders " 12 J lothig metal" — that is, one pound (= 16 loth) of the metal contains 12^ loth of tin, or 12J oz. of tin to 3J oz. of lead. The proportions of tin and lead, therefore, lie between 4 of tin and i of lead, and 3 of tin and i of lead, as above intimated. 363. In Die Orgel, by Topfer (Erfurt, 1843), page 175, a table is given of the specific gravity of metal with different proportions of tin and lead, from which it appears that the specific gravity of that consisting of 4 of tin and i of lead is 7-8830, and that containing. 3 of tin and i of lead is 8-0380 ; the specific gravity of the Temple metal being between the two — namely, 7-9111. The front pipes of the organs at St. Paul's Cathedral and Trinity College Chapel, Cambridge, are also of ' very fine metal, and of considerable thickness ; hence the rich and resonant character of the Diapasons of all the instruments above named. Metal. 364. Metal is a word used technically by organ-builders ; and is understood to signify a mixture of tin and lead, which compound is valued according to the quantity of the former ingredient contained in its composition. The metal ordinarily used abroad consists of \ tin and ^ lead. The distinction between tin and metal stops, as well as the proportion of tin and lead used in the composition of the metal, will be found interestingly illustrated in some of the Specifications of Foreign Organs included in the Appendix. Spotted Metal. 365. There is a compound now much used in England, and held in high repute, called " spotted metal," from its surface being mottled or covered with spots. The spots gradually appear on the surface as the metal cools after being cast into sheets, and " rise " when the ingredients contain about J of tin. They are, therefore, generally viewed as an evidence of the goodness of the material. Spotted metal was frequently made use of by the younger Harris and Green, also by Lincoln. In the present day it is constantly used by Walker, &c. L=ad- 366. Lead, either alone or with but a slight admixture of tin, from its inability to sustain itself for any lengthened period, is, as a material for metal organ pipes, comparatively worthless. The greater thickness to which a sheet of this metal must necessarily be made, to compensate for its natural softness, added to its greater specific gravity, are circumstances that render the bodies of leaden flue pipes so heavy that their feet are very liable to become depressed at the apex from the weight, and the languid to sink, whereby the intonation of the pipe is endangered, if not lost. The. tubes of THE MATERIALS USED FOR ORGAN-PIPES. 99 reed-pipes, especially, are very apt to bend at the narrow end or stork, from this weakness. Bad metal is discernible in a variety of ways ; to the eye, by its dark blue tint ; * to the touch, by its producing a dull hollow sound on being rapped, whereas pipes of good thick metal produce a clear ringing sound ; and to the nail, by its being easily scratched, whereas tin can scarcely be marked in that manner. Metal, composed chiefly of lead, also easily soils paper rubbed upon it. The organ in the Minoreten Church at Bonn— the instrument on which Beethoven used to play — has its metal pipe-work composed entirely of lead, including the 16 feet front. It is not a very good instrument. Antimony Metal. 367. Antimony metal is compounded chiefly of lead and antimony, or lead and type. The antimony imparts considerable hardness to the mass ; so that the possibility need scarcely exist of a pipe-foot or languid of antimony metal sinking. The drawback is its brittleness ; pipe-work of this compound being very liable to crack round the top after being subjected to the action of the tuning-horn for a few years. A proof of this lack of tenacity in the metal in question is obtained by bending a piece of it to and fro, when it will be found to break asunder on reversing the bend. In some instances the antimony has been known to separate itself from the lead, leaving the pipes covered with little indentations ; and reed-pipes of antimony metal have been known to snap off suddenly at the stork, and fall from their situations. Zinc- 368. Zinc has frequently been used of late years in Eng- land, by Hill & Son, and others, for the structure of large metal pipes ; and it is a material that unclergoes but little alteration at common temperatures, under even the combined influences of air and moisture. The tone produced from pipes oi this substance, when voiced by the hands of a master, is very fine and weighty. Its cost, again — far less than that of good metal — much favours its introduction. The tubes of the 32 and 16 feet reed stops in many of the Continental organs are made of this material. The 32-feet Posaun on the pedal at St. Roque's, Paris, is of zinc ; so also is the i6-feet Bombarde in the organ at St. Martin's, Liege. The front Double Open Diapason (32 feet) in the Birmingham Town Hall organ is likewise of the same material ; and there is a Double Open Diapason of the same size and metal also in the Cathedral organ at York, of very fine tone, and a very fine 16 feet Pedal Diapason of the same substance in the transept front of the organ in Doncaster Church. The casting of the 365. In order to prepare the metal for use, of which "^ ^ ' organ pipes are to be formed, the ingredients are melted together in a copper, and then cast into sheets j a process effected by pouring it, in a molten state, into a wooden trough, and running the trough rapidly along a bench faced with tick. The metal escapes from the trough through a narrow horizontal opening at the back, leaving a layer of metal behind it as it proceeds ; and the wider the cutting is, of course the thicker will be the sheet of metal produced. After being cast to an approximate- thickness, the metal is planed down to the precise thickness required. It is then cut into portions of the * "In the Continental organs, the pipes visible in front of the case are carefully finished and burnished, and show the bright natural lustre of the white metal ; but, in England, where the ignoble alloy is incapable of retaining its polish, the pipes are obliged to be gilt or painted, to make them appear respectable." — Musical ImtrumetiU in the Great Exhibition^ by Wm. Pole, p. 49. S 2 100 THE SOUND-PRODUCING PORTIONS OF THE ORGAN, shape necessary to give to the pipes the required size and form, and is thus finally worked up. Wood. 370. A great number of the large pipes, as well as some of -the smaller, are made of wood ; and experience proves that pipes made of good wood do better service, and are of longer duration, than inferior metal ones. 371. Dr. Burney was assured by Snetzler, who had seen Father Smith work, that he was so particularly careful in th€ choice of his wood, as never to use any that had the least flaw or knot in it ; and so tender was he of his reputation, that he would never waste time in trying to mend a bad pipe, but would immediately throw it away and make another, which accounts for the soundness of his wood pipes to this day. The woods chiefly made use of for modern pipes are cedar, deal, and pine. Oak was employed by Father Smith, but not frequently, in consequence of its cost, and the expense of working it. The bass of the Stopped Diapason in the great organ at the Temple is however of this material. So also is the Flute in the great organ. Mahogany is occa- sionally adopted for the pipes of organs destined for hot climates, as in the organ at Calcutta Cathedral, built by the late Mr. Gray. Other woods are sometimes made use of in Continental organs, as maple-wood, pear-tree-wood, cypress-wood, box-wood, &c. — See Foreign Specifications. The seasoning of the 372. The wood of which organ-pipes are to be made is first well seasoned ; that is to say, it is thoroughly exposed to the air for a few years, — and, to a certain extent, also to the rain water, — to destroy all its vital properties ; after which it is kept in a dry place, where the air can get to it freely, to prevent its decaying. If any sap were to remain in the timber — i.e., if the wood were not to be thoroughly seasoned — it would be very apt, after being worked up into pipes, to split on becoming dry, and so render the intonation faulty. 373. With the view to rendering the wood pipe-work thoroughly sound, such knots in the timber as cannot be avoided are covered well with glue and leather, or paper, to prevent their falling out ; or they are extracted, and their places filled in with other wood. After this, the wood pipes are often covered on the outside with a coat of red size (which by no means improves the appearance of the interior of the organ), and inside with a layer of thin glue, to fill up the pores of the wood, which, by rendering the surface smooth, improves the tone of the pipes. THE PLAN, OUTLINE, AND STRUCTURE OF ORGAN-PIPES. lOI CHAPTER XIX. THE PLAN, OUTLINE, AND STRUCTURE OF ORGAN-PIPES. 'dl'thtpLT'^ °""'"^ 374. The next particulars to be noticed are the p/an, outline, '^°*' and proportions of the pipes that are formed out of the several materials just enumerated. 375. In regard to plan, organ pipes are divided into three classes — round, four-stded, and triangular; the respective kinds of plan almost necessarily arising from the employment of the flexible and the stiff substances. 376. In regard to shape and outline, organ-pipes are very diversified ; and every variation in these respects causes more or less alteration in the strength or character of the tone of the pipe. 377. The chief varieties of metal round-bodied pipes are the Cylindrical, Conical, Conical, surmounted by a bell. Inverted cone, and Inverted cone, surmounted by a belL 378. Wood pipes are divided into Four-sided, Three-sided, Cylindrical, Pyramidal, and Inverted pyramidal pipes. Cylindrical pipes. 379. Pipes classed Under this head are such round ones as preserve the same diameter in body all the way up. There are three varieties of cylindrical pipes — the open, the stopped, and the half-stopped. Open cylindrical pipes 380. Open cylindrical pipes are the most numerous in all Kfis- 76, p- 102.) organs ; the stops called Open Diapason, Principal, Fifteenth, and Mixture, among others, being ordinarily composed of pipes of this shape. Open cylindrical pipes are therefore used for the strong- toned flue stops. Stopped cylindrical 381. Stopped Cylindrical pipes are such as have their top pipes [_fig. 77, p. I03.) (,jQgg(j Q]. covered in by a metal covering or cap {a, fig. 77). Stops composed of pipes so formed are rarely to be met with in England, except in old organs ; and there they are only occasionally to be seen. There was an excellent one in Father Smith's organ in Chester Cathedral ; and the pretty^ (so- labelled) Stopped Diapason in the swell of the small organ in All-Hallows, Bread Street (now removed), was formed of pipes of this description. Stops of covered pipes, however, are of common occurrence in the German organs, under the names of " Gedact " and " Quintaton." 382. The " Gedact 8 fusston," which is sometimes made also of wood,, is a full. 102 THE SOUND-PRODUCING PORTIONS OF THE ORGAN. yet mellow-toned Stopped Diapason. The " Quintaton 8 fusston" is a Stopped Diapason of smaller scale, which sounds the Twelfth or Octave-fifth as well as the fundamental or ground-tone. Half-stopped cylindrical 383. Half-stopped Cylindrical pipes are far more common in pipes {fig. 78.) English organs than are the last mentioned. They are formed much after the manner of the covered pipes just noticed, the chief difference con- sisting in the cap being perforated in the centre with a small tube or chimney rising therefrom, and hence calledyf^/^ d. cheminie by the French. (See e,fig. 78.) Stops of this kind are frequently to be seen in old organs, and occasionally also in modern ones, under the names Stopped Diapason (metal). Flute (metal), &c. ; although the stop-labels seldom indicate their presence, so far as the material is concerned. n 78 384. The great and swell Stopped Diapasons and the swell Flute in the organ at the Temple Church are of metal ; so were those in Harris's fine organ at Doncaster, destroyed in 1853. There is a fine metal Stopped Diapason in Bridge's great organ at Christ Church, Spitalfields. Perforated cylindrical 385. Perforated Cylindrical pipes are used in the formation '"^^^' of certain stops. Thus the small pipes of the Keraulophon are pierced through the body, near to the top ; those of the English Hohlflute have two holes near to the top, and opposite to each other ; while those of the Flute Harmonique have each a small perforation half way up the body. 386. Besides the foregoing varieties, cylindrical pipes are made of wood in Germany, and produce a most exquisite tone. They are used for the " Flauto Traverse," among other stops, which stop, like the French Flute Harmonique, blows its octave in the upper portion of the scale. 387. Besides the flue stops already enumerated, some soft-toned reed stops are composed of cylindrical pipes. These are the Clarionet {fig. 79) and Vox Humana {fig. 80) stops. The former is formed of moderately long and narrow pipes which are quite open at the top ; the last-mentioned are of shorter and broader pipes, and half-stopped at the top. THE PLAN, OUTLINE, AND STRUCTURE OF ORGAN-PIPES. IO3 Conical pipes. 2g8_ Conical pipes are such of which the bodies lessen from the mouth upwards more or less rapidly. Pipes of this conical shape are rather rare in old English organs ; nor can they be traced very readily when they do occur, as their presence is seldom notified in any way on the stop-handles. Two varieties of conical pipes are here engraved. Fig. 82 represents the German " Spitz-flote," which is little more than half the width at the top ; and fig. 83 the German " Gemshorn," which is scarcely more than ^ at the top than it is at the mouth. Father Smith occasionally made use of conical pipes. A Spitz-flote and a Gemshorn of his make still exist on the choir manual of the organ in the Temple , Church. There was until recently a " Gemshorn Twelfth " in the choir at St. Paul's Cathedral. Within the last few years the use of conical stops has become rather general with the English organ-builders. 80 81 82 83 79 n 389. Messrs. Hill & Son frequently insert into their organs a stop of conical outline, and rather crisp tone, which they call " Cone Gamba, 8 feet." outspreading top Ifig. 81). Conical pipes, sur- 350. Conical pipes, surmounted by a bell, are used in the mounted by a bell or formation of the English Viol di Gamba ; the pipes of which stop, however, differ from those of the German one of the same name, in having the bell at the top, besides being conical. This kind of pipe is peculiar to the EngUsh organ, and was first introduced by Mr. Hill. Inverted cone 0^^.84). 391. Pipes of the inverted conical form— ?>., narrow at the lower extremity, and spreading out thence upwards {stefig. 84)— are employed to a great extent in most organs ; the greater portion of the reed-stops, as Trumpet Posaune, Clarion, Horn, Bassoon, &c., being composed of pipes partaking of this outline, the chief difference perceivable to the eye being in the proportion. Flue I04 THE SOUND-PRODUCING PORTIONS OF THE ORGAN. pipes are made of this shape on the Continent, and form the stop called the " Dolcan" {fig. 85). A stop of this shape and name occurs' in the organ at St. Stephen's Church, Westminster, built by Mr. Hill, producing a light, agreeable, and rather fluty tone. Inverted mounted (fig- 86). cone, by a sur- 292. Pipes of the shape of an inverted cone, surmounted by a bell, increase in diameter more gradually and to a less extent than the preceding, the bell expanding more suddenly. Pipes of this construction {fig. 86) are only used in the formation of the Hautboy and its octave, the pipes of which stops more nearly resemble the shape of their orchestral prototype than those of any other in the organ, excepting some of the Continental Flutes. Wooden pipes. 393. Four-sided pipes {fig. 87) are those of which the bodies are of the same width and depth throughout their length. They are freely employed in most organs, and are of two kinds ; the first open, the second stopped, entirely ,or partially. 84 8s 86 87 |C> /a\ :□ y Open four-sided pipes. 394. Open four-sided pipes are often introduced in lieu of the large metal bass ones of the Dulciana and Open Diapason. Some stops are formed exclusively of pipes of this class, as the Claribella, the English Wald Flute, &c. The Pedal Open Diapason is very commonly composed of pipes of the above kind. Stoppedfour-sidedpipes 395. Stopped four-sided pipes are closed or covered at the 88, p. 10s). tipper end with a stopper. Like the preceding, they are used to a great extent in most organs ; the Double and Unison Stopped Diapasons, and the Stopped Flute, being in modern instruments usually composed of pipes of this description. THE PLAN, OUTLINE, AND STRUCTURE OF ORGAN-PIPES. I OS Half-stopped four-sided 356. The difference between a stopped and a half-stopped ^^^^^' pipe consists in the latter having a hole bored down through the handle and stopper. The treble portion of the stops mentioned under the last head is frequently perforated in this manner ; so also is the Clarinet-flute. Large stopped pipes are seldom bored. Three-sided pipes. 357. Three-sided pipes are of rare occurrence. They are the invention of Mr. Edmund Schulze, who has recently used them for his Hohl- flutes. Specimens by him are to be found in the Doncaster organ, and in the organ recently erected by Messrs. Foster & Andrews at Halifax. Wooden cylindrical pipes. 398. Cylindrical pipes, of wood, are frequently made in Germany, and produce an exquisite tone. They are used for the " Flauto Tra- verso " of 8 and 4 feet, among other stops. Examples, by Schulze, occur in the Doncaster, the Temple, and the Leeds Parish Church organs. Pyramidal pipes (yE^.Sg). 355. Pyramidal pipes, broadest at the mouth and lessening upwards, are sometimes introduced {fig. 89) to form the bass of the metal conical stops, in the same way that the open four-sided pipes are employed for the com- pletion of some of the cylindrical stops. Occasionally entire stops are formed of pipes of this shape. 400. In the choir department of the large organ in the Wesleyan chapel at Boston, built by Messrs. Gray & Davison, are two stops made of this shape, and caUed " Gamba " and " Gemshorn." Pyramidal and inverted 401. Pipes of the inverted pyramidal shape — i.e., narrow at (fig. 90). jjjg bottom and broad at the top {_fig. 90) — are frequently used for large reed-stops, as the 16 and 32-feet Posauns. Smaller reed-stops are some- times formed of pipes of this description ; as, for instance, the Bassoon. The pipes constituting the lower portion of the " Dolcan" {Jig. 91) are also sometimes made of the pyramidal and inverted shape. 90 91 402. The varied proportion in the dimensions of a pipe, and its influence on the sound, are noticed in a subsequent page. I06 THE SOUND-PRODUCING PORTIONS OF THE ORGAN. The classification of the 403. The numerous kinds of pipes just noticed are divided, pipes yaio jiue and reed j^ regard to the distinct manner in which that part is made ^^^^^' which in reality produces the tone, into two great classes — nzxaAy, flue pipes and reed pipes. Flue pipes. 404. Lip, mouth, Or flue pipes — for they are called by all these names — are such as have an oblong opening, called the mouth, at the junction of the body with the foot of the pipe ; bounded above and below by two edges called the lips, which are made to sound by the wind first passing through a narrow fissure, flue, or wind-way, and which depend chiefly on the length or shortness of their bodies, for the gravity or acuteness of the sound they produce. Reej pipes. 405. Reed or tongue pipes are, on the contrary, those which are made to sound through the medium of a mouthpiece (not unhke that of a Clarionet), furnished with an elastic plate of metal, and which do not depend on the length of the tube* of the pipe, but on the size of the mouthpiece and the vibrations of the tongue, for the gravity or acuteness of the sound. 406. For the purpose of illustrating the difference between these two classes of pipes, it may be observed, that, while an open flue pipe must have a body of eight- feet standard length to produce the CC sound, a reed pipe may only require a tube of about eighteen inches, as in the case of a Vox Humana. Indeed, a tube of any sort is not indispensable, as is evidenced in Accordions, Seraphines, Harmoniums, Concertinas, and such like instruments, all of which produce their sounds from metal tongues of various sizes, closely resembling those belonging to the reed pipes of an organ, but the dimensions of which instruments must be sufficient to- indicate that tubes cannot therein be contained. The tubes, however, acting like speaking- trumpets, exercise a great influence on the strength and fulness of the tone produced, both being much increased by their presence. The separate parts of a 407. An open metal flue pipe is composed of three distinct metal flue pipe. parts, called the body, foot, and language or languid. 408. The body is that part of the pipe that, commencing at the mouth, extends thence upwards {s^e flg. 76, ah, page 102). It is formed by rolling a ^^ sheet of metal, of the requisite dimensions, round a wooden cylinder or cone, called a "mandrill," and uniting the edges together with solder. '^ — "I The joint thus formed is called a " seam," and occurs in the back of the pipe. On the opposite side, forming the front of the body, and near to the lower end, an indentation is made, as shown vnflg. 106, at a, called the " leaf," which is continued to nearly the bottom, where a small portion of the flattened part is cut away, leaving a broad opening, b. The edge that is left immediately over this opening (c) is called the " upper-lip." 409. The foot is that part of the pipe, of an inverted conical shape, that extends from the mouth downwards {Jig. 93). It is made in a similar manner to the body — i.e., it has a seam running vertically up the centre of the back, and an indentation in the front ; though, in this instance, in the upper part {a), corresponding with that in the body of the pipe, forming an " under-lip." The foot serves as a conductor of wind from the upper- board up to the mouth of the pipe ; hence, in the apex {e) a hole is made for the entrance of the wind. It further answers as a support to the pipe, to which end it is made very thick and strong, that it may resist the weight and pressure of the body. * Flue pipes are said to have hodies^ and reed pipes tubes. Lai THE PI,AN, OUTLINE, AND STRUCTURE OF ORGAN-PIPES. lO/ 410. The lafiguage, or languid {Jig. 94), is the flat plate of metal that lies hori- zontally over the top of the foot, just inside the mouth. It is made of much thicker material than any other part of the pipe, because it is 94 entirely unsupported, except at the sides and back. In front, it presents a straight edge, corresponding with the lips of the body and foot, but slightly behind that of the latter, leaving a narrow fissure or " wind-way " between. The front is also bevelled, inwards and upwards. The languid is made very strong and thick, that it may not sink in front or in the middle — casualties that would cause the " sheet of wind " to miss the upper-lip, and so render the speech of the pipe defective. 411. The mouth, as already intimated, is the horizontal cutting or opening that occurs at the junction of the body and foot of the pipe. Its use and influence will be noticed hereafter. The way !n which the 412. Open metal pipes. — The separate parts of an open flue several parts of metal • ^^^ joined together in the following manner :— The straight pipes are united toge- ^ ^ _, ,^ _ , ther. edges of the language and foot are first arranged parallel, and then the back and sides of the two are soldered together, the narrow slit in front being left open so as to form a passage or " wind-way " for the current of air that enters at the foot of the pipe. In the next place, the lips of the body and foot are placed precisely opposite to each other, and the body and foot are then strongly united together at the back and sides. The languid is thus entirely enclosed within a finished pipe. 413. Stopped metal pipes are sometimes furnished with a moveable cap, that fits tightly over the top of the pipe, completely enclosing it ; or a metal cap is soldered on to the top of the body ; while in some examples a wooden stopper covered with leather is fitted into the end of the pipe, the pipe in that case being made somewhat longer to receive it. 414. Half-stopped metal pipes have, in addition to the cap, the fixed covering, or the stopper, a small cylindrical tube, or " chimney," soldered into a hole in its centre ; or in the case of a wooden stopper, a hole is burnt through it. 415. It maybe as well to explain here the precise meaning of the German name given to a stop composed of pipes of the kind just noticed. The literal translation of the German name Rohr-flote is reed-flute, which has sometimes been supposed to imply a reeAy-toned flute stop ; such interpretation, however, being accompanied by a difficulty arising from the fact, that half-stopped metal pipes, with chimneys, produce a peculiarly smooth and liquid tone. The name really refers to the formation of the pipe, not to the character of its tone ; and signifies that the distinguishing feature of the pipe is a small tube resembling the hollow- stalk that grows in wet grounds, and which all English dictionaries describe as a reed (rohr). Rohr-flote, therefore, simply means a stop belonging to the^a/^-work, the pipes of which are furnished with a tube or reed. Furthermore, r««^-pipes are always so called in England, from the circumstance of their being provided with a small metal tube by way of mouthpiece ; while, in Germany, they are called tongue-sto'ps. 416. The three kinds of metal flue pipes are frequently furnished with ears — i.e., pieces of metal projecting from each side of the mouth. In stopped and half- stopped pipes the ears are large ; but in open ones they are smaller and more neat, giving to the front-pipes, which are mostly furnished with them, a finished appea.rance. Metal pipes have sometimes a strip of metal running horizontally across, under the mouth of the pipe, and reaching from ear to ear. This is the case with the large pipes of the Transept diapason at Doncaster. io8 THE SOUND-PRODUCING PORTIONS OF THE ORGAN. 95 Wood flue pipes ; oper, ^[7. An Open wood pipe is formed of four separate parts — slopped' ^^ ^''^^' namely, the body, block, cap, and foot. 418. TAe body {g,fig. 95) consists of a right-angled tube, formed of four planed boards ; the cross section of which is not usually a square, but an oblong. At the lower end, the body is closed by the block {h h), which is nearly divided in two by a deep cutting, called the throat {k). The block and throat are closed in front by the cap (b a) — a piece of hard wood, hollowed out («) — leaving the two sides and the bottom edges to be glued or screwed to the sides and block of the pipe. The upper edge {b) of the cap recedes a little, to form the wind-way. The pipe-foot (m) is a cylindrical or four-sided tube, introduced at the bottom of the pipe, to serve as a conductor of the wind into the pipe, and also as a support thereto. 419. In wooden stopped and half-stopped pipes, the stopper is well covered with leather at the bottom and sides, to make the stopping quite sound. Were it not so, the tone would be false. 420. The proportion of the breadth, as compared with the depth, of wood, stopped pipes is varied very much, according to the quality of tone that is desired to be produced. Father Smith and Bridge frequently made their stopped pipes nearly square ; the former some- times making the proportions of the block of his C C Stopped Diapason 5 inches by 4f . The German builders mak e some of their wood pipes narrow and deep, as in the Lieblich Gedact, the C C C pipe of which measures 5 inches by 3I ; while those for other stops are made wider than they are deep, as in the Hohl-flote, shown iny^. 91, the tenor C pipe of which is made ly^ deep and 2yV wide. A pipe that is nearly square gives a full and weighty tone ; one that is narrow and deep, a soft and sweet {Lieblich) tone ; and one that is shallow and wide, a powerful and hollow (Hohl) tone. Father Smith made his Hohl-flute perfectly square, the block of the 2-feet pipe measuring exactly i inch in depth and width ; and when placed on the same manual with a Stopped Diapason, he then made the latter narrow and deep — i.e., of the- Lieblich Gedact shape, by which means he secured great individuality in the tone of the two stops. An interesting illustration of this arrangement of scales will be found in his charming choir organ that is or was in the Cathedral at Manchester. 96 How the several parts are worked together. 9 421. In working together the separate parts of an open wood flue pipe, the sides are first glued and nailed, or pinned, to the block ; and when the glue has thoroughly " set," the back and front are attached to the edges of the sides by similar means. The pipe-foot is then glued in ; and when the pipe is voiced, the cap is fastened on. 422. The mouth of a titaod flue-pipe is formed by discontinuing the front of the body of the pipe just above the block, as shown at w, in fig. 95, and bevelling off the front of the surface just above, downwards and inwards (- motion to and fi^ through the air. The tone of xjineg reed is not usually so strong as that of a striking reed, but it is particularly smooth and free firom rattling. Some fine 16 and 32-feet Posauns ha\-e been made in Germany of free reeds, and there are admirable specimens of stops of both sizes in Schulie's organ at Doncaster. The influenor of the 4- >. It will be remembered to have been stated that a I'S'.^h^^or^ reed-pipe does not depend upon its tube for the gravity or stiength and charac- acuteness of the sound produced, but chiefly on the dimen- ter of Che tooe of a sjons and Other circumstances connected with its tongue, "******■ The tube, however, makes a considerable difference in the strt'c^tk and eAarac/er of the tone. Were it otherwise, there would exist no sufficient reason for its introduction. The dimensions of the tube are so adjusted to the siie of the tongue, that the vibrations of the column of air contained in the former shall correspond with the vibrations of the latter. Where this accordance does not exist, the sound produced is inferior in quality. It is not absolutely necessary that the tongue and the column of air in the tube should be in unison, to produce a musical soimd ; but the tone of small scale reeds is alwaj-s more pleasing, and that of larger reeds more full and rich, when the unison is perfect. Short-bodied pipes of the cylindrical shape give a comparati\-ely hght sound ; as may be ascertained by trying any Clarionet or English Vox Humana Stop. Pipes with tubes of the im-erted conical form gi\-e a more sonorous tone than the last-mentioned — the strength and character of the sound being governed to scone extent by the scale and length of the tube. When it is of narrow measure, the tone is rather thin and somewhat nasal, as in most Bassoon stops, ^\^len the pipe is similariy shaped, but with a bell added, the tone becomes somewhat clearer, more wailing and attenuated, as in a Hautboy stop. The w-eight and power of the sound incieases with the further increase in the scale ; the Trumpet being louder and more sntait than the Bassoon : and the Posaun more ponderous than the Trumpet, Il8 Tllli SOUND-l'RODUCING PORTIONS OK Till'; ORGAN. Tlieiniluenoeofthereed 474. The Strength of tone, again, depends much on the and tongu<: 0.1 the ton,: ^^^ ^f ^j^^ Opening in thc reed ; whether the tongue be ni;ide of the pipe. ^ , . . • . 1 of common brass, or a composition containing a larger propor- tion of copper ; the equal thickness and evenness of the tongue ; its curvature ; and the smoothness and flatness of the edges of the aperture against which the tongue vibrates. Reed-stops of delicate intonation, as the Hautboy, Clarionet, and Bas- soon, have long, narrow, and thin tongues ; others of strong and full tone, as the Trumpet, Horn, and Posaun, have shorter, broader, and thicker tongues. Many of the old Trumpet stops have reeds that are either larger or broader than those now used, and shorter tubes ; which accounts for their tone being thin, and devoid of the power and impressiveness which characterize all good stops of the kind. How a sound is pro- 475. When the tongue of a reed-pipe is in a state of rest, it uce rom a reed- j^ curved, leaving the opening in the reed free to the passage of the air. The peculiar i'o«^ of a reed-pipe is, in the instance of a striking reed, produced by the tongue beating against the reed, and rebounding again by the force of its own elasticity. The tongue is excited by a current of air being thrown on to it from below ; which, as it rushes through the opening in the reed, draws or sucks the tongue with it towards the reed, against the edges of which it strikes, and then returns. 476. In a free reed, the sound is produced by the motion of the tongue to and fro ; and, as that motion is never checked or interrupted by the tongue striking, the tone is as smooth and continuous as that of a flue-pipe. How the pitch of thc 477. '^'ht pitch of the sound produced by a reed-pipe is deter- sound of an organ-pipe ^^^^^ ^ jj^g numljer of beats or regular vibrations made by 18 determined. •' . ° ' the tongue in a second of time ; and the reeds arc accordingly made small or large, depending on the acuteness or gravity of the sound each is required to emit. The higher the pitch of the sound, the smaller must be the reed, and the quicker the vibrations of its tongue ; the deeper it is, the larger must be its reed, and the slower the beats of its tongue upon the reed, and perhaps even audible. In a flue-pipe the pitch is governed by the length of thc body of the pipe, or, more strictly speaking, by the length of the column of air within that body ; which follows the simple geometrical law, that by doubling the length, it sounds an octave lower ; and by halving the length, it sounds an octave higher. 478. The following table exhibits at one view the number of vibrations which take place in a flue-pipe, and the number of blows made by striking a reed in a second of time, in producing the several C sounds used for organ-stop measure- ment ; while, to the right, thc shortened length of the pipe is given. Name of C. Vibrations in fluc-pipc. C C C C 32 CCC 64 CC 128 Tenor c 256 Middle c" 512 Treble c' 1024 479. It is necessary to mention that the above table of vibrations refers to single and not to complete or double ones. As the latter are used by some writers on harmonics, the difference might create confusion, if not explained. The tongue of a reed-pipe strikes when vibrating towards the reed, but of course not when Blows of tongue Lcnjgth ol open fluc-pi] in rced-pipu . 16 32 feet, 32 16 „ 64 ... 8 „ 128 4 „ 256 2 „ 512 I ,, THE PLAN, OUTLINE, AND STRUCTURE OF ORGAN-PIPES. II9 vibratingy5c«i it ; hence the beats made by the tongue in a reed-pipe only amount to half the number of vibrations taking place in a flue-pipe in the same time, as shoNvn in the above table, which accounts for those beats often being perceptible to the ear in the speech of even i6-feet reed-stops. When, therefore, the rustling of the tongue of large reed-pipes cannot otherwise be silenced, the front of the reed is lined with a thin coat of leather — ^simply the dressed part, Xhcflesliy part being cut or scraped a\\-ay — so as to form a soft surface for the tongue to strike against. Schulze prefers all powerful striking reeds below Tenor C to be leathered, as being then more musical. 4S0. The wind having passed through the mouthpiece of a reed-pipe, the sise of which has defined the pitch of the sound, it passes into the tube ; the shape, material, or scale, or all combined, imparting to such sound the character and strength required. I20 THE SOUND-PRODUCING PORTIONS OF THE ORGAN. CHAPTER XX. THE STANDARD LENGTH OF ORGAN-PIPES. 481. ORGAN^PIPES are made to a great variety of sizes, and those of the flue species to a greater extent than reed-pipes. The greatest standard length of a speaking-pipe is 32 feet ; the shortest, f of an inch. The foot is not of course taken into calculation, as that is nothing more than a supporter and wind-channel to the pipe. The sound of the two pipes of the extreme measurement just mentioned would be nine octaves apart ; consequently, a complete range of organ-pipes, including all the semitones, would present a series of 109 different sizes. 482. Organ-pipes do not measure the exact length quoted, but fall a little short of, or, in some cases, rather exceed, that measurement, as the case may be. Hence a distinction is drawn between the literal length and the standard or quoted length of a pipe, the latter presenting an approximation only to the former. Many cir- cumstances tend to render an adherence to the literal length almost impossible ; as, for instance, a stronger or lighter wind, which would demand a somewhat longer or shorter pipe to produce a sound of the same pitch ; or more copious winding of a pipe, which again would cause it to "blow sharp," and require a longer body to produce a sound of the original pitch ; the difference in the foot measurement in various countries ; the variation of pitch ; or an alteration in the scale, or in the outline of the pipe. The names of the sounds 483. From the circumstance of every septave of pipes and pro uced from organ- ggyjids included in the extensive range just mentioned being called by the same seven letters, it becomes a matter of necessity that, in order to obtain a clear view of the whole, some means should be adopted for distinguishing each septave from the others. This advantageous classification is established either by the aid and use of some special kind of letter— capital or small ; by some particular kind of letter, with a sign added thereto ; or by two, three, or four capital letters grouped closely together. In some few cases a parti- cular name is also given to a particular pipe or sound, though it considerably simplifies the nomenclature by coiifining the application of such names solely to the keys. 484. For most musical purposes, the notation indicates with sufficient precision the gravity or acuteness of the sound that may be expected to be heard, because" many instruments, and all voices, produce but a sound of one unvarying pitch for each note, and that one agreeing with the music written. With the organ, however, the case is different ; for, in some instances, eight or ten different sounds are concentrated on one key, produced from as many separate pipes, of nearly as many varying lengths ; therefore, a definite pitch cannot invariably be associated with the note written, nor with the key struck, in the case of an organ, or of organ- music, since the sound produced may be in accordance therewith, or it may be one or two octaves lower, or one or two octaves higher, or a combination of all, accord- ing to the nature of the stop or stops drawn. 485. Nevertheless, the several octaves and keys on a manual, and also some of the intermediate keys in those octaves, have distinctive names, by which they are THE STANDARD LENGTH OF ORGAN-PIPES. 121 conveniently referred to in the course of writing, or in conversation, have originated from various sources. . These names The classification of those sounds into oc- taves, and the different methods by which the several octaves are dis- tinguished from one another. 486. In olden times, the twenty-one degrees, comprehended in the great stave of eleven lines, and indicated in modem nota- tion as commencing on the first line in the bass, and ascending to and ending on the fifth line in the treble, were termed the gamut, or musical scale, which gamut comprised a range of two octaves and a minor seventh. The several sounds therein con- tained were represented by letters, which at the same time corresponded with the name of those sojtmds ; but to distinguish such sounds as were represented by the same letter, but which differed in pitch, a different kind of letter was used, some- times accompanied by another attendant characteristic. Thus, the first septave was represented by capital letters ; the second, or that next above, by small letters ; and the third and upper one by two small letters ; thus, Example. 487. On this gamut* being in the course of time extended, the next seven keys and diatonic sounds represented by notes immediately bglow the bass stave were in England termed double, and were marked with two capital letters, as CC, DD, etc.; while those forming the first septave above the treble stave were said to be in alt. The second series of seven diatonic sounds below the original " gamut," commencing with F, the fourth line below the bass stave, were distinguished by three capital letters, as C C C, D D D, and so on ; and the remaining four diatonic sounds from G G G, to the C below were marked whh/our capital letters, as C C C C, D D D D. Then upwards, the sounds in and higher than the second octave above the treble stave, i.e., from g; the fourth line above the treble stave, were said to be in altissimo. This completed the English tablature. 488. But it will be perceived that it presents neither the names nor signs by which the highest two and a half octaves of pipes and sounds can be distinguished from each other ; and is therefore so far incomplete. Moreover, the terms " m alt" and " in altissimo " are inconveniently long for the practical purpose for which the distinguishing terms are so useful in organ-building, namely, for marking the composition of the Mixture stops in various parts of the scale. 489. From the above nomenclature, however, two of the most useful names, as well as one of the terms used at the present day by organ-builders, as part of the tablature applied to the keys of the manual, have been borrowed ; while as many of the remaining terms are preserved to distinguish the deeper sounds that are below the unison range of the modem manual. The former are (i) gamut G, or the lowest G of Guide's gamut ; (2) middle c' — the " mean " or middle clefif c" of the * Guido Aretinus, a Benedictine monk of Arezzo, in Tuscany, in the tentli century, was the inventor of the gamut above referred to ; though it is not perhaps so stricdy an invention as an improvement on the diagrammo, or scale of the Grecians. Previous to the time of Guido, the septaves were reckoned from A ; bat that ancient theorist added or adopted the G below, and denoted it by the GretV. gamma, V. Hence arises the word gamut, or gamma ut, it being the Ut or first sound of the G hexachord. 122 THE SOUND-PRODUCING PORTIONS OF THE ORGAN. same gamut, represented by the note on the ledger line between the bass and treble staves ; and (3) the term " in alt " for the keys above the treble stave. Example. Middle c^. ^ ^ I Gamut G. .«. c^ in alt. 490. Some of the other keys are named after certain string instruments, from the circumstance of their unison sound corresponding with the lowest sound produceable on such instruments ; as Tenor (or viola) c, and fiddle (or violin) g. These several names and terms, with the additional three, viz. " double C," " g' above middle c'," and " treble c" " — the latter applied to the c represented by the note of that name in the treble stave — form a complete tablature for the several C and G keys of the organ manual, as shown in the following table. Example. g ^ above Middle c'. middle c^. Treble c^. _ -g- ,i Tenor Fiddle ■^- g^ in alt. c' in alt. or - or Double C. Gamut G. Viola c. Violin g. .^. . 8 feet octave. : : 4 feet octave. : : 2 feet octave. 491. The several septaves — or octaves, as they are more frequently, though less strictly, called — which occur on a manual comprising the above gamut, are sometimes distinguished by the name given to the C with which each commences ; as, the Bass octave ; Tenor octave ; Middle octave ; Treble octave ; and Top octave, or half octave, as the -case may be. In addition to this, they are sometimes i-eferred to by the standard length of the C that commences each octave ; as the 8-feet octave, the 4-feet octave, &c. 492. But, as before observed, the number of different sounds in an organ far exceeds that of the keys on the clavier ; hence arises the necessity for some method of grouping the additional sounds, and indeed all sounds, into octaves, and of calculating and measuring them. And first, of the classification of the sounds within the usual manual compass. According to the old English system, G was made the starting sound for this purpose, as being the first note in the " gamut ; " while, in Germany, C has for a long period been recognised as the standard sound, as being the first note in the " natural scale." In the latter country, the lowest octave on the manual, corresponding with the " Bass octave " gf the table above given, is called the " great octave," and is represented by single capital letters, as C, D, E, &c. The next octave, identical with the English " Tenor octave," is termed the " small octave," and is distinguished by small letters, as c, d, e. The third octave, or "Middle octave" of the English, is called the "once-marked octave," represented by small letters with a small figure ' to the right and little above the letter, thus — c', d', e' ; while the " Treble octave" is called the " twice- marked octave," c°, d^, e" ; the remaining half octave, from "c' in alt to f in alt" forming a portion of the "thrice-marked octave," c=, d^, e°. Sometimes so many little horizontal lines are used instead of figures, thus— c ; which system, however, has an air of complication about it. 493. Then, of the sounds above the compass of the Ordinary organ manual, the THE STANDARD LENGTH OF ORGAN-PIPES. 1 23 octave commencing with c in altissimo is termed the " four-times marked octave," as c*, d+, e* ; and the octave higher again, the " five-times marked octave," as c% d'', e^ Of the sounds below, the i6-feet octave is called the " first sub-octave,"^ distinguished by capital letters with a line underneath, C, D, E, and the 32-feet octave, counting downwards from the " contra C," as the Germans call the i6-feet C, is termed the " second sUb-octave," distinguished by capital letters twice under- lined, thus— C, p, E. 494. The English tablature for distinguishing the several octaves of manual keys, including some of the intermediate keys, is so complete, distinct, and satisfactory, that nothing advantageous would be gained by relinquishing it in favour of the German ; but as the English tablature presents no means for classifying the higher sounds, the German nomenclature above given might, under such circumstances, be beneficially received. It will therefore be adopted in the chapter which treats of the composition of Mixtures ; and, in order to give an easy clue .thereto, the English names which refer to the several C and G sounds comprehended in the compass of the manual will also be introduced, that the names in the one case may explain the tablature in the other. 495. For the 16 and 32-feet octaves of pipes and sounds, we have in England a tablature of our own, and one that is so thoroughly understood and generally received that there exists no necessity for adopting any other. The size of the pipes 456. Many of the pipes, especially those sounding C, E, most y use or stop- ^^ q £gj.jj^ ^^ lowest of a separate series, or organ-stop, and measurement. ' x- 7 o r-j therefore fix the standard length of that stop. It is necessary, therefore, to refer to these. 497. The C of2,2-/eet length. The sound of this pipe is below that of any other musical instrument. It is called either the " 32-feet C pipe," from its standard length, or the " C C C C " (pronounced four C) pipe," from its English designation ; or the " twice under-marked C," according to the German tablature. Its sound is an octave below the lowest C of the grand pianoforte. 498. The C of lb-feet length. The sound of this C is in unison with the lowest C of the grand Pianoforte ; and is represented by a note in the sixth space below the bass staff. It is the " CCC " (prounounced three C) of the English tablature ; the " contra C," or " once under-marked C," of the German, and the " i6-feet C " pipe. 499. The C ofZ-feet length. The pitch of this pipe is in unison with the lowest sound (produced from the open fourth string) of the Violoncello ; and is represented by a note on the second ledger line below the bass staff. It is the English " C C " (double C) ; the German " great C"; or the " 8-feet C pipe." 500. The C of \-feet length. The sound of this pipe is in unison with the lowest note of the Tenor Violin or Viola, and also of the old Tenor Hautboy, or Tenoroon ;* on which accounts it is frequently called " Tenor C." It is represented in the English tablature by a capital C : but in the German by a small c. Its sound is indicated by a note in the second space of the bass staff. 501. The C of 2 feet. This pipe sounds in unison with the lowest C of the Hautboy and Flute. Its pitch is represented by a note placed on the ledger line between the two staffs. According to the English tablature, this sound would be denoted by a small c ; according to the German, by the once-marked c". This is called most frequently " middle c," from its being the C on the middle line of * The name Tenoroon has sometimes been given to an organ stop, which, however, does not resemble the instrument named in the text, either in regard to pitch or quality. 124 THE SOUND-PRODUCING PORTIONS OF THE ORGAN. the ancient great stave of eleven lines ; and also from its being the cleff C of the middle, mean, or intermediate parts — the counter-tenor and tenor — in vocal compositions. 502. The C of i foot. The sound of this pipe (in unison with the lowest note of the Flauto Piccolo) is represented by a note placed in the third space in the treble staff. It is distinguished in the English tablature by two small letters, c c ; and in the German by the twice-marked c". It is also known as treble c". 503. The C of 6 inches. This is the English " c in alt," and the German "thrice-marked c," c^. Its sound is represented by a note on the second line above the treble staff. 504. The C of ^1 inches. The English " c in altissimo," and highest c on the Pianoforte, and the German " four-times marked c," c*. A note in the sixth space above the treble staff denotes its sound. 505. The C of \\ inch. The five-times marked c of the German tablature, c'. 506. The Cof\ inch. The six-times marked c, c°. This is the smallest pipe made. Its sound is 2 octaves above c in " altissimo." 507. The Cs are the most important class of organ-pipes, not only because they are the most convenient and proper ones that can be adopted as a foundation for the purpose of stop measurement, of which more in another chapter ; but also because pipes of that sound commence and conclude the great series. The class next in importance are the G pipes, which denote the foundation measurement of G G organ-stops, and also the size of the fifth-sounding stops of C organs. 508. The following are the lengths of the chief G pipes. 509. The G of 21^ feet (24 feet) standard length. The sound of this pipe is a fifth above that of the 32-feet C. It is the " G G G " (three G) of the EngUsh tablature, and the " twice undermarked G " of the German. 510. Two different lengths are here given for the G pipes. The first is in every case the correct one, and therefore the best one tb be written down or engraved ; the other, in brackets, is necessarily made use of in conversation for convenience and for brevity sake. The latter is not so well adapted for the stop-labelling, because it would lead to some confusion in regard to the lengths. For instance — the standard length of a Twelfth is one-third the length of the Diapason ; therefore, if the former were to be marked 3 feet, the latter would appear to be wrong at 8 feet, and might be supposed to be a misprint of 9 feet, which would be a second error. 511. The G of 10^ feet (12 feet). The sound of this open pipe is represented by a note placed in the fourth space below the bass staff. It is the " G G " (double G) of the Enghsh tablature, and the "once under-marked G" of the German. 512. The G of s^ feet (6 feet). The sound of this pipe is"represented by a note placed on the first line of the bass staff. It is the "great octave G" of the Germans, and the English " gamut G." 513. The G of 2^ feet (3 feet). The sound of a pipe of this length is repre- sented by a note in^ the third space below the treble staff. In both the English and German tablature it is denoted by a small g. It is the English "Fiddle g." 514. The G of 1^ foot (i^ foot). A note placed on the second line of the treble staff represents the sound of this pipe. It is marked in the Enghsh tablature by two gs, g g ; and in the German by a g once-marked, g'. It is known as "g* above middle c." 515. A third class of pipes may be noticed, as being used for the purpose of stop-measurement ; viz., some of the E, or third-sounding pipes. 516. TJie E of 6^ feet. The sound of this pipe is a major third above that of the C C or 8-feet pipe. The gravity of its sound is represented by a note on THE STANDARD LENGTH OF ORGAN-PIPES. 1 25 the first ledger line below the bass staff. It is the English E E (double E) ; the German " Great E." 517. The E of 2i\ feet. The sound of this pipe is a third above that of the tenor C, or the 4-feet pipe. Its sound is represented by a note in the third space of the bass staff ; and is denoted by a small e in the German tablature, and by the tenn " Tenor e," mostly in England. 518. The E of 1^ foot The sound of this pipe is a third above that of the middle c', or 2-feet pipe. A note placed on the first line of the treble staff represents its sound. It is the small e of the English tablature ; the " once- marked e' " of the German ; and is the " middle e' " of ordinary phraseology. 126 THE SOUND-PRODUCING PORTIONS OF THE ORGAN. CHAPTER XXI. THE SIZE OF TONE OF ORGAN-PIPES. , 519. Besides the description of pipe, i.e., the open, noticed in the preceding section — wherein the standard length of the body accords with the pitch of its sound — there are other kinds, the sound produced from which is much lower or " larger " than what the length of the body would indicate. The chief of these are the stopped pipes, which produce a sound as deep as that of an open pipe of twice the length, or nearly so, for the reason explained when speaking of the form of pipes. 520. As the length of such pipes would be no criterion of their sound, and yet it is most necessary to know what pipes of different conformation will speak in unison with each other, the standard length of the several kinds of short- bodied but low-sounding pipes is dispensed with, and in lieu of this they are measured according to the gravity of the sound they produce, or, in other words, according to their size of tone. 521. In speaking therefore of pipes, the bodies of which measure much less than the " standard length," they are said to give the 8, 16, or 32-feet tone, according to whether the sound they produce be in unison with an open pipe of 8, 16, or 32-feet measurement. To prevent, however, their being confounded with the open pipes of superior length, the word " tone," " sound," or " pitch," is added, which, of itself, implies that the bodies are not of that appropriate or standard size. 522. The difference between "standard length" and "size of tone" may be familiarly illustrated in the following manner. If an open pipe, say a Clarabella, be blown with the mouth, and the top be covered with the flat palm of the hand, its pitch will be lowered to the extent of a major seventh. And a similar lowering of the sound would take place in a larger pipe, say the 8-feet C. The latter would not, however, on that account be transfortned from an 8 into a i6-feet pipes its sound or " size of tone " only would be altered, its length would remain the same. A shorter pipe would simply be made to produce the sound of a longer. 523. Besides the class of pipes that gives a sound larger than what the length of their bodies would indicate, there is another that produces a smaller sound than that which would be expected, as the 2-feet tone from a 4-feet pipe. These are the harmonic speaking stops, as the Flauto Traverse, etc., of the German builders, and the Harmonic Flutes of the French and English builders. 524. The full range to which stopped pipes have been made is 7 octaves, namely, from the 32-feet C tone to c* in altissimo, or perhaps a note higher. Reed-pipes have been made to the same range '.—downwards in numerous German, French, Belgian, and Dutch organs, also in the York Minster organ, by Elliott & Hill (1829) ; the Liverpopl Town Hall organ, by J. Willis ; Gray & Davison's organ in the Town Hall, Leeds ; and in Hill & Son's Pedal organ, in the Parish Church, Leeds : upwards occasionally in some of Harris's organs, who, at times, carried his Clarions right through in octave reeds, as in the late Parish Church organ at Doncaster, the manuals of which were up to d= in alt. THE SIZE OF TONE OF, ORGAN-PIPES. 127 The scale o^ organ- 525. The question here presents itself why the pipe in the wWch an llu:ration"in ^^^"^^ experiment did not speak the /uU octave below, instead the proportion exercises of a major Seventh Only, if the column of air travelled the on the length. double distance. It was because the iu/k or scale of the body remained 0/ the same size. A stopped pipe is required to be of a somewhat larger diameter than an open one of the same length to produce the true octave below, as will be at once ascertained by comparing a middle £' Clarabella with a tenor c Stopped Diapason pipe. A middle c" Clarabella will measure i-^-^ inches in depth, by i^^ inches in width ; whereas the latter will be about 2y\ inches, by i\% inch in depth. 526. The width or narrowness of any pipe, in proportion to its length, is termed its " scale ;" and a pipe is spoken of as being of a " large scale " or a " small scale," according to the ratio which its diameter bears to its length. A pipe in which this width is carried to the full legitimate extent, is said to be of " full scale ;" and when the diameter is narrow as compared with the length, it is said to be of "small scale." 527. An alteration of scale causes a slight difference in the length of a pipe producing a given sound ; the length being reduced by an increase in the scale, and vice versd. Thus, a large scale Open Diapason pipe sounding, say, middle c', is rather shorter than the corresponding pipe of a similar stop of smaller sale ; while that of a Dulciana producing the same sound will be longer than either, on account of its measure being narrower than either. These variations are however, subject to modification, from the influences mentioned in sec. 482, p. 120. 528. If the three pipes of different scales were to be made to the same length, all their sounds would differ in pitch from each other. 529. The length of a pipe producing a given sound is also slightly affected by an alteration in the outline of its body. Thus, a conical pipe will be rather longer than a cylindrical pipe of full scale, and its length will increase with the extent of its conicality. The following short table will suffice to illustrate the above several particulars. 2-FEET (middle C') FLUE-PIPES Name. Circum. at mouth. Circum. at top. Length. Open Diapason 6J in. ... 65^ in. ... i ft. lof in. Dulciana 4i in. ... 4^ in. ... i ft. iifin. Gamba 4i in. ... 4i in. ... 2 ft. of in. Spitzflote 6j in. ... 4| in. ... i ft. 11 in. Gemshorn 6f in. ... 2^ in. ... i ft. iijin. 530. The foregoing observations refer to Flue-pipes ; but the length of Reed- pipes is also modified by the outline and scale of the tube ; the length increasing as the scale is enlarged or made to deviate from the cyhndrical outline. A cylindrical reed, or Clarionet pipe, is very short, being little more than half the speaking length ; a Bassoon pipe, slightly outspreading, rather longer ; a Haut- boy pipe, with a wider bell, longer again ; a Trumpet longer still ; and a Trombone, or Posaun pipe, the largest in scale of any, also the longest of any. 2-feet (middle c') Reed-pipes. Name. Circum. at top. ■ Length. Clarionet 3i in i ft. i^ in. Bassoon 3| in i ft. 8 in. Hautboy 6J in i ft. 8^ in Trumpet 8^ in i ft. SJ in. Horn., 10 . in i ft. 9 ih. 128 THE SOUND-PRODUCING PORTIONS OF THE ORGAN. CHAPTER XXII ORGAN STOPS. Definition of a stop; 531. THE gross number of pipes contained in an organ an an exp tion o (.gnsists of SO many distinct longitudinal series or sets ; some of which are for the separate use of the manuals, and others for the pedal. A series of pipes, the range of which extends from the lowest to the highest key of a Clavier ; gradually diminishing in length and size ; having the same quality and strength of tone throughout ; and the mechanism of which will allow of their being sounded independently of those of the other series, is called a Stop. Or, viewed in another way, a Stop may be described as consisting of a certain number of octaves of pipes, extracted from the greater series — such as that of 9 octaves mentioned in the preceding chapter — commencing with some pre-arranged pipe. Thus, four octaves and a half of pipes from the open series, commencing with 8-feet C, would form a Manual Open Diapason ; two octaves and a half, beginning with gamut G, would form a pedal Twelfth ; four octaves and a half, commencing with 2-feet c% would be a manual Fifteenth ; four octaves and a half from the stopped series, commencing with the C C C pipe, i6-feet tone, would form a Manual Bourdon ; the same compass from the reed series, commencing with the 8-feet C pipe, would form a Manual Trumpet ; or two octaves and a half, from C C C, i6-feet pipe, a Pedal Posaune. Allowing a little for variation of scale, this will convey a very good idea of what an organ stop is. 532. Organ stops may, in regard to their compass — the way in which they are made to "draw" — and other circumstances — be divided into five classes, namely : Whole stops ; Half stops ; Incomplete stops ; Short stops ; and Repetition stops. 533. Whole stops are such as have their compass extending through the entire range of the manual or pedal. To this class rightly belong the Open and Stopped Diapasons, the Dulciana, Double Diapason, Principal, Fifteenth, Mixture, Trum- pet, &c. 534. Half stops are those which are so far complete that they comprise an unbroken series of pipes inside the organ, throughout the Manual range — like the whole stops — ^but with the difference, that the draw-stop action and shders are so contrived that the bass portion of such stops can be drawn independently of the treble, by means of a second handle. Half stops occur the most frequently on those manuals which have some incomplete stops, and where the bass of one stop is therefore used as a substitute for the omitted part of other stops. The Stopped Diapason is very frequently " cut " for this purpose ; the 8-feet octave being employed to complete the range of the Dulciana, when the latter stops at tenor c. Many of Father Smith's smaller instruments, consisting of Great Manual and echo, were furnished with several half stops, " for the benefit of increasing the variety in ORGAN STOPS. 1 29 the organ." These stops divided between middle b and middle c', and the object obviously was to allow of a melody being played in a stronger tone, or a different quaUty of tone, or both, on that part of the compass above middle C, to the accom- paniment played belcroj that note. 535. Incomplete stops are those which ought, from their nature, to extend through the entire compass of the manual — which should, in fact, be whole stops — but which, from some reason, are made in an incomplete form. A Dulciana without pipes to the bass, or 8-feet octave of the Manual, or a Bordun (Double Stopped Diapason), not ha%-ing its full complement of pipes upwards, are incomplete stops. The difference between an incomplete and a half-stop is, that the former is altogether •without pipes in some portion of its compass, either in the treble or in the bass, as the case may be ; whereas a half-stop has its remaining pipes really in the organ, commencing where the first half or portion of the stop leaves off, but which can only be drawn on by means of a seconddraw stop. 536. Short steps are such as do not extend completely through the compass of the manual, and are not therefore whole stops ; and which yet cannot strictly be classed either as half or as incomplete stops, since they are of limited range by nature. To this class belong many of the imitative stops. These, in many instances, take the extent of their compass from that of the instrument which they each individually represent, without reference to the compass of the manual on which they may happen to be placed. Thus, a Qarionet stop that descends to tenor c sharp has the fiill range downwards of the instrument the name of which it bears, and therefore cannot fairly be ranked as an incomplete stop ; nor can a Bassoon stop that ascends to b' flat above middle c* be correctly so classed, since it then has the fuU upward range of the ordinary orchestral Bassoon. When their compass is less than that just given, then they of course become incomplete stops. The old builders made the " Cremona" and Bassoon stops of equal compass with the manual, and this was a very advantageous plan. 537. Some imitative stops are classed as incomplete stops, even when their compass equals that of their prototypes, unless their range corresponds with that of the manual on which they are placed. This is the case with the Trumpet, Hautboy, Cornopean, and Flute, among others. The reason of this is, that such stops are used as frequently, if not more so, as combination stops than as solo, for the purposes of accompaniment ; and are hence required to be of the same compass as the other stops of the organ employed for the same end. 538. Repetition stops are only met with in pedal organs, and only in such specimens of those as are of too short a range. A repetition stop is that whereof one octave of pipes is made to sound on a second octave of pedals, or on a portion of them, when there is not quite a complete second octave of pedals for them to act upon. They are found most frequently in G G organs. They are incomplete stops with a return to hide the deficiency. 539. Accessary stops. Organ stops are further divided into sounding stops and accessary stops ; the former being all such as produce tones like those aheady described, while imder the latter head are classed the numerous mechanical devices, operated upon by handles, or pedals, which aid in bringing the organ and its several resources more completely under controL The several manual and pedal couplers, therefore, are accessary stops ; so also are the wind-trunk valves, or ventils, found more frequently in Continental than in English organs. The distinction is a necessary one, for otherwise it would be possible in many organs to draw out 6 or 8 so-called "stops" without any sound whatever being producible from the instru- ment; whereas, by their being recognised as "accessary stops," no sound would be expected from them. U 130 THE SOUND-PRODUCING PORTIONS OF THE ORGAN. The size of the stops ; 540. The numerous effects of which all well-planned organs how ascertained. ^^.g susceptible result partly from the presence and use of stops of diverse form, nature, and character of tone ; and partly from stops vaiying as well in pitch as in quality of tone, and other distinctive conditions. The most important and useful stops for the Manuals are, those of 8-feet, because they are in unison with the human voice, and are therefore particularly required for the accompaniment of singing. For the Pedal, the i6-feet is the most useful (which, being twice the size of the most important Manual stops, will of course sound an octave below them), as they form the true bass to the Manual 8-feet stops. The size of a stop is ascertained and fixed by the standard length of the pipe that speaks on the lowest key of the clavier on which it appears. If it be a C C manual, and the 8-feet or C C pipe be placed on the lowest key, as in the Open Diapason, the series of pipes are said to form an " 8-feet stop." If it be the tenor c or 4-feet pipe that is so placed, as in the Principal, the series of pipes compose a " 4-feet" stop. If it be a i6-feet pipe that is so situated, as in the Double Open Diapason, then the pipes are said to form a i6-feet stop, and so on. These quoted measurements refer more particularly to stops composed of open pipes, and the low C pipe of each of which is of the standard dimension given. Covered and other stops com- posed of short-bodied pipes are, as already explained, measured according to their " size of tone," irrespective of their length of pipe. A Stop so composed and having attached to the C C key a pipe that gives the C C or 8-feet sound, as in the Stopped Diapason, is a Stop of 8-feet tone; one giving the i6-feet sound, as in the Bourdon is a Stop of i6-feet tone. 541. Some incomplete and short Stops are, as already explained, without pipes to the 8-feet octave of keys ; the size of which, therefore, is calculated in another way, viz., by their pitch, so far as their compass does extend. An Open Diapason or Dulciana, for instance, that stops at tenor or 4-feet c, is nevertheless an 8-feet stop as far as it goes. The circumstance of its longest pipe measuring but 4 feet arises from the omission of the entire 8-feet octave ; the introduction of which would make the true standard length of the stop quite apparent. Even a Clarabella to middle c> (2-feet length) is an 8-feet stop so far as it extends ; but is without both the 8 and 4 feet octaves of pipes. 542. To be a 4 or 2 feet stop, the 4 or 2 feet pipe must be on the C C or 8-feet key. The 4-feet pipe on the 4-feet key, as in the case of a tenor c Dulciana, or the 2-feet pipe on the 2-feet key, as in a middle c' Clarabella, still leaves the sound in unison with the Diapasons, so far as any sound at all can be obtained, and is therefore of unison or 8-feet pitch. The classification of 543, The peculiarity by which the two great classes of organ- the stops, in regard to • j* ^- • 1 1 1 1 n 1 .. ■,, , . , , their tone producing P'P^^ ^"^^ distmguished has been already so fully explamed, that part, into Reed-stops it is Only necessary to add, in this place, that the same and Flue-stops. classification is observed with the Stops, and that a Reed-stop is a series of pipes which speak through the medium of a reed and tongue ; and a Flue-stop, a similar series of lip pipes. 544. Among those of the former class are included the Trumpet, Clarion, Double Trumpet, Horn, Cornopean, Trombone, Hautboy, Bassoon, Clarionet, and Vox Humana stops ; among the latter, the Diapasons, Principal, Fifteenth, the Mixtures ; and, in short, all the stops not included in the forementioned class. Classification of the 545. The Several kinds of Flue-stops are so numerous, and Flue-stops, in regard to i ■ j 1 . , , , their structure, into Dia- ^°™® '^'"°^ ^?'s s° "i"ch more important than others, and pason-work, Covered- require to be introduced in so much greater abundance, that, work, and Flute-work, for the Sake of recognition, they are conveniently distributed ORGAN STOPS. 13 1 and arranged under three separate heads. Flue-stops are therefore grouped into Diapason-work, Covered-work, Flute-work. 546. Diapason-work. Under the head of Diapason or Principal-work are placed all the open cylindrical stops of Open Diapason measure, or which have their scale deduced from that of the Open Diapason ; such stops are the chief, most important, or '■^principal" as they are also the most numerous, in an organ ; and hence the origin and appropriateness of the term under which stops of this shape and proportion are classed. The Unison and Double Open Diapasons, the Principal, Fifteenth, and Octave Fifteenth ; the Fifth, Twelfth, and Larigot ; the Tenth and Tierce ; and the Mixture Stops, when of full or proportionate scale ; belong to the Diapason-work. 547. Covered--u.'ork. This class comprises all stops composed of pipes that have their bodies stopped, closed, or covered at the upper end. The Unison and Double Stopped Diapasons (Bourdon), the Stopped Flute, and the Stopped Piccolo, there- fore, are members of the Covered-work. 548. Flute-work. This division includes all Flue-stops of whatsoever kind or shape, that do not come under either of the preceding divisions. 549. All four-sided pipes, therefore, that are open at the top, and so distin- guished from the Covered- work, belong to the " Flute- work " — a term adopted for convenience of classification, and not intended to imply that all the Stops arranged under that head produce a. flute quality of tone. The " Diapason " and " Covered " Stops have occasionally been included with the above, under one general term " Flute- work ;" but " Flute" stops are never placed under the head of " Diapason," or " Covered "-work. 550. The Clarabella, Wald-Flute, Hohl-Flute, Oboe-Flute, Suabe-Flute, the English and German Gambas, tlie Flageolet, Keraulophon and Piccolo stops, therefore, belong to the " Flute-work." Also the Conical stops, as Spitz-Flote and Gemshom ; and all Stops of cylindrical shape, the scale of which is either below or beyond that of the Diapason-work, as the Dulciana of 16, 8, and 4 feet, the Block-flute, etc. Classificaaon of Oigan jji_ p^ third classification of organ Stops is made, in regard Stops, in regard to the ^ ^ ^ produce— «>., whether that accords with the sound they produce, mto '^ ,, ,. .- ■ ,.,io Foundation, Mutation, key Struck or not. The three divisions mto which the Stops and Compound Stops, arg thrown for this purpose are — Foundation Stops, Mutation Stops, and Compound Stops. 552. Foundation Stops are such as produce a sound corresponding with the key pressed down ; that is to say, that give the C sound when the C key is touched. They are so designated, because their sound is the very " foundation " of the organ tone ; so much so, that such Stops cannot be dispensed with, and therefore receive priority of selection : without them, and that in good proportion, the tone of an organ would be confused and undefined ; although they again are, to a certain extent, dependent on members of the other classes of stops for a complete and satisfactory result. The Foundation-stops are of various lengths, consequently their sound may be high or low ; but this does not aiTect their classification, so long U 2 132 THE SOUND-PRODUCING PORTIONS OF THE ORGAN. as the key and the name of the sound agree. They are of 32, 16, 8, 4, 2 feet, and I foot in length or sound, and include members of all classes of Stops ; Reed and Flue ; Open and Stopped ; Diapason, Covered, and Flute-work ; the chief condi- tions being that they are of the standard lengths, or the size of the tone indicated above. 553. The 8-feet Stops on the manual and the 16 on the pedal are called the Chief Foundation Stops, as being the unisons of their respective departments, and giving the " ground-tone." All the 4-feet on the manual and 8-feet on the pedal are classed as Octave Stops, and those of i6-feet on the manual and 32 on the pedal, as Double Stops. 554. Mutation, or Filling-up-Stops, do not give a sound corresponding with the key pressed down ; but some sound g on the C key, others e. Those giving the forementioned sound are called "fifth-sounding" or Quint Stops ; those giving the latter, " third-sounding " or Tierce Stops. They are of various lengths, like the Foundation-stops ; the size, or size of tone, of the fifth-sounding Stops being as follows :— lof (12), 5j (6), 2f (3) feet, and i^ (i|) foot. 555. An Open-stop of 5J feet on the manual, or lof on the pedal, sounds the fifth above the Unison Stops of those departments respectively, and is called the Fifth or Quint. One of the 2f feet on the manual, or 5^ on the pedal, gives the octave of the fifth, or the Twelfth, by which name it is hence called. A Stop, sounding the second octave above the fifth — that is, a nineteenth above the unison, measuring \\ on the manual and 2§ feet on the pedal, is called the Larigot or Octave Twelfth. A still smaller rank of fifth-sounding pipes, speaking a twenty- sixth above the unison tone, is often included among the ranks in the bass part of the manual Compound-stops, where, indeed, the last-mentioned series is more frequently met with than as a separate Stop. 556. In German organs, the fifth-sounding Stops are called " Quints," in reference to the sound they produce. The pitch of that sound is not usually indi- cated by any peculiarity in the name on the draw-stop, but by the length being marked in figures. See Foreign Specifications. 557. The lengths of the Third-sounding Stops or Tierces are 6f, 3^ feet, and I I foot. Except on the Pedal, they are rarely found in modern organs, except those of great magnitude. 558. An Open-stop, measuring 3^ on the manual, or 6| on the pedal, gives the major-third above the Octave-stops, or the tenth above the unison, and is called the Tenth. One measuring i-| foot on the manual, or 3-5 on the pedal, sounds a major-third above the Super-octave Stops, or a seventeenth above the Unison Stops, and is called the Tierce. 559. The Mutation-stops impart a certain roundness and fulness to the general organ-tone, by " filhng up" some of the bare octave sounds of the Foundation-stops, by the mixture therewith of certain intermediate, harmonical sounds, of fixed and determinate pitches. They also have the further effect of binding together the extreme sounds of the Compound-stops, and the Unison and Double Stops ; and of blending the whole into one great mass of musical sound. The laws which regulate the admission of Mutation-stops, and decide which are required and which are not, are fully explained in a subsequent chapter. 560. Compound or Mixture Stops. The stops which have i pipe to each key, have been termed " simple " stops. The kind now under consideration are called " Compound " Stops, because they have more than i pipe to each key, often 5 of various sizes; and "Mixture" Stops, because those several pipes consist of cer- tain members of the two preceding description of Stops, "mixed" or "compounded" together. These pipes are so uniformly required to be used in conjunction, that ORGAN STOPS. 133 they are rarely made to draw separately. The Componnd-stops give to the Foun- dation-stops a distinctness and clearness of effect in the bass, especially necessary to the quick enunciation of the larger pipes ; and great vivacity as well as a kind of ringing character to the general organ-tone. The German organ-builders recog- nise a class of stops which they call "simple mixed stops." These are stops which, consisting of a set of single pipes, produce twg sounds. To this class belong the Quintatons of 32, 16, 8, and 4 feet size of tone. These stops not only produce their fundamental tone ; but, from a certain peculiarity in their voicing, also the twelfth or octave fifth above that tone. Hence their name. It is in this particular that they are distinguished from the similar class of stops which, pro- ducing only their pure, deep, humming tone are called Bourdons. 134 THE SOUND-PRODUCING PORTIONS OF THE ORGAN. CHAPTER XXIII. THE NAMES OF ORGAN STOPS. The name and descrip- jgi. THE custom of distinguishing the different stops from tion of stops found in ^^^ another, as Principal, Octave, etc., dates from the sixteenth English organs; toge- . ,. „ ,, r i ■ t- i- i. -n ther with their length century. A hst of stops usually found m English organs will or size of tone on the now be given. Among the names inserted therein, will occa- manual and pedal. gionally be found One of Continental origin, and for which no English equivalent is known to exist. Where this is the case, of course the original name has been allowed to stand ; but where a translation of the foreign name could be given, this has been added within brackets. It has happened that, in a few instances, Continental names have been applied by English organ-builders to Stops of somewhat different construction, or character of tone, which will be duly pointed out. 562. With regard to the arrangement of the stops mentioned in the list, the flue and reed species have been treated separately, priority being given to the former ; and the members of each have been taken in the order of their length or their size of tone, commencing with the largest, and ending with the smallest. 563. Sub-Bourdon,- Manual-Untersaz. This Manual stop is composed of stopped pipes, and is, in pitch, two octaves below the unison or 8-feet stops : it is therefore of 32-feet tone. The Sub-Bourdon is best suited for organs of the first magnitude, in which it has a grand effect. Its compass is usually to the middle c', fiddle g, or, at most, to the tenor c key. At Stuttgardt the 32-feet tone is produced in the bass octave acoustically by the union of a Bourdon 16 feet, and a Great Quint of lof tone. Examples will be found in the Doncaster Parish Church organ, built by Schulze ; also in the organ at St. Olave's, South- wark, built by Lincoln, which, however, has open pipes in the treble. Various Foreign Specifications in the Appendix contain notices of other specimens. 564. Double Open Diapason. This Stop belongs to the " Diapason- work," and is of 16 feet length on the Manual, and 32 on the Pedal. It is made either of tin, metal, zinc, or wood. The Manual Double Open Diapason is most frequently made of metal in this country, and is sometimes continued right down in metal, as is the case in the organ at Brunswick Chapel, Leeds, built by Booth of Wakefield ; one of G G compass, where the largest metal-pipe is consequently i\\ feet in length. In some instances, the lower half-octave, or octave of pipes, are of wood, — as in that of the late St. George's Church, Doncaster, — from F F F to C C C. In other specimens, the pipes, to the lowest octave or so, are omitted and stopped pipes, substituted to save room or expense ; or the Stop is altogether discontinued below the tenor c key. In the latter case, the Stop is on that account called Tenoroon. The oldest authentic specimen of the Double Open Diapason known to exist in England, is the one in the very interesting organ in Exeter Cathedral, made by Loosemore, 166^. The instrument just named, together with that in St. Saviour's, Southwark, also said to be made by the same builder, were the only two organs in this country that possessed a Double Open Diapason until of late years. 565. The Pedal Double Open Diapason is made of either of the four materials mentioned above. Specimens of wood Stops of this kind occur at Westminster THE NAMES OF ORGAN STOPS. 1 35 Abbey ; in the Dome organ at St. Paul's Cathedral ; at the Parish Church and at Brunswick Chapel, Leeds ; at York Minster ; at the Birmingham Town Hall; and at the Parish Church, Doncaster. The instruments at York and Birmingham have also each a 32-feet Stop of this description made of zinc ; the Town Hall organ at Leeds has also a stop of this kind ; -while 32-feet Stops of tin occur at Haarlem, Hamburgh, Weingarten, etc. The pitch of the Double Open Diapason, whether of the Manual or Pedal, is an octave below the Unison Stop. 566. Double Dulciana. An open metal cylindrical Stop, belonging to the Flute-work ; of small scale and delicate tone, and somewhat slow of speech. It is a Manual Stop of 16 feet, of which but a few specimens have been made in a com- plete form. There is one, however, in metal throughout, to the i6-feet pipe, in the Choir organ of the large instrument at Brunswick Chapel, Leeds. Occasionally, the pipes to the lowest octave or octave and a half of keys, are of stopped wood, as in the Swell at Christ Church, Newgate Street ; though more frequently there are ly) pipes at all provided for the 8-feet octave of keys ; in which case, the Stop is usually called Tenoroon Dulciana. 567. Double Stopped Diapason, or Bourdon ; on the Pedal, Sub-Bourdon, or Untersatz. This is a Covered-stop, of i6-feet tone on the Manual and 32 on the Pedal. It is, rightly, a whole stop, like the two preceding ; complete specimens occurring on the Great Manual organs at the Temple Church ; St. Luke's, Old Street ; the Exchange, Northampton ; All Saints, Northampton ; St. Michael's, Chester Square, etc. In many organs which have a Tenoroon Open Diapason or Dulciana, the Double Stopped Diapason consists of one octave only of pipes, pro- ducing the i6-feet octave of sounds, acting on the 8-feet octave of the Manual, commencing where the Tenoroon leaves off. The English Double Stopped Dia- pason is generally made of wood throughout. This is the case also with many Con- tinental specimens ; while others again are either wholly or in part metal, as in the Choir organ at the Temple Church. Of the Manual Double Stopped Diapason, numerous specimens were in existence in this country about the middle of the last century. The organ built by Jordan, Bridge, and Byfield, in the year 1740, for the church at Great Yarmouth, had a Stop of this kind. So also had the organ in the Foundling Hospital, constructed by Parker, and erected in 1759. The instrument at St. Margaret's, Lynn, made by Snetzler, in 1754, originally contained one throughout the Great Organ ; and another, by Schwarbrook, formed part of his masterpiece at St. Michael's, Coventry. Sir John Hawkins, in his History of Music, mentions another specimen as occurring in an organ at Manchester (at the Cathedral) in his time. 568. The Pedal Double Stopped Diapason (32-feet tone) appears to have been introduced, for the first time in this country, by Smith of Bristol, in the organ he built for the church of St. James in that city, in 1824. Other examples of the Stop occur in organs at St. Pancras Church, and St. Olave's, Southwark, where it is called Sub-Bourdon, 32-feet tone ; and at Trinity College, Cambridge. 569. Pyramidon. This is a Pedal stop of 16 or 32 feet tone, invented by the Rev. Sir Frederic Ouseley, and made by Mr. Flight ; the peculiarities in which consist, first, in the shape of the pipes, which are more than four times the size at the top that they are at the mouth ; and, secondly, in their producing sounds of remarkable gravity for their size. From a pipe, measuring only 2 feet 9 inches in length, 2 feet 3 inches square at the top, and 8 inches at the block, the C C C or i6-feet sound is obtained. The quality of the tone bears some resemblance to that of a stopped pipe. 570. Open Diapason. The Open Diapason is the chief member of the " Principal "-work. It is a whole stop, of 8 feet on the Manual, and 16 feet on the 136 THE SOUND-PRODUCING PORTIONS OF THE ORGAN. Pedal ; and is called Open in contradistinction to the Stopped Diapason, the pipes of which are closed or covered in at the top. From its being the chief Foundation-stop on the Manual and Pedal, its goodness or badness exercises an important influence over the effect of the organ generally. The Manual Open Diapason is generally formed of tin or metal pipes, many of which are those usually seen in front of the case. Sometimes the lowest half-octave or octave of pipes are made of wood. 571. Large organs frequently have two Open Diapasons on the Great Manual ; of tin or metal throughout, usually, in old instruments, but with the bass of the second one of wood, in many later organs. When the organ is placed on the choir screen, as is ofteathe case in cathedrals and other cruciform structures, the majority of the pipes of one Open appear in the east, and those of the other in the west front of the case. The second Open Diapason is made to a different scale from the first, usually one pipe smaller, to destroy the sympathy. Zinc is sometimes successfully used for the 8-feet octave of this stop. 572. The Pedal Open Diapason is almost invariably made of wood. Metal ones, however, are sometimes met with ; as in the Pedal organs at St. Sepulchre's, Snow Hill ; Christ Church, Newgate Street ; Exeter Hall ; St. John's, Chester, etc. A magnificent specimen, of which the pipes in the 8 and 16 feet octaves are of zinc occurs in the new organ at Doncaster, where it faces the transept. 573. It may be worth while to mention here, that the use of the word " Diapa- son " has in some instances been objected to, as having no definite signification ; and its retention as a name for an organ stop proposed to be discontinued in conse- quence. There seems, however, to be no sufficient reason for discarding it. 574. That it is no longer applicable in its original signification, is indeed true. The word, which is of Greek origin, means an " octave ;" and, applied to the first pneumatic organ, which is recorded to have had but one octave of pipes, and those only of the diatonic scale, offered the most fit name that could have been given. But in proportion as the subsequent increase in the compass of the organ and the number of its Stops took place, the appropriateness of the term in its original sense decreased. 575. These developments, however, prepared the way for the apphcation of the word in a more extended meaning. The term " Diapason," coming as it does from two Greek words, signifying " through aD," is applied by makers of musical instru- ments to the rule, standard, or scale by which they make their Flutes, Hautboys, etc. In a similar manner, the set of Unison Open pipes under consideration forms the rule, standard, or scale by which the organ-builder regulates the size of the harmonic corroborating series of stops ; not only in the first instance, in regard to their length and breadth of body, but afterwards, in regard to their strength and quaUty of tone. Its influence extends " through all" the Stops in question ; hence, the name " Diapason " appears to be just the most appropriate one that could be given to a set of pipes exercising so much power. 576. Dulciana. This is an 8-feet Manual Stop, belonging to the flute-work. It is sometimes of metal throughout, as at the Temple Church, and St. Giles's, Camberwell ; or the lowest octave is made of wood and the remainder of metal, as at St. Dunstan's, Fleet Street. The Dulciana, in most organs, stops at tenor c ; the Stop then frequently being grooved into the Stopped Diapason in the 8-feet octave ; or the bass of the Stopped Diapason is made to draw separately to meet it. The pipes of the Dulciana are much smaller in scale than those of the Open Diapason, the fiddle g, or tenor f sharp pipe of the former, being of the same diameter as the middle c» pipe of the latter; and its tone is peculiarly soft and gentle. 577- The Dulciana stop was either invented or introduced into this country by THE NAMES OF ORGAN STOPS. 137 Snetzler, who acquired great reputation from the entire success that attended his first pubUc specimen, which forms a portion of the organ erected by him, in the year 1754, in St. Margaret's Church, at Lynn, in Norfolk. 578. Harmonic Flute. This is a Manual open metal Flute-stop, extending to fiddle g, at the farthest, of cylindrical form, of 8-feet pitch, and either blown by a heavy wind or simply copiously winded. The pipes are of double length — i.e., 16 feet ; and the bodies have a hole bored in them, midway between the foot and the top. The tone of the Harmonic Flute is exceedingly fuU, fluty, and powerful, and imparts great breadth and thickness to the general organ-tone. It was invented by Cavaill^ Coll, of Paris, and has of recent years been adopted generally by the English builders. 579. Voix Celestes. The Voix Celestes is another stop of French invention, formed of two Dulcianas ; which are first tuned in unison, and then the pipes of the second one are lightly touched again with the tuning-horn, and their pitch slightly raised. This gives to the tone of the Stop a waving, undulating character, which, in this respect resembles the German Stop called Unda Maris {wave of the sea), which will be found mentioned in some of the Foreign Specifications, which see. 580. The Voix Celeste was first employed in England in the Panopticon and Glasgow organs. 581. Stopped Diapason, Gedact. The stopped Diapason is an 8-feet sounding Stop on the Manual, and 16 on the Pedal. It is the most important member of the Covered-work — its sound being in unison with that of the Open Diapson. The Manual Stopped Diapason is sometimes composed of metal pipes as far as tenor c, and of oak thence downwards, as on the Great Manual at the Temple Church ; or of metal to middle c*, and of deal below, as at Christ Church, Spitalfields. More fre- quently, however, it is of wood throughout. The different materials slightly modify the tone ; which may, in general terms, be described as being fluty and meUow. 582. On the Pedal the Stopped Diapason is generally made of wood. Its tone adds a quiet solidity to that of the Pedal Open Diapason ; and if purely and fully voiced, is one of the most useful stops a Pedal Organ can contain. 583. Clarionet Flute. This Stop is formed much after the manner of a Stopped Diapason, except that the perforations in the stoppers are much larger, and its tone is of a reedy quality. It is of 8-feet tone on the Manual. The tone is very rarely even or equal throughout the Stop. 584. Clarabella. The modern Stop thus called, which was invented by the late Mr. Bishop, is of 8 feet on the Manual. It is formed of open wood pipes of a large scale, producing a thick and powerful fluty tone ; and is sometimes introduced instead of the treble portion of the Stopped Diapason. The Clarabella is seldom disposed otherwise than as an Incomplete stop ; its compass generally only extend- ing to middle c', or, at most, to tenor c. A complete one, however, occurs in the Swell of the Brunswick Chapel organ, Leeds, by Booth, of Wakefield. The English Clarabella much resembles the German " Hohl-flote" in character of tone, except that its sound is scarcely so strong or so fuU. 585. Dolcan. This is an Open Manual Stop, of 8 feet, the pipes of which are of larger diameter at the top than at the bottom, producing a very agreeable tone. It is not much known in England ; a specim'en, however, exists in the organ at St. Stephen's Church, Westminster, made by Hill. 586. Viol di Gatkba, or Gamba. This is one of the most highly esteemed and most frequently disposed Stops in Continental organs ; as may be gathered from reference to the Foreign Specifications in the Appendix. The German Gamba is usually composed of cylindrical pipes, of small scale ; though, occasionally, it is formed of conical pipes. In England, the Viol di Gamba was, until very recently. 138 THE SOUND-PRODUCING PORTIONS OF THE ORGAN. made exclusively of the conical shape, surmounted by a bell, as represented in fig. 81, page 103 ; and which kind of pipe was first introduced by Mr. Hill. 587. In compass, the Viol di Gamba usually descends no lower than tenor c ; that at Christ Church, Spitalfields, however, — which is a Bell Gamba, — descends to C C. Examples of the German Gamba occur in the organ at Doncaster Parish Church, in the Exchange organ, at Northampton, and in the organ at the Temple Church, the latter specimen descending to C C. The proper Pedal-bass to the Gamba, and other unison string-toned Stops, is the Violone, 16 feet, a Stop com- posed of wood pipes of small scale, the C C C measuring about 5 inches by 7. An admirable specimen of this Stop occurs on the Pedal of the Temple organ, and another at Doncaster. 588. The tone of the Bell Gamba is very agreeable and reedy, and quick in its articulation ; while that of the (German) Gamba is much stronger, pungent, and cutting, but of slower intonation (imitating the bite of the bow on the string), hence the latter has the Stopped Diapason, or still better, the " Hohl-flote," drawn with it, which performs the same office, in regard to this and all other slow-speaking Stops, that the " percussion" does to the tongues of Harmoniums. 589. Keraulophon. This also is a Manual Stop of 8 feet, of metal, and, like the one last noticed, of a reedy and pleasing quality of tone. It seldom extends lower than tenor c. It is formed of cylindrical pipes, like the Open Diapason and Dulciana, the peculiarity in the character of the tone being produced by the boring of a small round hole in the body of the pipe near to the top, or through a sliding cap. The Keraulophon was invented by Messrs. Gray & Davison, and used by them for the first time in the organ of St. Paul's Church, Knightsbridge, built in 1843. 590. Hohl-jlute (Hollow-toned Flute). A German name, applied of late years to an English open metal Stop of 8 feet, that is nearly identical with the Stop last described. 591. The Hohl-flute was occasionally introduced by Father Smith into his organs. There were originally two in his instrument at Durham Cathedral, one on the Great and the other on the Choir Manual, each of wood, and two in the Temple organ, similarly disposed ; all of which, however, have long since disappeared. That intro- duced by the same builder into the Choir organ at the Cathedral, Manchester, still remains, under the name " Dulciana." The German Hohl-flute, when of metal, is made to a very large scale— ?>., larger than the Open Diapason, producing a powerful and thick, or as the name distinctly intimates, a hollow tone. There is a Hohl-flute in the organ erected by Schulze, in 1851, in the Exchange at North- ampton, of wood, and having the mouth on the broad side of the pipe. That in the Doncaster organ is formed of three-^\6i^A pipes, and is the first Mr. Schulze made of that shape. 592. Geigen Principal (Viohn Diapason) is a Manual Stop of 8 feet, producing a pungent tone, very hke that of the Gamba, except that the pipes, being of larger scale, speak quicker, and produce a fuller tone. Examples of the Stop exist at Doncaster, the Temple Church, and in the Exchange organ at Northampton. 593. Salicional, or Salicit. Another reedy-toned 8-feet Manual Stop, of small scale, of which an example occurs in the Swell of the Panopticon organ. It may not be uninteresting to many to have the peculiarities of the several string-toned Stops briefly pointed out : — The fiddle g, Geigen Principal, tenor d sharp, Gambia, and tenor c sharp,— of the Salicional, are all of the the same diameter as the middle c' of the Open Diapason— z>., i^ in. THE NAMES OF ORGAN STOPS. 139 594. All the above-named Stops differ in respect to the " height of mouth ;" the smallest in scale (the Salicional) being cut up most, and the Open (the largest), the least. Moreover, they differ very much in their speech ; the Salicet being the slowest, but the most penetrating ; the Open, the quickest and fullest. 595. Fifth, Quint. Double Twelfth, Diapente. The fifth is the largest Muta- tion-stop commonly introduced into an organ. On the Manual, it is sometimes composed of open pipes of proportionate scale to the Double Open Diapason, in which case it of course forms a portion of the " Diapason-work ; " at others, it consists of stopped pipes, as in the Chester Cathedral organ, built by Gray & Davison, in the Doncaster Organ, and in St. Margaret's Church, Gotha, built by Schulze — when it belongs to the Covered-work (Gedact-Quint — see Foreign Speci- fications). In a few English examples, the Manual Quint has been formed of Dulciana pipes, which, however, are of weak intonation, and less prompt in speech. The Quint on the Pedal is almost invariably composed of stopped pipes, and are most effective. (See Foreign Specifications.) The greatest size of the Quint is usually 5^-feet on the Manual, and lof-feet tone on the Pedal. In the great organs at Stuttgardt and St. Paul's, Frankfort, are Quints of lo|- on the Manual ; and in the Cathedral organ, at Bremen, built by Schulze, is a " Quinten-Bass " of ai^-feet tone, of stopped wood pipes. 596. A Manual Open Quint was made in England so long back as the year 1730, by Bridge, the organ-builder, who introduced it into the instrument erected by him in Christ Church, Spitalfields, in that year. The Pedal Stopped Quint, lof-feet tone, was first introduced into this country by Robson, in the organ at Huddersfield, built in 1850. A second specimen was introduced by Kirtland and Jardine, with excellent effect into their organ in Holy Trinity Church, Manchester, made in 1852. 597. Principal, Octave. A 4-feet Stop on the Manual, and 8 feet on the Pedkl. Its usual material is either tin or metal, though, in some organs, where there are two Principals on the Great Manual, the second one is sometimes of wood, as at Christ's Hospital, &c. ; the second one is then more correctly an open wood Flute of 4 feet. At the Temple Church, St. Giles's, Camberwell ; Christ Church, Spital- fields, &c., both Principals are of metal. The English Principal is the octave stop to the Open Diapason ; and where there are two metal Principals, the scale of the second one is generally regulated by the measure of the second Open Diapason, to which Stop it is usually designed to form an appropriate octave. 598. Dulciana Principal, Dulcet. A delicate and sweet-toned Manual Stop of 4 feet, formed of metal pipes, of small scale. It was first introduced by Green, who, in several of his later instruments, placed this, as well as a unison Dulciana, in the Swell. Examples occur, thus disposed, in the organs erected by him at Rochester and Salisbury Cathedrals, Greenwich Hospital, &c. 599. Flute Octaviente harmonique. The Harmonic Flute of 4 feet that has recently become so great a favourite with most English organ-builders. 600. Flute. A stop of either 4-feet standard length or 4-feet tone on the Manual (for both species of Stop are met with indifferently and indiscriminately under the same name), and 8-feet tone on the Pedal. The old Flute Stops are sometimes composed of metal pipes throughout, as in the Swell organ at the Temple Church ; St. Andrew's, Undershaft ; and, until lately, at St. Paul's ; sometimes partly so, as at St. Michael's, Cornhill ; while in many instances they are of wood throughout, as at Finedon. The old organs often have a Flute Stop of octave pitch on both the Great and Choir Manuals. Where this is the case, one is often of metal, either whoUy or partially, and the other of wood, the different materials being used as an auxiliary to secure an individuality in the character of the tone of each. The I40 THE SOUND-PRODUCING PORTIONS OF THE ORGAN. majority of the modern Flute Stops are of wood, and open ; and hence are 4-feet Stops, as those already noticed are of 4-feet tone. The quality of the tone of a Flute Stop usually bears a close resemblance to that of the wind instrument after which it is named. 601. As a Pedal Stop, the Flute has not as yet been much used in this country, although it is of the greatest utility. A Bass Flute Stop occurs in the organ at St. Mark's, Hamilton Terrace, Regent's Park, built by Gray, in 1847 ; and in instru- ments by Brindley, of Sheffield, at Papworth Everard, and Little Drayton. 602. Spitz-flute (literally, pointed or spire-flute). This Stop is found of 8, 4, and 2 feet length in German organs. An example of 8 feet occurs in the Choir Organ at the Temple Church. The pipes of the Spitz-flute are slightly conical, being about \ narrower at the top than at the mouth, and the tone is therefore rather softer than that of the cylindrical stop, but of very pleasing quahty. 603. Gemshorn. The Gemshorn is a membef of the Flute-work, and is met with of 8, 4, or 2 feet length in Continental organs. A Stop of this kind, of 4 feet, occurs on the Choir Manuals of the organs at the Wesleyan Chapel, Poplar, built by Mr. Hill ; and at the Temple Church. The pipes of this Stop are only \ the diameter at the top that they are at the mouth ; and the tone is consequently light, but very clear and travelling. 604. Nason. This name is sometimes found applied in old organs to a wood- stopped Flute of 4-feet pitch on the Great Manual, as at the Temple Church ; and, until a few years since, at St. Paul's Cathedral. It is generally a quiet sweet-toned Stop, producing a most lovely effect when combined with the Diapason. 605. Wald-flute (Wood or Forest-flute). The name given in England to a Manual Stop of 4 feet, formed of open wood pipes of a large scale, with inverted mouths. It is a full-toned and powerful-speaking Stop, and, in all essential parti- culars, may be considered as an octave Clarabella. It seldom ranges lower than tenor c. Mr. Hill first used it in the Cheetham Hill organ, Manchester, built by him in 1841. The English Wald-flute is a distinct Stop from the German one of the same name. The German Stop is made either of tin, metal, or wood ; the English one always of the last-mentioned material. The former is also made to a scale larger than that of the Open Diapason, and produces a thick and full tone. 606. Clear-flute. An open wood flute of 4 feet, invented by the firm of Kirtland & Jardine, of Manchester. It resembles the Wald-flute so far, that the pipes have the inward-bevelled mouth ; but, in addition to this, they have also the bevelled block, shown in fig. 99, page 112 ; are copiously winded, have no nicking, and are more nearly square in shape'. The tone is exceedingly firm, clear, and fuU. 607. Oboe flute. Another 4-feet Manual Stop, composed of wood pipes of small scale. Its usual range is tenor c. The tone of the Oboe-flute is very delicate and reedy, and not so strong as that of the Viol di Gamba. 608. Suabeflute. Also a tenor c Manual Stop of 4 feet, formed of wood pipes, with inverted mouths. Its tone is liquid and clear, and not so loud as the Wald- flute. The Suabe-flute was invented by Mr. Hill. 609. Celestina. A 4-feet Manual Stop, formed of open wood pipes, of small scale, producing a delicate and subdued tone. It is not often met with. Its usual place is in the Swell organ, as at Christ's Hospital, &c. 610. Tenth, Double Tierce, Decima. This is an open metal cylindrical Stop, of 3^ feet length on the Manual, and 6| feet on the Pedal. It is the second Double Mutation Stop, taking them in the order of their size or gravity of tone ; but the largest of the third-sounding species. The first English organ in which the Tenth was legitimately introduced, is the one in the Mechanics' Institution, Liverpool. The pitch of the Tenth is a major third above the Principal, or a tenth above the Diapa- THE NAMES OF ORGAN STOPS. I4I sons ; all numerical names giving the altitude of the sound 'above that of the unison Stops. The great Tierce of 6| tone, on the Pedal, at Doncaster, is the first Stop of the kind made in England. 611. Twelfth, Octave-quint, Duodecima. An open metal stop of 2f feet on the Manual, and 5^ feet on the Pedal, belonging to the Diapason-work. Its pitch is a perfect fifth above the Principal, or a twelfth above tlie Diapasons. 612. Fifteenth, Super-octave. Also an open metal Stop belonging to the Diapason-work, of 2-feet length on the Manual, and 4-feet on the Pedal. The Fifteenth sounds the octave above the Principal, and consequently a fifteenth, or super-octave, above the unison Stops. In some organs, where there are two Fifteenths on one Manual, the second is made of wood, forming, in fact, a Piccolo ; at Christ Church, Spitalfields, both the Fifteenths on the Great Manual are of metal. 613. Block-flute (common or ordinary flute). This is an open metal Stop, tuned in unison with the Fifteenth. It is composed of pipes of a very large scale, the 4- feet c pipe measuring very nearly 4J inches in diameter, the measure of the 4-feet pipe of the Open Diapason being about 3I inches. The tone of the Block-flute is very full and broad. The Block-flute was a favourite Stop with Father Smith, who introduced it into his organs at Durham- and St. Paul's Cathedrals. The former specimen has disappeared ; the latter still remains, under the name " Large Fif- teenth." 614. Ocfavia harmonique. The Harmonic Piccolo of the French and English organ-builders. 615. Piccolo. A 2-feet Manual Stop, formed of wood pipes, producing a bright, clear, and travelling tone. Its pitch, as its accordance of length thereto would imply, is in unison with the Fifteenth — i.e., two octaves above the Diapasons. The Piccolo is sometimes a Whole-stop, as at St. Michael's, Chester Square ; but more often it only extends to tenor c. 616. Flageolet. Another small member of the Flute-work, usually of 2 feet on the Manual. It is formed of open wood pipes, and the tone is smaller and sharper than that of the Piccolo. 617. Tierce, Seventeenth. A Stop formed of open metal cylindrical pipes, the pitch of which is a major third above the Fifteenth, or a seventeenth above the Diapasons. The Tierce frequently constitutes one of the ranks of the Sesqui- altera, though, in old organs, it is occasionally made to draw separately, as at St. Sepulchre's. It is, however, found in both ways, in ancient as well as modern instruments. 618. Larigot, Nineteenth, Octave-Twelfth. This also is a small metal Muta- tion-stop, of \\ foot on the Manual, and 2| on the Pedal. It is occasionally met with as a separate Stop, as at Christ Church, Spitalfields, and St. Sepulchre's ; but generally it is embodied in the Sesquialtera, of which it forms, strictly speaking, an integral part. The Larigot sounds a perfect fifth above the Fifteenth, and therefore a nineteenth above the Unison Stops. 619. Octave-fifteenth, Twenty-second. A small open metal Stop, of i foot on the Manual and 2 feet on the Pedal, of' bright and sharp tone. It sounds the octave above the Fifteenth, and the third octave above the Diapasons. This rank of pipes, like the Tierce and Larigot, is but seldom disposed as a separate stop. It occurs in this manner in the organs at St. Philip's, Sheffield, and Stratford-on-Avon. A " Two-and-twentieth" also appears as one of the Stops in the original specifica- tion for the old organ at York Minster, built by Dallam, in 1633. 620. Doublette. The French name for the Fifteenth ; but in England applied of late years, to a two-ranked Foundation-stop, sounding a fifteenth and twenty- second above the unison, the two sounds being an octave apart. 142 THE SOUND-PRODUCING PORTIONS OF THE ORGAN. Compound Stops. 62 1. Sesquialtera. This Compound-stop is composed of either 5, 4, 3, or 2 ranks of open metal pipes, tuned in thirds, fifths, and octave to the Diapasons. The altitude of the several sounds of a 5-ranked Sesquialtera above the unison pitch, vv^ould, under ordinary circumstances, be, in the bass, a 17th (3), 19th (5), 22nd (8), 26th (5), and 29th (8), from the ground tone. Where, how- ever, there is a separate Tierce, it is not usual to include a duplicate of that rank in the Sesquialtera, unless, indeed, the ranks of mixture are sufficiently numerous to demand this arrangement. At Doncaster, where there was a Tierce and a 5- rank Sesquialtera, in Harris's organ, now destroyed, the latter was compounded of a 19th (5), 22nd (8), 24th (3), 26th (5), and (29th) 8 : that is, with an octave Tierce in lieu of the unison (separate) one. Another composition for a 5-rank Sesquialtera with separate Tierce, is — 15th (8), 19th (5), 22nd (8), 26th (5), and 29th (8). A 4- rank Sesquialtera is generally, though not always, composed of a 15th (8), 17th (3), 19th (5), and 22nd (8), as at St. Mary's, Nottingham (Snetzler), and at St. Botolph's, Aldgate. Sometimes it consists of a 17th (3), 19th (5), 22nd (8), and 24th (3) (Tierce and octave Tierce), as was the case at St. Magnus, London Bridge. This again, and indeed all Sesquialteras, however numerous or few may be the number of ranks of its pipes, are, in regard to their composition, influenced very much by the presence, or otherwise, of the Tierce, the Larigot, the temperament to which the organ is tuned, and even also by the occurrence, or not, of other Compound-stops on the same Manual. 622. As the pipes of the Sesquialtera would become exceedingly small, keen, and prominent in the treble, and, moreover, their presence is not demanded by the acoustical phenomenon on which the introduction of the Compound-stops is founded, as is fully explained in a succeeding chapter — the smaller ranks are usually discontinued from middle c', or c' sharp, at their original altitude of pitch above the Diapason, and larger pipes, sounding an octave lower, are sub- stituted. In this manner the Twenty-second or Octave-fifteenth, the smallest rank in a Sesquialtera of three ranks, is turned into a Fifteenth, and the Nine- teenth, or Larigot, into a Twelfth. The Tierce is usually allowed to remain' unbroken throughout the Manual. In the real Sesquialtera, the Third-sounding rank, is smaller than the Fifth-sounding ; and the pitch of the two is a major sixth apart. The old English Sesquialtera was therefore correct in the treble, but was a mixture in the bass. 623. In consequence of these "breaks," as they are termed, there are then of course two Twelfths and two Fifteenths in the treble. All such duplicate ranks are, in England, usually made to a different scale. 624. The German Sesquialtera, when of 2 ranks, and which is seldom met with except in old organs, is composed of a Twelfth and Tierce, sounding a major sixth. 625. Mixture. This Stop consists of from 5 to 2 ranks of open metal pipes, which are, in England, generally of smaller dimensions than those of the Sesqui- altera, particularly where the last-mentioned Stop is not very numerously ranked, and has nothing higher than a 22nd. 626. The Mixture, then, if of two ranks only, usually consists of a 26th (5) and 29th (8) in the bass and tenor octaves ; changing to a 19th (5) and 22nd (8) at middle c', or middle c' sharp — i.e.., on the same key where the Sesquialtera breaks into a I2th, 15th, and 17th. In some mixtures the breaks occur sooner. In some modern examples, on the contrary, both the Sesquialtera and Mixture are carried up to the smallest pipe commonly made, mamely, f, occurring on the treble f key in the Sesquialtera, and on the V- above middle c' key in the Mixture, before any break is made. 627. The Mixture of 5 ranks occurs the most frequently on such Manuals as THE XAMES OF ORGAN' STOPS. 1 43 have no other Compound-stop, as in the Swell at Christ Church, Newgate Street. In such cases its composition is nearly identical with that of a numerously ranked Sesquialteia, and dosety resembles the Continental Mixture. 6;S, In Germany the Mixture is usually the first Compound-stop, as the Sesquialtera is in England : and not the second, as we generally make it. Their second Compound-stop is generally either a Scharf (sharp) or C}-mbeI. 629. On the Great Manual of the organ in the Town Hall at Birmingham, is a 5-rank Mkcture, besides a Sesquialteia and Furniture of the same number of ranks. 630. JFitrmtitire. This Compound-stop consists of firom j to 2 sets of small open metal pipes, the number of ranks, as well as the intervals they sound abo\'e the unison Stops, var\ing with circumstances, \\~here there is a Sesqui- alteia and Mixture on the same Manual, the Furniture is sometimes above both ; as at St. Giles's, CamberwelL For instance, if it be of two ranks, they win probably be a 33rd v? and a 36th ^,8'* above the unison — /".«■., a 5th and Sth abo\-e the (usuaQ upper rank of the Mistture ; but the ranks will break in everv- octa\-e. on account of even its longest pipes being but verj- small. In other examples, the Furniture is neariy identical in composition with the usual 3-rank Sesquialtera ; as at St. Sepulchre's, and in the Dome organ at St. PauFs. In many organs the Furniture appears as the second Compound-stop ; as at St. Leonard's, Shoreditdi, &c. : in which case it is neariy, if not quite^ identical with the usual Mixture. 631. The Furniture appeared on the Choir Manual of Aver\-'s organs, at St Margaret's, Westminster, and Cro\-dan Church. 63::. CiTxif, This name is applied to several distinct kinds of Stops. 633. TJie -VtHtJiUif Conti-/ is a Compound-stop, consisting usually of 5 ranks of jupes, three, four, or fi\-e pipes larger in scale than the Open Diapason, and voiced to produce 3 fall and broad tone. It is only a treble stop in Ejiglish organs, langing fiaun middle c*, or c* sharp, upwards : but in German examples, its usual compass is to tenor c The Mounted Comet is composed of a Stopped (or sometimes an Open) Diapason, a Principal, TwelfUi, Fifteenth, and a Tierce. The pipes are planted on a small sound-board of thdr own, raised some three or four feet above that of the Great organ — hence its name, — and the wind is conducted from the Great oigan sound-board up to that of the Mounted Comet through metal tubes. The Mo-aited Comet is mostly found in old organs ; but examples occur on the Great and Swell Manuals of the new oigan at Doncastor. It was chiefly used for playing out the mdody of the Coiales upon, and for the parformance of a now obso- lete kind of voluntary ; but it is of great use in large organs in hiding the breaks in the several Compound.stops, as it proceeds itself without any "repetitions." In Fath^- Smith's (»gans the Comet was ne^Tsr " mounted," but stood on the sound- boaid. It was afterwards raised piobabh- to economise room. 634. £c •j-Ll-'-ti-/, This \-ariety is also a Compound-stop, and is sometimes mo-,:aied. It is composed of the same numbar of ranks of pipes as the Mounted Comet, and usually, thoo^ not always, of pipes of the same pitch, but of Dulciana scale. This Stop firequent]^- extends to tenor c. Its usual situation is in the SwelL as at Sl Petw's. Cornhill ; its tone," besides bdng in itself light and ddicate, being ferther subdued by being enclosed within a bos. 6^;. The name of Comet is oftan found apphed to the Compound-stop so frequeatly met with in the short Swells of the last centuiy. It is generally of 3 ranks, i^ch, 15th, and 17th ; though, where there is no sqniate Principal, as at St. George's, Ratchfe Highway, that Stop is usually incorporated with it, which thai of course contains 4 ranks. 144 THE SOUND-PRODUCING PORTIONS OF THE ORGAN. 636. In small organs, the Sesquialtera is not uncommonly made to " draw in halves ; " the treble of which is then often labelled " Cornet." 637. The name is, in German organs, further applied to a- small Pedal Reed- stop, of 4 feet and 2 feet. (See Foreign Specifications.) Reed-stops. 638. Double Trumpet. This is a Manual Stop of 16 feet, with pipes either of metal throughout, as at St. George's, Doncaster, or having the tubes to the lowest octave of wood, as at Ashton-under-Lyne. Sometimes the pipes of the lowest octave are omitted ; in which case the Stop is frequently called "Tenoroon Trumpet." Its tone is weaker — though only slightly so — than the Unison Trumpet, to which it of course sounds the octave below. 639. Double Bassoon. ^ Contra Fagotto. Also a Manual i6-feet Reed-stop, but of smaller scale and softer tone than the Double Trumpet. Specimens occur in the Swells at the Temple Church, and at All Saints, Northampton. 640. Double Hautboy. Another i6-feet Manual Reed-stop, of small scale. An example occurs in the Swell of the organ in Cranbrook Church, Kent. 641. Trumpet. An 8-feet Reed-stop, both on the Manual and the Pedal. Its tone is clear and penetrating, somewhat resembling that of the well-known wind instrument after which it is named. The Tubes of the Trumpet-pipes are usually made either of, tin or metal, though occasionally they are of zinc or wood. 642. Horn. An 8-feet Manual Reed-stop, formed of tin or metal pipes of much larger scale than those of the Trumpet. The tone of the Horn-stop is fuller and smoother than that of the Trumpet, and without the clang peculiar and necessary to that Stop. A Horn-stop forms part of the original work of the organ in Christ Church, Spitalfields, made by Bridge, who appears to have been its inventor. 643. Cornopean. Also a Manual Reed-stop of 8 feet, consisting of a set of tin or metal pipes of nearly the same scale as the Horn, but of a different style of voicing. Its tone is more sonorous than the Trumpet ; and smoother, though scarcely so powerful, as that of the Horn. 644. Trombone. Posaune. A very powerful and full-toned Reed-stop, of 8 feet on the Manual and 16 or 32 feet on the Pedal. Its pipes are made to a very large scale, and of tin, metal, or wood — of tin or metal for the Manual, and of metal, zinc, or wood mostly, for the Pedal. 645. There are 32-feet Contra Posaunes in churches at Hamburg and Copen- hagen, and of tin. Those at Birmingham and York are of wood. Specimens of metal are to be found in the Parish Churches at Leeds and Doncaster. A i6-feet Pedal Posaune of metal occurs in the organ at Exeter Hall, built by Mr. Walker; and one of zinc at the New Church, Cheetham Hill, near Manchester, built by Mr. Hill. Wooden ones are of common occurrence throughout the country. 646. Ophicleide. Tuba Mirabilis. The most powerful 8-feet Manual Reed- stop known. The majestic effect produced by this Stop arises partly from its scale, but more particularly from the great strength of the wind that gives it utterance — three or four times that of the ordinary organ-wind. The Stop is usually placed on a sound-board of its own with a separate bellows, &c., &c. 647. The Ophicleide was first introduced by Mr. Hill into the large organ in the Birmingham Town Hall. 648. Hautboy. An 8-feet Manual-stop, formed of metal pipes. The tone of this Stop is thin, penetrating, and of a wailing character, like that of the instrument of the same name, the sound of which it of course is intended to imitate. THE NAMES OF ORGAN STOPS. 1 4$ 649. Bassoon, Fagotto. This is a soft and slightly nasal-toned Reed-stop, of 8 feet on the Manual, and 16 on the Pedal. Its tubes are made either of metal or of wood. In old organs, the Bassoon is generally a Whole-stop, as at Christ Church, Spitalfields ; St. Michael's, Cornhill ; &c. In modern instru- ments, it is more frequently an Incomplete one, sometimes consisting of a single octave of pipes only, acting on the Great octave of Manual Keys, and therefore, as an imitative stop, comparatively useless. 650. Clarionet, Cormorne, Cromorne, or Krumm-horn, Cremona, Corno di Bassetto. This is another agreeable Reed-stop, of soft intonation, of 8-feet size of tone. It possesses great sweetness and beauty of tone ; and, when finished by the hand of a master, is a close imitation of the orchestral Clarionet, invented at the commencement of the last century, by Denner, of Nuremburg. This Stop is met with under a great variety of names. The word Cormorne, from which Cromorne is derived, signifies a soft-toned Horn. The name Krumm-horn is compounded of the adjective krumm — i.e., crooked, and Horn ; and signifies a Cornet or small Shawm of irregular form. These names have, in England, been corrupted into "Cremona;" and as the Stop has, in the majority of modern examples, also been reduced from its former full manual compass to one of fiddle g range, the idea is thus in two ways conveyed, that it is a Violin stop : whereas the last-mentioned (fieigen^Principat) is a Flue and not a Reed-stop, as already explained.* As the Stop in question is estimated in proportion as its tone approximates that of a Clarionet, and as all organ-builders alike strive to make it imitate that instrument, " Clarionet " is obviously a better name to apply to it than "Cremona" — that is, when it is of Clarionet compass, namely, to tenor c sharp, or to c natural. 651. A Clarionet of deeper pitch — i.e., descending to F F, composed of a longer tute, bent towards the middle, and forming an obtuse angle, is known in England as the Corno di Bassetto, and in Germany as the Krumm-horn (crooked-horn). The appropriateness of this name for a Clarionet-stop of . similarly extended compass is therefore obvious. Fine examples of this Stop occur in the organs of the Temple Church, and at St. Mar/s-at-Hill. A Bass Clarionet, having a compass down to C C, or even B B flat, has recently been introduced. 652. Como-flute. The name given to a Manual Reed-stop of 8 feet, having wooden tubes, and producing a soft and agreeable quaUty of tone. As it is a Reed-stop, it is not easy to say why it is named as belonging to the Flute-work. 653. Vox Humana. This Stop is intended to represent the human voice, which it often does, but very faintly. It is of 8-feet tone, and generally extends throughout the entire compass of the Choir or Swell organ. Its tubes are very short, like those of the Clarionet, but broader. 654. Clarion. A 4-feet Reed-stop, both on the Manual and Pedal, formed of pipes of tin or metal. The tone of this Stop is sharp and clear, giving great brilliance to the FuU organ. The upper octave of this Stop is, on the Manual, generally composed of Open Flute-pipes, because Reed-pipes above f in alt seldom remain long in tune. The Clarion at Doncaster, however, by Byefield, was carried up to the top in Reed-pipes. In many French organs the Clarion * The " names and descriptions of several instruments instruct us as to the nature and design of many Stops in the organ, and what they are intended to imitate. To instance, in the Krumm-hom ; the tone of it originally resembled tiiat of a small Cornet, though many organ-makers have corrupted the word into Cremona, supposing it to be an imitation of the Cremona Violin.'' — Haviiiiu's History of Music, vol. ii., page 145, note. X 146 THE SOUND-PRODUCING PORTIONS OF THE ORGAN. has Trumpet-pipes in the upper octave ; and this is the case with the two Clarions in the Temple organ 655. Octave Hautboy. Hautboy Clarion. This is a 4-feet Reed-stop, com- posed of pipes of the Hautboy species. It is not a common Stop ; but one of the kind occurs in the old Swell of the organ at St. George's Church, Hanover Square. 656. Octave Clarion. This is the smallest Reed-stop used in an organ. It is a 2-feet Stop, both on the Manual and Pedal. When it occurs as a Manual- stop, it usually extends through i\ octaves in Reed-pipes, C C to f above middle c' (sounding from middle c' to f in alt), and then carried hence to the top in Flue-pipes. Sometimes, however, it consists of Reed-pipes throughout ; break- ing first into a Clarion, then into a Trumpet. Table of the Sounds produced by the several leading Manual and Pedal Stops from the low C key. Manual. 5 =3 s. ° - .4 a? .ago sal 0.0^ Is CO s .a. ■30 •S £ « a Oh 3 H g I •C 2 CM O J o Ji s So .S-s 15 •* -e>- IE -rj rj- -^ a.iS « a " S-Q oT s .S tnc-i H O 13 <§•■ .sis s ftfHM O The sound of the 32-feet C is an octave below the first note above written. FOUNDATION, MUTATION, AND COMPOUND STOPS. I47 CHAPTER XXIV. THE ORIGIN AND NECESSITY OF FOUNDATION, MUTATION, AND COMPOUND STOPS. The introduction of 657. THE preceding chapter presents a list of all the Stops of various sizes, jjjfferent Organ Stops ordinarily found in English organs, with founded on a plieno- , . . , , . , , ,t., ■ 1 r menon in nature. their sizcs and Other particulars annexed. The lengths of these are not only very diversified, as will already have been perceived ; but the sound of some might, at first, be imagined to be so opposed to that of others, as to be quite irreconcilable with them for any musical pur- pose. For example, if the 3-part chord of c (WJ ^ ~ be struck, with the Open Diapason drawn, the true sounds will be heard ; but if the Twelfth be substituted, the chord of g' major i^ \ g- — ■ will be sounded; or, if the 4S— W -9- W Tierce be drawn, then the chord of e' major 2_ So that, in fact, Si - w we find the following apparently opposed sounds ; namely, C, e, g — g*, b", d" — e'', g'^ sharp, b* — concentrated on the same three keys. 658. Some organs have no separate Tierce wherewith the last example can be illustrated; in which case, some Compound-stop, containing a Tierce, may be drawn for the purpose, if the organ contain one, by which substitution the dissonance will appear to be still more egregious. 659. Now, it would seem that no agreeable effect could possibly be obtained from the union of sounds so hostile ; but so far from this being the case, not only are most of these sounds capable of the most satisfactory reconciliation, but their presence is positively indispensable to the production of _true organ- tone. The fact of their sounding so disagreeably, when tried as above sug- gested, arises from the peculiar manner of using them, which is not in accordance with the generally received method. The object, however, was simply to show that such combinations of sounds exist in organs : it has now to be explained fioTV it is they are found there, and why it is they sound so well there, when well balanced and properly tuned. 660. If, when all is perfectly still, one of the bass strings of a pianoforte, or the fourth string of a violoncello, be set in vibration, other and higher sounds will be heard to accompany the fundamental sound or gi'ound-tone. 661; A deep-toned string is best to select, in order to obtain a favourable illustration of this experiment ; because the higher the fundamental sound is, the quicker will the harmonics follow each other, and consequently the less audible will they be — particularly the higher ones. 662. These concomitant sounds are what are called the harmonic sounds ; X 2 148- THE SOUND-PRODUCING PORTIONS OF THE ORGAN. and they stand, in relation to the principal or ground-tone, in the following ratios ; — Fundamental or Harmonic sounds. Ground-tone. w^ -^- ^ "*■ Some of the smaller harmonics, as being of no importance here, are not noted down. 663. On examining the above notation, representing the series of harmonic sounds, it will be discovered that the sounds which at first appeared to be so much out of place (distinguished above by asterisks) correspond exactly with two of those suggested by nature. In fact, they, and indeed the sounds of all the smaller Foundation, Mutation, and Compound-stops, are introduced to corro- borate Nature's dictates, and to reduce into the form of actual sounds what she indicates in the shape of harmonic wyatiAs. 664. Nor are these Harmonic-corroborating Stops voiced so as to sound as weakly as the harmonic sounds themselves ; yet they blend so well with the other Stops in all good organs, that together they produce the effect but of one full, brilliant, and magnificent whole. 665. This imity of effect, and due subordination of the Mutation-stops, are secured partly by the greater number and power of the Foundation-stops ; partly by the weaker intonation of the Mutation ranks ; partly by the restricted and correct method of using them ; and partly by their being of the proper relative sizes. How the sizes of the 666. We have now to ascertain what those rightly decreas- Harmonic - corroborat- j ^j^^^ ^^^^j ^^ ^j^^j g^^ ^^^^^ ^j^^^ ^jj^.^^^ ^^ mg are deduced and 07 r 7 fixed. bemg necessary to represent the harmonic series of sounds. The former point may be the most easily illustrated by a reference to the measurement of a string, and the extent to which its vibrating portion must be successively lessened, to reduce those harmonic sounds into a series of natural sounds. 667. A string of a certain length, thickness, and tension, will produce a given sound. To make that string produce the octave of its full-length sound (corroborating the first acoustic sound), the vibrating portion must be shortened to one-half. To produce the fifth of that octave, or the twelfth of the original sound (the second acoustic sound), it must be reduced to one-third ; to one- fourth, to obtain the second octave of the full-length sound ; to one-fifth, to produce the seventeenth ; to one-sixth, for the nineteenth ; and to one-eighth of the original length to produce the twenty-second, or third octave of the original sound. 668. According to this scale, the fixed length of the harmonic series of Stops should be ^, ^, \, \, J, and ^ the length of the Chief Foundation or Ground- stop, whatever that may be. That is to say, if an 8-feet manual Open Diapason be taken as the basis of the organ-tone, the smaller stops should measure in length 4 feet (i), 2f feet {\\ 2 feet {\), if foot (i), i^ foot (i), and i foot (|). 669. Or if a i6-feet Stop be taken for the foundation, as would be the case for the Pedal, the length of the harmonic series would be 8 feet (j), 5^ feet (J) ; 4 feet (i), 31 feet (i), 2f feet (i), and 2 feet (J). 670. And such we find to be the case ; for, on comparing the first of the above codes of "lengths" with those given in the list of Stops in the last chapter, they ^FOUNDATION, MUTATION, AND COMPOUND STOPS. I49 are found to single out the identical Stops from the great number which are so constantly found in all organs. This fact is still more clearly illustrated in the following example : — Forming Sesquialtera, or rather Mixture of three ranks. 12. §^ t -> /-\ S-' Comparative length of Organ Stops. Ground - tone, and SS- Series of Harmonic 1 ^^ t ■d So 11 u . J van .2 a^ sounds. i^ -&c. Division of the string. y h \ \ \ h \ 671. In the above table, the notes represent the harmonic series of sounds, the figures beneath show the extent to which a string must be shortened to produce those sounds, the figures above show the precisely corresponding reduction that is made to transfer the series from a string to columns of air within pipes ; and the names over all are those of the organ Stops to which the lengths have directed us. Reasons for marking 673. We are thus made sensible of the advantage and ""^ h^'^h *^ ^'"'^ importance of having the length of the Stops placed on all the draw-stop knobs, in addition to the names of the Stops. Their names are variable, and may be familiar, or tiots but their lengths, or size of tone, are fixed, and therefore give an unerring clue to their pitch, when the names may perhaps be wholly unintelligible. It is now also obvious why the Fifth-sounding Stops should not be marked as being of "6 feet" and "3 feet," those figures placing the length of those Stops beyond their deducible admeasurement. Theoretical exceptions 673. It should not be Omitted to be noticed, that some sometimes uiken to cer- theorists take exception to some of the Harmonic corrobo- tain organ ops. gating Stops — Some objecting to the Tierce because of its sounding the major third to the key struck, which it is thought must be offensive in a minor key ; others, to the Twelfth, on the ground that it causes all musical progressional passages to be played in consecutive fifths j and others, again, to the Double Diapason downwards, and the Principal and smaller Foundation- ranks upwards, as they play in consecutive octaves to the Diapasons. According to the laws of musical composition, all such progressions, in strict writing, are forbidden, and all the above objections are equally strong and entitled to attention. 674. The rules of musical composition, however, are not the tests by which the admissibility of organ Stops can be truly judged. An organ never sounds so well as when it contains most of these " theoretically" objectionable Stops. This fact may be soon evidenced on an organ that contains them ; though it will be necessary to' proceed inversely. It may be ascertained thus : first draw all the open Flute-work ; if the Twelfth, the " consecutive fifth " Stop, be shut in, there is then nothing to break the bare octave-work from the Diapason, till you ISO THE SOUND-PRODUCING PORTIONS OF THE ORGAN. come to the Mutation-i'anks of the Compound-stops, and the tone consequently loses some of its roundness — becomes top and bottom. Close the Mutation- ranks of the Compound-stops, and the tone becomes more thin and cutting, because the sounds designed to fill up some of the intervals between the Founda- tion-ranks, to bind the whole together, are silenced. Next shut in all the "con- secutive octave " Stops upwards, and the tone will be deprived of all brightness ; and lastly, put in the Double Diapason — the Stop which sounds in unison with the adult male voices in the melody of a Corale, — and the Manual will lose its greatest gravity. Nothing but the Open Diapason will be left ; the organ will be theorised down from a magnificent instrument to certainly a solemn, but, at the same time, dull and monotonous single set of pipes. 675. The laws of musical progression, and the phenomenon of harmonic attendant sounds, are, in reality, two very distinct subjects. As an illustration of this, it is only necessary to play on a full organ, with the Mutation and Com- pound-stops drawn, first a series of single notes, and then the same succession in fifths, when the difference between harmonic attendant sounds, and harmonic progressional sounds, must at once become apparent. I'ARTICULARS COXCERMNG ORGAN STOPS. 1 :; 1 CHAPTER XXV. PARTICULARS CONCERNING THE SCALE AND THE BALANCING OF ORGAN STOPS. The osm{«.-atne safe ^-(^ ix was Stated in the preceding chapter that the sounds Muudoo-stoiK. iiij ot^' the .Mutation-Stops and ranks of pipes are kept ma certain rjaits ofpiiies. degree of subordination ; and various means were mentioned by which this end is attained. In German organs, where the 8 and 4.teet Fhie-stops are generaUymore numerous than in English instruments, to their great improvement, and where Double Stops are such common as well as excellent teatures, the Muration-stops are made to as large a scale as the Foimdation ; the predominance of the latter being secu red by their greater number. Great breadth, ;is Avell as fulness of tone, is obtained by these means. 6--. The old English builders made vcr\- little variation in the scale of the ditterent Stops, but kept to nearly the s.iji-e measure through them alL This accounts for the remarkably fall as well as briUiant tone of the au^rits-zivr.^ of the best of their organs. This ringing, cheerhil quaUtj-, however, is by no means a general, or even common, characteristic of old organs. In some cases, the scale of the small pipes was either too large, according to modem \He«-s. — or the pipes were not sufficiently blown : consequently, the tone of the small Scops and Mixtures became dull and thick, or. as it is technically c;d!ed, " homy." On the other hand, when the scales run too small, the tone indeed becomes bright, but without suffi- cient fulness ; " keen and sharp,^ as the Germans have it. 6~S. Father Smith made his Princi{>al, Twelfth, and Fifteenth twtr pipe smaller than his Open Diapason ; and the several ranks of his Mistures ftoo pipes smaller: so that the Twelfth »-as of the same scale as the Fifteenth, and the Tierce as large as the octave Fifteenth. By the requisite voicing, the tone of the Mutation-stops and tanks was rendered smooth and mellow, and that of the Foundation-ranks full and bold ; the effect of the whole being exceedingly firm and clear, although occa- sionally lacking sufficient body, firmness and depth of tone, consequent on the smallness of the number of Unison and Ocrave Scops, and the entire absence of Double Manual Stops. As this circumstance involves a matter of some moment, where the renovation and enlargement of an old organ is concerned, it may be briedy discussed here. C79. Much pains was taken by the writer, while abroad, to test several Conti- nental or^-ins, with precisely the same Stops drawn that are usually found in old English organs, and the experiments were in\-ariably attended with the same eflect as that witnessed Cram some of the best old instruments of this countrv-, namely, the production of a dear and ringing character of sound, but accompanied by rather an over-amount of Mixture-tone. It was also obsen-ed that, on adding the r;-/f.\:.'>.'.->.y Stops, the accurate balance of tone w-as immediateh' restored. An indisputable proof w-,is in this manner obtained of the atitsic of the misproportion originally existiBg in so many English organs ; -is well as a dear illustration of the most correct way of naruSt'tm^ that drfect. The " fathers of modem organ-building in Engfcmd" — Harris and Smith — studied their art tsJrvjti, where it was the custom to produce -i fine and wdl-baLsitccxt org,ia by disposing a certain proportion of IS2 THE SOUND-PRODUCING PORTIONS OF THE ORGAN. Mixture-work to secure clearness, boldness, and vivacity ; one or more Double Stops to impart gravity and dignity ; and a good number of 8 and 4 feet Stops to give firmness and definitiveness to the whole by blending the various elements in harmonious amalgamation. On arriving in this country, they encountered a serious difficulty in being compelled to keep their organs within restricted dimensions. Perhaps they were also sometimes straitened in the matter of term j and they might even have had to contend with a want of appreciation and co-operation on the part of contemporary organists. 680. Being denied the necessary room wherein to complete their Manual organs — even independently of a separate Pedal 'organ,, which was invariably omitted — they had to relinquish some of those Stops which would require the most space for their accommodation ; hence, the Double Stops were generally expunged, and, in some cases, even some of the Unison and Octave Stops also. 681. The due proportion of thq^ three great elements being thus disturbed, by the entire omission of one, and the weakening of a second, the third then naturally stood out with undue prominence. To give an instance : Dr. Bumey, in his History of Music, voL iii., page 440, note, speaking of the St. Paul's Cathedral organ, says : " Notwithstanding the power of the chorus of this admirable instrument, several more excellent Stops were made for it, which lay many years useless in the vestry, but for which Sir Christopher Wren, tender of his architectural proportions, would never consent to let the case be sufficient capacious to receive." In the English Musical Gazette, for January, 18 19, page 6, it is stated what some of those Stops were. After mentioning that Sir Christopher Wren " would not consent to let the case be enlarged to receive them," the narrator proceeds to say ; " Three of the Stops were in consequence obliged to be kept out ; viz., a Bassoon, a Clarion, and another Stop of minor consequence, which were kept in the Cathedral for several years after — Schmidt hoping he might get.them in at some future period ; but he died a few years before Sir Christopher Wren." The Stop of " minor conse- quence," as it seems then to have been considered, the late Mr. Bishop imagined to have been a Double Diapason; and Mr. Sutton, in his Short Account of Organs, page 34, adds : " This conjecture seems highly probable, as there is no doubt that, to contain a Double Diapason in addition, the organ-case would necessarily have to be much enlarged." 682. Again, in the building of the Temple organ. Smith had to confine his work within certain limited dimensions, in order that, if his instrument should be accepted, it might remain within the western arch of the choir ; hence, it was not only made without Doubles, but with one Open Diapason only to support 6 ranks of Mixture in the Bass, and 9 in the Treble ; and the Great and Choir organs had to be crowded on to one Sound-board. 683. At St. Paul's, in consequence of the omission of all Double Stops, one Unison, and one Octave Stop, what then remained as "the organ" was of course, thrown out of proportion ; and " the power of the chorus," noticed by Dr. Bumey, becoming thus excessive, the trebles of the Mixtures were ultimately taken out, and new ones of softer tone introduced. The influence of "large" and "small" Stops on the general effect of an organ, is a subject concerning which nearly as much misapprehension prevails in England now as in the days of Smith and Harris. Many imagine that, because the introduction of a few Double, 8 and 4 feet Stops will increase the "bulk" of an organ by perhaps one-half, therefore their striking and arresting effect must be in proportion ; and that, as the addition of more Mixture would not call for the addition of six inches to the depth of the organ, its introduction would exercise as little appreciable difference to the ear as it would to the eye. These are the popular ideas on the subject ; whereas, the PARTICULARS CONCERNING ORGAN STOPS. 153 facts are exactly the contrary. The large stops increase the fulness, roundness, depth, and sonority of the organ, imparting great richness to the general effect ; whereas, more Mixture may increase the " din " of the organ to such an extent as to be almost intolerable. Dr. Burney appears to have been, to some extent, under the influence of the general misapprehension ; for, in the extract already given — " Notwithstanding the power of the chorus, more excellent stops were made," &c. — he writes as though the effect of the omitted stops would have been to increase that " power ;" whereas they would certainly have tended to subdue it. Sir Henry Dryden, in his pamphlet on Church Music when writing concerning modern Church organs (pages 28 and 29), says : " Generally the Pedal organs are too weak, the Great organs too noisy, the Choir organs too small, and the Swell organs too short in compass. We have a great deal too many Mixtures and such-like cheap Stops, and too few of large and expensive open metal Pipes. It is difficult to have too much Bass to an organ. No sound below a voice will drown it. The Pedal pipes at Westminster Abbey will not drown the weakest boy's voice. Mixtures and Sesquialteras drown voices." It is manifest from this, how permanently injurious it must be to limit the space for an organ to such an extent that the organ-builder cannot introduce all the stops necessary to produce a well-balanced instrument. 684. The Stops that have a tendency, from their brightness, to interfere with the just predominance of the voices, always find ready admission ; while those that are necessary for sustaining and supporting the voices are almost as invari- ably limited in number and efficiency. 685. The Mixtures in Father Smith's organs were, from the causes already explained, so uniformly made to appear " too shrill," or " too screaming," that, in the great majority of instances, they have since been melted down and replaced by others of weaker intonation. Many of Harris's organs, also, have been brought into proportion by a like process. Another way of obtaining this end would have been to add Stops similar in pitch to those which the original builders had, from the good influence of early education, learnt to consider as necessary, and which the experience of more recent times has proved to be indispensable, but which they were, from the first, compelled to relinquish, and to the omission of which the original misproportion was to be ascribed. This would not only have restored the balance of tone, but would have raised those instruments towards the state of completeness and efficiency contemplated by their respective makers, and upon an acoustic principle with which they were perfectly familiar ; for it is important to bear in mind that most of the large organs constructed in England during the last ten years, with Double Manual Stops and an independent Pedal organ, are, in reality, only on an equality in these respects with many of the instruments which Smith and Harris left behind them in their native countries upwards of a century and a half ago, and with some of which they could not fail to have been well acquainted. 686. Organs having Double Stops on the Manual, and a i6-feet Pedal, were of most common occurrence in France, Holland, and Germany, not only in the seventeenth century, but even in the sixteenth. For instance those at Freiburg in Breisgau, built in 1520, containing 24 Stops ; at Amsterdam, enlarged in 1673, 44 Stops ; at Rouen, 1630, 49 Stops ; at Amiens Cathedral, built as long ago as 1429, and yet with a i6-feet front ; and at Antwerp, 1645 and 1670 (see Foreign Specifi- cations) ; all those Just mentioned, among a number of others, included the above-mentioned features among their original constituent parts ; the Pedal organs comprising from 4 to 10 Stops— a proportion that is considered liberal even in the nineteenth century in England. 687. There were even some 32-feet organs also existing in Germany as far 154 THE SOUND-PRODUCING PORTIONS OF THE ORGAN. back as the sixteenth century. At St. Mary's Church, Liibeck, an organ was erected in the year 15 17, with a 32-feet front of polished tin ; and at St. Peter's Church, Hamburgh (since destroyed), was a 32-feet organ, erected before the year 1548. The several foregoing facts and dates are important, and necessary to be introduced here, as being calculated to allay the groundless fear occasionally expressed, that the present race of English organ-builders are getting their instru- ments " too large ; " whereas in reality they are only introducing certain Stops requiring much space, that are necessary to produce a full and well-balanced tone. The organs of Harris and Smith were originally little more than " 8-feet organs," destitute of Pedal ; the " Great organ" departments being, in most cases, scarcely so complete as the " Echo" or " Choir" of many old Continental organs, as may be ascertained by comparing the original Specifications of their instruments with those of the last-named parts of foreign organs, described at the end of this work. Modern builders, in striving to raise the standard of English organs above that to which the excellent makers just named were permitted by circumstances to work, are really doing no more than placing their instruments, in regard to number and distribution of Stops, on a par with those made nearly two centuries since abroad, — of course introducing such beneficial alterations into the list of Stops as modern science has placed at command, and also incorporating numerous improvements in the mechanism that were not even so much as dreamt of at the former period ; — and it seems needless to treat this attempt to place the nineteenth century English organ at least on an equality with the seventeenth century foreign organ, as an alarming advance, or as a hazardous enlargement. 688. As bearing upon the subject of the great improvement to be effected by the judicious development of a really good old organ, an extract may be made from the late Mr. Edward Holmes's entertaining volume, entitled A Ramble among the Musicians of Germany, of which the author, after mentioning Silbermann, " one of the most renowned builders of Germany, and whose name (Silvermann) very well describes the quality of his tone," proceeds to say, in a foot note, page 193 : "As a matter of science, it is worthy consideration how far the structure of our organs might be improved by uniting the sweet cathedral quaUty of tone, for which those of the Temple, Westminster Abbey, &c., are noted, with the magnificence of Silbermann." Had Harris and Smith worked unfettered, there is little doubt but the two attributes above specified would always have been found combined in as eminent a degree in their organs as in those of the great Strasburg builder. In the absence, however, of this, and in proceeding to renovate organs of their make, the choice lies between " wedging up," " papering up," or " melting down " the original Mixtures, supplying their place by others of softer tone, and of reducing their comparative strength of tone by increasing that of the 8 and 4-feet tone, by adding to the number of Stops producing those pitches, and by also engrafting one or more Double Stops. The former course has the charm of economy to recommend it, although it involves a greater departure than ever from the calculation of the original builder ; while the latter and more expensive process effects a nearer approach to it. 689. In some of the organs built soon after Smith and Harris's time, a better balance of Manual-tone was attempted, by giving the small Stops less wind at the foot : but the former large scale being at the same time also retained, the result was the production of an indistinct, dull, horny quality of tone, as already mentioned. 690. The organs of John Schreider, Smith's son-in-law, are distinguished from those of Smith, by having the Diapasons voiced stronger in the treble. The extent to which his organs were susceptible of improvement by the introduction Particulars concerning organ stops. 155 of Double Stops, &c., has been satisfactorily evidenced in the enlargement of his fine instrument in Westminster Abbey, the additions to which were made by Hill. 691. Renatus Harris's organ at St. Sepulchre's, Snow Hill, has also been considerably improved, by additions made by Gray & Davison, and would, by the introduction of Double Manual Stops to the Great organ, be rendered quite magnificent. 692. The younger Harris (John) made the Tierce in his organs of the same scale as the Principal, Twelfth, and Fifteenth — i.e., one pipe smaller than the Diapason ; and the Mixtures two pipes smaller. 693. In conjunction with his partner, Byfield, he increased the strength of the 8 and 4 feet sound, by' the more frequent introduction of a second Open Diapason, and of a Trumpet and Clarion of great power and beauty of tone. In the organ at St. George's, Doncaster, erected in 1738, those builders introduced two Trumpets. The Mixtures of Harris & Byfield were usually carried up higher in the musical scale without a break, than were those of Smith ; hence a greater amount of bril- liance, though with scarcely so much boldness, from the omission of the duplicate ranks for which the higher ones were substituted. It may be mentioned, that the firmness is imparted by the number or strength of tone of the 8 and 4 feet Stops ; while the boldness, brilliance, or keeness depends a great deal on the composition, scale, and winding of the Mixtures. The younger Harris's Compound-stops were wonderfully animated and ringing, which properties seemed to indicate that their maker included Double Manual Stops in his conception of what a complete organ should be ; and this opinion was afterwards confirmed at Doncaster, when such Stops were added, by the increased beauty which they imparted to the tone of that originally fine organ. The organ built in 1740, by the same Byfield, in conjunction with his other partners, Jordan & Bridge, for the church at Great Yarmouth, actually had, according to Dr. Burney's account, printed in Rees's Cyclopaedia, under the article " Organ," a Double Diapason j also two Open Diapasons, two Trumpets and Clarion, and 9 ranks of Mixture. 694. Both Schwarbrook and Snetzler (Germans) succeeded in also incorporating a Bordun as a part of their organs at St. Michael's, Coventry, 1733 ! ^d Lynn Regis, 1754. In reference to that in the last-named organ. Dr. Burney {History, vol. iii., page 438, note) says r " One of the metal Stops of this instrument, called the Bordun, is an octave below the Open Diapason, and has the effect of a double bass in the chorus." The Double Stops have since disappeared from the Yarmouth and Lynn organs ; and as Stops of that nature were but very rarely introduced into other instruments, these circumstances clearly indicate that even at so recent a period as a century ^ince, the prevailing taste, or prejudice, or both, of English organists continued to run counter to the attempted advances of the most eminent builders towards the production of a complete and well-balanced organ. It would be interesting to ascertain, if it were possible to do so, whether the trifling and irreverent notions concerning organ-playing in church, so much in vogue through- out the last century, were so at the time of Smith and Harris's arrival in this country ; and, consequently, whether the incapacity to appreciate, and therefore to advocate, the broad and dignified instruments which those builders were prepared to con- struct, was to be attributed to the then prevailing musical taste ; or, whether the frivolous and tasteless, manner in question of using the organ was the consequence of their usually being composed chiefly of " little " Stops, as some of the Germans have expressed themselves, somewhat contemptuously, when speaking of our old organs. One thing is at any rate certain : that the organs were not calculated to encourage the conception of elevated musical ideas ; nor, if they arose, independ- 156 THE SOUND-PRODUCING PORTIONS OF THE ORGAN. ently of external assistance, were they capable of realising them ;* hence the production of so much music, specially written for such instruments, that now reflects nought but discredit upon the contemporary musical taste of this country. Dr. Crotch, in his Elements, page 89, felt it necessary, in addition to directing the taste of students, also to state what they should avoid. " Organ voluntaries," he says, " should consist of fugues, with introductions for the full organ, upon the model of Sebastian Bach and Handel. Soft movements for the Diapason and Swell should be slow and sweet, or mournful and pathetic, and may be in the Italian style of the seventeenth century. English voluntaries for the Trumpet, Echo, Vox Humana, Cornet, Oboe, and other solo Stops, are too often vulgar, trifling, and ridiculous ; being equally void of science, taste, and that decorous gravity of style which should ever characterise church music." It is an important fact that, in Germany, where Double Manual Stops have been common for cen- turies, the vicious style of organ music above referred to never existed, so far as we are aware ; whereas, in England, it never ceased to exist, until an appreciation for that class of Stops, and for firmer " medium work," began to spread itself, — that is, within the present century. 695. George England made his Principal one pipe smaller than his Open Dia- pason, his Fifteenth two pipes narrower, and every rank of his Mixtures to a varied scale. 696. In a Compound-stop of 4 ranks, comprising 17th, 19th, 22nd, and 26th, he would make the 17th a small scale, the 19th rather larger, the 22nd large scale and powerfully voiced, and the 26th small again, and voiced almost as a Dulciana. This last rank, nevertheless, made itself heard, and gave to the Mixture a sound as of bells. England's Mixtures were of a very silvery and sparkling quality ; though not so bold as Smith's, nor so full as Harris's, on account of their different composition and smaller scale. His larger organs commonly had the advantage of four 8-feet Stops and three 4-feet Stops, which, in conjunction with the lighter Mixtures presented a two-fold modification greatly in favour of a well-balanced tone ; though, from the greater comparative firmness thus imparted to the medium-^fork, they are generally quite capable of "carrying" a 16-feet Stop of light intonation. 697. Green's scales were, in some respects, larger than those of any of the preceding ; that is to say, he made his 17th and 19th one scale smaller only than the Diapason, and the 22nd alone two scales less. The Open Diapason itself was made one pipe smaller, in the treble, than Father Smith's scale, but several pipes larger in the bass ; and was generally of remarkable excellence, the ti-eble part being very pure in quality, though not very loud, and the bass full and ponderous. His Mixtures varied but slightly in their composition from those of Smith ; while in the voicing. Green's pipes were closely and finely nicked, and not cut up much, and with comparatively but little wind passing in at the foot ; hence his soft, rich, and pleasant tone, which, however, generally lacked the boldness and energy of the organs of Harris and Smith. 698. The system of scaling frequently followed in modern times is a follows. To speak first of the Foundation-stops : the Open Diapason is made to the largest scale, because, being the chief Foundation-stop it is essential that its sound should predominate. The Principal is made one scale smaller than the Open Diapason ; the Fifteenth one scale less than the Principal — and so on, each successive * Those who, like the writer, heard Mendelssohn extemporise, in 4 or 5 pure paits, on an essentially English organ, will remember how destitute of breadth and dignity was the effect which emanated from wliat present organ-builders call the " tliin- toned old organ." PARTICULARS CONCERNING ORGAN STOPS. 1 57 Foundation-rank rather smaller than its predecessor. Thus the 2-feet pipe of the Principal, speaking on the Tenor c key, is made of the same diameter as Middle C sharp ^v^i: of the Open Diapason ; and the 2-feet pipe of the Fifteenth speaking on the C C key, the same width as the Middle d' pipe of the Open Diapason. 699. Each Foundation-stop, however, commencing from the Open Diapason upwards, is voiced rather brighter, as may be ascertained by first drawing the Open Diapason and striking the Middle c' key, when a full and sonorous sound will be heard. Change the Open Diapason for the Principal, and press down the Tenor c key ; the sound, identical with the first one in pitch, will be rather louder, but less full. Substitute the Fifteenth for the Principal, and strike the C C key, which will reiterate the same pitch, and the sound will be yet brighter, though there will be less again of it. 700. The Twelfth is much varied in scale, according to circumstances. If there be but few ranks of Mixture, the Twelfth is made only of the same diameter as the Fifteenth, although its pitch is a fourth lower, and its pipes consequently more than one-fourth longer. At other times, it is made of the same scale as the Fifteenth. 701. The Third-sounding Stops are made to a still smaller scale, as their sound has to be more subdued even than that of the Fifth-sounding Stops. 702. The Foundation-stops, then, are the largest scaled and the loudest ; the Fifth-sounding Stops the next ; and the Third -sounding the smallest and the softest in tone of all in much modern work. 703. Towards the commencement of the present century, the usual method joi balancing the Stops was much disturbed by the influence of certain theoretical organists of the time, who would have the Compound-stops voiced so as to sound nearly as weakly as the acoustic sounds they were introduced to corroborate. At the present time, those organ-builders enjoy the highest reputation in England whose instruments are voiced the most directly at variance with these theoretical notions. 704. Organ-builders are frequently heard to speak of an Open Diapason being made to a 12, 13, 14, or 15 inch scale, as the case may be. These figures refer to the width of the sheet of metal out of which the gamut G pipe is made, and which pipe therefore, when finished, ordinarily measures from nearly 4 to about 5 inches in diameter. 705. According to the scale of the Open Diapason, those of the Harmonic series of Stops are of course regulated. The increase of scale 706. It was shown in Chap. XIX, ante, pp. loi, 102, and in a stop as the pipes jq^, that a pipe which sounds the octave above another of the why necessaryr *" same kind is only half the length of the first one. Thus, in a Manual Open Diapason, the C C pipe of which is 8 feet in length, the Tenor c is but 4 feet ; the Middle c', 2 feet ; the Treble c", i foot ; and the c^ in alt, 6 inches. The diameter of these several pipes might, at first thought, be imagined to decrease in proportion to the reduction in their length. This, however, is not really the case. As the pipes gradually become shorter, they are made rather wider in proportion. As an illustration of this, suppose the 8-feet pipe of an Open Diapason to be 6 inches in diameter ; the 4-feet pipe will not be simply 3 inches, but about 3J inches' in width ; the 2-feet, not i^, but i^f inch in diameter ; the i-foot, not f of an inch, but i\ ; and the 6-inch pipe, not |, but I of an inch in diameter. Thus we find that the diameter of a metal open pipe, as compared with its length, is, in the course of four octaves, sometimes just doubled. 158 THE SOUND-PRODUCING PORTIONS OF THE ORGAN. 707. A still greater increase is made upwards in the scale of a Reed-stop. Take, for instance, an 8-feet. Posaun. In some examples, the C C pipe, 8-feet, measures 5 inches in diameter; the Tenor c, 4 feet, 4J inches; the Middle c', 2 feet, 3^ inches ; Treble c'', i foot, 2 J inches ; and the c' in alt pipe, 6 inches in length, 2 inches in diameter at the bell. 708. The object for which an increase is made in the scale of organ-pipes, whether of the Flue or Reed species, is to secure as far as possible an equality and uniformity in the strength and tone-character of the Stop throughout its range, and which could not be otherwise obtained ; for the pipes of an Open Diapason would ultimately become smaller than those of a Dulciana, the c' in alt pipe of which Stop measures -^g of an inch, good, in diameter ; and those of a Posaun, less than those of a Bassoon. 709. It has already been explained, that a performer on a wind instrument has .to exercise a greater effort of the muscles of the lungs, in order to secure the high sounds being of the same strength as the low ones. In like manner an organ-builder first increases the scale of his Stop gradually from the longest pipe up to the shortest, as a preliminary to his obtaining even the same amount and kind of tone. He then admits an increased quantity of wind in at the foot, for the purpose of blowing from each successive pipe of the series an undiminished strength of tone — an additional amount of wind of the same density producing nearly an equal effect to that which the same amount of wind of greater density would do. In some of the modern French organs, and also in the Dome organ at St. Paul's, built by Mr. Hill, and that in the Town Hall, Glasgow, built by Mr. Davison, the treble portion of the Stops is supplied with- a wind half an -inch or an inch heavier than the bass part, which brings the method of producing high . sounds from organ-stops and from wind instruments into closer analogy. 710. Many of the German builders have for a long series of years obtained a similar result, either by introducing two pipes to each key in the treble, as in MuUer's celebrated organ at Haarlem, finished in 1738 — see Foreign Specifi- cations, No. I ; and in Batz's organ at Utrecht, erected in 1826 ; or by putting larger pipes in the treble of their Compound-stops than is usual in England. The latter plan, which is one of great utility, will be more fully explained in a following chapter. A variation is made in 711. The Stops belonging to each separate division of an the scale of the Stops of g^g^n are made to a different scale to what the corresponding the same name on the ° , -, , , . i ^ different Claviers, and Stops are on the Other departments : that is to say, the Open also in the duplicates on Diapason in the Swell is made to a somewhat less diameter the same Clavier. The ^^^ ^^ jjj^g gj -^^ jj^g q^^^^ organ, and that of the Choir reason and necessity f .. ° .',.,,. , , thereof. ■ Organ Smaller agam, which variation of scale in the fundamental Stop, or "Diapason" of each Clavier, leads, as a matter of course, to a corresponding variation in that of the Harmonic series of Stops of each department. 712. One of the main objects in this variation of scale is to secure to each department the requisite distinctness of character and proportionate strength of tone. Thus a large scale is adopted for the Great organ, the tone of which is required to be full, broad, and strong : a somewhat smaller scale for the Swell, which combines in its sound much of the dignified character of the Great organ tone, united with the sprightly tone of the Choir : the smallest for the choir organ, the sound of which is lighter than that of the other Manual organs, yet full of life and vivacity : and the largest for the Pedal, which should possess weight, depth, and fulness. PARTICULARS CONCERNING ORGAN STOPS. 1 59 713. The way in which a variation of scale is effected, is, by taking the diameter of, say, the C C sharp pipe of the first Stop as the scale for the C C pipe of the second Stop, and by following out the same relative and reduced measure throughout the series of pipes. 714. For another scale, the width of the original D D pipe would be taken for the C C pipe. 715. Where two Stops of one kind are placed on the same Manual, as, for instance, two Open Diapasons, or two Principals, the second is usually made to a different scale from the first ; and not only so, but to a scale varying, however slightly, from that of the similar Stop on all the other Manuals. One reason for this is,- if two Stops are made to the same scale, and voiced alike, they are very likely to " sympathise." 716. When two pipes sympathise, a beating or waving is heard when they are sounded together, although they are perfectly in tune when tried separately, and do not " rob." Sometimes the two pipes together will even sound weaker than either when used separately. 717. Varying the scale is one of the means taken for preventing sympathy ; not indeed that this step is indispensable to that end, since some organs exist having two Open Diapasons in the treble, of the same scale, which do not sympathise ; while, in other examples, having two Open Diapasons of different scale, a tremulousness does appear. It is, nevertheless, one of the most advis- able as well as most usual methods adopted to prevent it. A " beating " between two pipes made to different scales will arise from their being placed too near to each other on the sound-board. 718. In that case, the defect does not arise from " sympathy," but /^(7:rz;«/^. To prevent any waving occurring from this second cause, it is essential that the two Stops should be placed at some distance apart, and, if possible, be separated by other Stops. 719. An additional reason to that given above for making the corresponding Stops of the several Claviers to different scales, is to avoid, as far as possible, any beating occurring when any of, or all, the departments of the organ are coupled together. 720. Again, the repetition ranks in the Compound-stops of a department — i.e., the duplicate ranks which are introduced where the "breaks" occur, and which appear in greater or less abundance in all Mixture-stops, as already explained, are sometimes made to diversified scales in England, with the view to preventing any tremulousness appearing among them. 721. For this reason, also, the Duplicates in the Compound-stops — that is, the repetition of certain ranks of pipes which always occur in greater or less abundance where there are many ranks of mixture, particularly in the treble part of the Stops — are generally made to diversified scales, otherwise a beating or waving is likely to arise from the phenomenon just noticed. 722. Father Smith not only used to vary the scale slightly, but also to make the feet of the duplicate ranks to a different length ; so that the pipes might speak on a different level to the others. Green and England also varied the length of their pipe-feet for a similar purpose. l6o THE SOUND-PRODUCING PORTIONS OF THE ORGAN. CHAPTER XXVI. THE TUNING AND TEMPERAMENT OF THE ORGAN.* 723. From very early times the interval of the perfect octave has, by philo- sophers and musicians, been divided into 53 equal parts, called commas; and the successive sounds of the diatonic scale have, by the aid of these commas, been shown to be separated by intervals of the following " sizes " or compara- tive dimensions : — I. II. III. IV. 1 V. VI. "3 VII. VIII c 9 D 8 E 5 F 9 G 8 A 9 B S c o 9 17 22 31 39 48 53 724. The foregoing are the sizes of the several intervals as deduced from Nature's suggestions ; and it is quite probable that the organ was, at a very early period, tuned in recognition of this system of " perfect attunement." The extremely simple nature of the early church music ; the non-existence of har- mony ; and the peculiar construction of the ancient octo-chords or modes, — produced by taking, in succession, each different sound of the old Diatonic Gamut as the initial note, and proceeding thence to its octave, thus — Gfedc ba.K F e d c b i E d c b s Dc ba gfe d ba gfedc _ Bagfedcb "SL jC -a. - Agfedcb K K R S K g w 122= I22I did not call for or suggest any departure from it ; and an organ having scarcely two octaves of perfectly attuned diatonic sounds, must have been equal to all the musical requirements of the time. 725. But when the idea occurred of transposing some of the ancient chants, to bring them within the compass of a less-extended range of voice, — the higher into a lower pitch to suit bass voices, and the lower into a higher to suit tenor voices, — and the gradual introduction of the five chromatic semitones to facili- tate this among other ends ; — then the preservation of the primitive method of attunement could no logger have been possible. Take, for an example, the natural major diatonic scale of C. That could not be transposed into G, because the tones between G and A, and A and B, were each of the wrong " dimension " * Only an outline of what might be said on this subject is given in the present chapter. Its fuller treatment is reserved for separate publication. THE TUNING AND TEMPERAMENT OF THE ORGAN. l6l for the purpose ; nor could D be taken as a key-note, inasmuch as the interval between that sound and E was a minor tone only. I; n. III. IV. I. II. GSAgBsC D8E 726. Such misuse of the distinctive tones would have produced a " wolf" in all the scales except the primary one, as unequal temperament afterwards did in all the keys beyond A major and B flat major. The union of perfect 727. For a long time the question as to the attuning of the attunement with the , ^- t ,. -i 1 ■ ■, 1 ,. . ■ power of transposition ^^^^^ ^° ^ satisfactorily to adapt It to the gradually increasing impossible. requirements, was, to quote the words of an old writer, " found to be an unmanageable thing." Nor was the division of the octave, into a given number of intervals of the exact dimension suggested by nature, at all practicable. ■ The number twelve — that of the semitones in the octave — is divisible into 6 twos, 4 threes, or 3 fours ; representing the whole tone, the minor third, and the major third respectively. But 6 major tones, of 9 commas each, would amount to 54 commas ; 4 minor thirds, of 14 commas each, to 56 commas ; while 3 major thirds, of 17 commas each, would only amount to 52 commas ; 53 commas being the number that represented the perfect octave. There would therefore have been an excess, or short-coming, as the case might be, had the octave been divided according to any of the smaller " exact " intervals. The susceptibility of 728. At length it was observed that certain intervals would te^ere^dl^OTer^'."^ ^^'^'^ being tuned a little in excess of, or short of, perfect, without offending the ear. This discovery led to the introduction of a system of Tempering* in which the thirds and fourths were tuned rather sharp, and the fifths rather flat. The result of this tuning was the distribution of the " three commas " by which the major tones exceeded the minor, and a slight augmentation of the minor tones, so that the five tones in the diatonic series were rendered equal in dimension. Unequal temperament, 729. The first modem who Urged the necessity of a Temper- and the piactirable ^ment was Bartholomew Ramis, a Spaniard, who wrote before scales It introduced. ; *^ ' the year 1482. By the date just named, all the five short keys had been added to the seven different diatonic sounds of the key-board. Of these five, three were tuned as the first three sharps, namely, F, C, and G ; and two as the first two flats, namely, B and E. The short keys were, further, tuned as pure thirds, or nearly so, to the long keys represented by the black notes in the follow- ing example : — i $~ ,. _,_^i, H^ r7=faz:g::^~^^^^ lEZ g^^r-^r-^-^g' a^ r .-t^=g==^ * In all instruments having the usual number of keys to the octave, the natural inequalities between the tones and semitones are softened down aiid hidden, as far as possible, bj tiijtriiution ; and any sound that is slightly raised or lowered in receiving its small allotted share of the dissonance, is said to be " tempered ; " while the friiiciplc on which the dissonance is distributed, — whether equally among all the scales, as on the pianoforte and harmonium ; or unequally, so as to appear rather less obviously in a few of them, at the sacrifice of all the rest, as on old organs, — constitutes the lyitem of temperament adopted. Y 1 62 THE SOUND-PRODUCING PORTIONS OF THE ORGAN. This step was a great one in advance in the cause of practical music. It brought into existence, on keyed instruments having thirteen sounds and twelve intervals in the octave, six practicable major scales, — C, G, D, A, F, and B flat, — in place of the one perfect one ; and three minor scales, instead of one, viz., A, D, and G. C Major. 12345678 i G Major. I 2 3 4 5 ZCL 7 8 IE= ¥ zaz. — ^ — &- D Major. 1234567 A Major. 12345 P -Se— tfg- 8 =S£2= -^i^ =#ai — 23- F Major. I 2 3 t B fe Major. 12345 znz ZZ2Z lai -& — o^ tr=r A Minor. I 2 3 4 5 ^ >,l 8 s- D Minor. I 2 3 4 5 6 7 8 y „ rj 1^^ —> 1 / ^ '^ s jf^ /f \ cJ C 1 rj 1 vv; 1 ^— g " ^ " G Minor. 87654321 CL. - ^-\rf :==& &- -rr Bontempi, writing in the seventeenth century, and reviewing the progress that music had made during the two centuries that had elapsed between the era of the establishment of the unequal temperament and his own time, could not refrain from describing that method of tuning as " that sublime and memorable operation, which so improved the noble science of counterpoint." The introduction of 730. The greatest Opposition was, nevertheless, offered to unequal temperament ^^ system by the purists of the time ; and an animated strongly opposed, but ' ^ i 1 - 1 • -t 'ii, v nevertheless estab- controversy ensued, which contmued to rage witii great lishpd. violence for more than a century, between the adherents to ancient proportions on the one hand, and the friends of tempered scales on the other. The contest, however, ended in favour of practical progress. 731. At first, little more than half the number of the available scales were made use of. Those almost exclusively employed were C, G, D, and F major, A and D minor, and a few of the ancient modes more or less modified. Nor did the music of the fifteenth century present much modulation ; for in whatever key a piece of music commenced, in that key it remained almost rigorously throughout. For such want of constructive variety and contrast — as it would now be considered — some compensation was, however, afforded by the more nearly accurate intonation of the few progressions of melody and harmony that were used ; for as the agreeable relief arising froni a change of scale was a resource almost unknown, THE TUNING AND TEMPERAMENT OF THE ORGAN, 163 the earlier tuning had not been required to be much modified to provide for it. The altered tuning, on the other hand, admitted of greater freedom in writing, of which composers gradually learnt to avail themselves. 732. In this way the remaining practicable scales, namely, A and B flat major — A Major. B 1? Major. I 2 345678 12345678 $ ^ 5^ U2I ^ were, by degrees, taken into requisition ; and as those two scEdes employed all the five short keys of the clavier, they necessarily marked the farthest limits, as to range of scales established or allowed by the unequal temperament. The musical art pro- 735, xhe art of musical composition continued to progress ; S^s'tfey^ftotr^™- ^d as "form" began to take the place of the rather frag- vided by unequal tern- mentary Style of writing that had previously and of necessity penunent. prevailed ; and as the " attendant keys " of the boundary scales were first touched, then dwelt upon ; the use of other scales was required that had not been provided by the framers of the prevailing temperament, and which had not in fact any practicable existence on keyed instruments as then tuned. Some of those were E flat major, A flat major, E major, E minor, B minor, F sharp minor, and F minor. Et? Major. Pi) Major. 12335678 7233.56.'' t^o- I "^-^^ "^ r. a tr? ft* ^ 4g O K o t> ^ li=^ zsc $ E Major. I 2345688 l^r-tff. E Minor. I 2 3 4 5 6 8 8 icti= =«Z2: :|zz -t? ff° "^ rnz =1^ $ B Minor. 12345 FJ Minor. I 2 3 4 5 , 7 ..8 .8 -b m > ffo ^$i=li =C2Z :ta=S^ -I t ^?-^^ ~p~ "^ i F Minor. „8 ^7 S 5 s H ^ r-jjCf \, s- > go =221 After a time, other scales, again, came to be required, among which were the following : — i^ B Major. I 244568 F Major. I 2 44 5,7 -8 8 -b * tl > fl jg- b » i] < g :fl& - ^ b . a^ '(r ^ ^ ^^ C 3 Major. 1344 8 8 m 'W t pj ^- :§i=^ 522= Y 2 164 THE SOUND-PRODtTCING PORTIONS OF THE ORGAN. Music written in either of the foregoing ten scales, on being played on an unequally tempered organ, could not fail to produce an effect very offensive to sensitive ears ; and a little investigation would reveal that the main cause of the untunefulness arose from the fact that each of the five short keys was tuned either as the sharp to the long key to the left, or, as the flat to the long key to the right; but in no case so as to serve in the two capacities, thus : — i ^ ■sr :^g=i^:^: ^f ^ te ■ }^e>-AY^ ^- I S^ The unequal tuning left the scale of E flat without a proper fourth (A flat) ; and the scale of A flat not only had no suitable tonic, by reason of the omission of that same A flat, but it was also without any proper fourth (D flat). The scale of E major had no leading note (D sharp) ; and B had neither a proper third (D sharp) nor a seventh (A sharp— see preceding examples). And so on with the other scales. The consequence of such tuning may be best shown to English readers by extracts, from works well known in England, which are accordingly subjoined ; or it may be heard if they be played on an unequally tempered organ. Ex. I. As sounded on an nnequally-tempered Organ. Single Chant. DUPUIS. in; =st 1te2= I22I -f± _!2_ 1 ^ J- J 'ST- Y=T Je: r .JZ- izz; i ist I i Zi± jdL :P=f2 m . gj ^ l^d- -QCL- S=i Ex. 2. Single Chant. Hayes. ^ - ^r # A& ^$^ tsfeilS: : g b'^ g-fcg^ THE TUNING AND TEMPERAMENT OF THE ORGAN. 165 Single Chant. Battishill. Ex. 3. ^1 iM ig — zip: J_J_ r~r :z2: IS2Z iSi i tf ?p^ fe^ -(9 NS — i— =S ;^ — ■— =t9- J_ ISZ -1tp2= i?i T :*^ _G „ ^^^ rusi Ex. 4. Single Chant. Dr. Blow. 4==q= 3! =st IZfc s^ -13- -#=- T _ei_ es A. liz: Jl i -e f^ ^ o gg h l3s._^2:j^il=|^ ffffi: J _J_ _J_ EE =p= Ex. s. IS Double Chant. Davy. isz: Z3SZ ^^ -p— ^^ ^ J ^m um i. 71=221 :z2= A^ iJr E is=Si i^ =p=^i dZcgrtl I I I^S fi=z2:: 122= E^^?E 221. l66 THE SOUND-PRODUCING PORTIONS OF THE ORGAN. m il=ft -ISz :ziz -fj- ^ -et- -s>- -s^ -=e- r i -.^-^ 3E ^ :1^ IE2- =^ let 3 21: W^^'i ^^±=^^=±=g=$^z±^ -p= Sg- -g- ^^e>-i-B&- ^^ -Cs^- J U i^-J- S 221 isr Ex. 6. Double Chant. Lord Morkington. ^ ^ ^rJ g' » I ^^ hC^^ A TS II |gS W= -G- e i=i ^-^4)-^ ?2 &- IS 2i: -g^ — ri- &^ ?=:: J -cr ji2iiS, IT" r ^$ SJc TT ,i I22I ;n= 1^ g , J pj , I? =t:4 ^ I J: isz: ^^ S =r I I. _^. ^- . 4^J-J. J :?2= o- — ^= ^ r^^ -H^^ izi: ii=li 9 r i^^ tsi: ffg- ,Ji iAiJi 1t«q=tg: ^ I£2I THE TUNING AND TEMPERAMENT OF THE ORGAN. Ex. 7. Behold! now praise the Lord. Rogers. -I 167 Si i ^ S ^ m % f=^. =f2I _d_ ~ar ^=g= T=r=r ij. iz±: A ^ J^^ =p= 4ffl- Ex. 8. O where shall wisdom. BOYCE. iaz s — I — s a ^ t ^^ -^r 4- -J-J- - r — r- ^ FFF=^^ F^=S ^ e^ 1t^ :.L=^ 2t :»=: i ?=3t -I — I- ^^ Ex. 9. I will love Thee. Clark, ^ ^ ^^ ^ P f r f I I ^^ ii *t i ?^ ?^F^ ■P s— W • =-P= I J— 1 — ^- i ¥W^- ^ -ri o ^^ WT^ ;^^ flp= =F=SP :jt=t|^t«22= I I w^^ J ^j „ , | -^ -^ -J ul-J: ^SpEEEpE ^ 1 68 THE SOUND-PRODUCING PORTIONS OF THE ORGAN. Ex. lo. By the waters of Babylon. BOYCE. ^^^^^^^ g^dr^^ 'te* S5! A ai-ijj I ! I :?2=P=P: ■?-tpi, fip ^^ s^Ei^ •^^' I I I r I I r r ! ! I =ei::2±:g: ^i^^l rr ?^ ]jJ=^:jJqt^=|Mq&P^q#?=^- ipt ■iiJ-JJ ?^ I 1 7^ 7ZZ UM =t=t: l^^^!3Et^zEEEt Ex. II. The Father eve-rlasiing. Rogers, in D. i s ^B is^^^EitEpi 221 ^&=e= =r =Sg= =*? f-^r'T^^ i^_^^ ^ E^ ::3=^ ii =f2- ^FE d= _bd_ I I I i ^ ?^C>o 3f2- EX. 12. 7«r« 77z^^ unto me. BOYCE. r:' .m . f^ -•— r- ^ ^w- "W- ^^^ y= :«P- .Si T r$gL =#t ^ THE TUNING AND TEMPERAMENT OF THE ORGAN. 169 :S^ ^ T 1- J-:J-^ ^=* ^ r^^-^g-^ ^rir^-r^ g^^gT^-^^^ ^a^^ lift 3ES Ex. 13. Surely He hath borne our griefs. mi- Handel. Ex. 14. Surely He hath borne our griefs. Handel. ^te =1= J5^^.^]J— ^ ^^ =F=F U fe v,-,^, -!^- ^ ^S^t^^^^EB =S«^^ t^ I I glL^-^ ^p:^: ^ f ,-1 J. i-~:J n J. .1 faH-^- fy+^ =fe ^ 170 THE SOUND-PRODUCING PORTIONS OF THE ORGAN. ^^^^^^^ 5 r r^T7 i i^.r-r — t -i-Q- i^ t=t HT-^ h f= ^=is^^ =iK=ft: *t f 1 B- h- ±2; T Ex. 15. I ^^ And with His stripes. Handel. ^ :i==2i =S= 1^ ^S^ SE ^^ =fl?z =g=^Jg- s M ?^ pj^ Ex. 16. i O Zori^ (?£?(/ (?/' my salvation. Dr. Croft. sa^ 3=t s f^:T^-V^-f^-^ J- f I I.I ^^E ilf2= i ^^ W. ^1 I ^ I I I I I I I I I ^1 -« — i~ ^=f THE TUNING AND TEMPERAMENT OF THE ORGAN. 171 =?r ^^r==\- =W= r i i i^^^ I22I r I e^ =d=^. j»- g J— d- ?= i> — jg- ^ i S M f^Yf'^ ^ _1 4 ^ ^ =8P^ =fl=i: Ex. 17. /i«rf all flesh shall see it together. teJL Handel. ^ ^ ^«r ^ ^v ^ ^ r r e^ :^ -ic- =t==t ^^ :S£ I iH |^ 0-^ i L. bO J ^ ti^ *=P=S ^E ^5=F=t r r 'ci'^r na ^r^^f r -fS- ^ (12_ -O- --^ 734. The foregoing musical extracts, although but few in number, are sufficient to show that the system of unequal temperament,— which had so admirably facilitated the progress of music up to a certain extent, — ^had, in the course of time, become " insufficient " for the greatly increased and stiU increasing requirements. The musical art had been undergoing continuous and rapid aevelopment during the two centuries that had elapsed between the time of the introduction of that tem- perament and the beginning of the eighteenth century, while the system of tuning had remained stationary. Thus the resources presented by the latter, which were, at the time of its establishment, not only sufficient for, but far in advance of, the current musical necessities, had not only passed into common use, but many others had come to be much required. Indeed, if investigated by the clearer vision of increased musical intelligence, the result could only have been the discovery that an organ, tuned according to the then prevailing system, was, in one sense, an extremely incomplete enharmonic organ. It was an instrument that, on the one hand, presented C sharp as distinguished from D flat, E flat as distinguished from D sharp, and so on ; yet, on the other, presented but half the major diatonic scales in a practicable form ; only one quarter of the number of the minor scales ; and no 172 THE SOUND-PRODUCING PORTIONS OF THE ORGAN. chromatic scale, the distances of the fixed sounds being neither what nature nor art required for the last-mentioned purpose. The defects of the un- 735. Nor was the detection of these inherent defects in the Zsixte=!."hc''en°tur°y'" *^" existing Organ scale a discovery only of the eighteenth century. So far back as the middle of the sixteenth century several organs existed in Italy having two extra keys in each octave, inserted for the purpose of hiding some of the asperities of the unequal scale. Salinus, in his treatise, De Musica, published in 1577, rela;tes that many organs in his time had what in England have since been denominated quarter tones, one between A natural and G sharp (A flat) ; and a second between D natural and E flat (D sharp). On many such organs he had often played, particularly on a very famous one at Florence, in the monastery of the Dominicans, called Santa Maria Novella. Rather more than a century afterwards, that is, in 1685, the same two extra notes were introduced into the Temple organ by Father Smith,* namely, the third flat (A flat) and the fourth sharp (D sharp), which brought into a musical and avail- able form two more major and two more minor scales, namely, E flat major, C minor, and E minor — E Iz Major. 123 4 -X- 5 E Major. I 2 3 IS2I =#===#- la; W^ ±53®: il a-p^ =J|ac j2_ C Minor. 8765 i E Minor. I 2 3 E3i=E =ite3=?l= ^ -7s>- -£ZI Further ameliorations of a similar kind were subsequently made in England. For instance, the organ of the chapel of the Foundling Hospital, erected in 1759, had two more quarter tones, namely, the fourth flat (D flat) and the fifth sharp (A sharp). These again moulded two more major and two more minor scales into a musical form, A flat major, B major, F minor, and B minor — At* Major. I 2 3 il ^ ^ J2z2:±?z=?^ ts->^ 7 , 8 B Major. I 2 3 i F Minor. 876 B Minor. I 2 3 ^^^E %'g f J b e-l^ izz: 7 X - p j ffo ft- ? - * An old MS. book preserved in the Library of the Honorary Society of the Inner Temple, thus notices these additions: — "The organ at the Temple hath quarter notes, which no organ in England hath, and can play any tune; as, for instance, ye tune of ye 119 Psalm (which was set in E minor), and severall other services set by excellent musicians, -which no ether organ •will do J* THE TUNING AND TEMPERAMENT OF THE ORGAN. 173 736. About the year 1808 Hawkes took out a patent for an organ which, in addition to the foregoing, presented the fifth flat (G flat). This rendered one more major, and one more minor scale practicable, D flat major and B flat minor — i D 2 Major. I 2 3 x^ 5 7 6 X ^3i — 17=?-^« 5E& =fe^ ':z2. Wr- ^sH72r- -s- t72r The scales up to five sharps and up to five flats inclusive were thus made available. The remaining four sharps and flats, two of each, were not, however, represented. Enharmonic organs. ^-i^-j. Nearly a quarter of a century before the date just given the elder Russell had made an organ with twenty sounds in the octave, among which were doubtless included all the foregoing. At subsequent periods, other organs were built with a still greater number of sounds in the octave, until those erected for the late Rev. Mr. Liston and Colonel Thompson had forty-three and forty sounds in the octave respectively. Nor were instruments of this nature so modern an inven- tion as some might imagine. Vincentino, in the middle of the sixteenth century, invented an instrument of the harpischord kind, to illustrate the three ancient genera, which had such an accumulation of wires to represent the great variety of intervals, that the instrument had to be furnished with six rows of keys ; and a modern organ specimen has three elaborate key-boards for the manipulation of a single Stop, and then only incompletely illustrates the theory it is intended to elucidate. Perfect attunement. yjg. Such instruments presented several varieties of every degree in the musical scale, as C, D, E, tuned a comma sharper or flatter thaii others; so that the distinction between the major and the minor tones, &c., of every separate scale could be rigorously produced. They not only answered their purpose well, but served theoretically to illustrate the exact difference between a multiplicity of sounds which, from the force of habit, some might be apt to consider identical. Their general adoption, however, could not follow, for many reasons, such as the enormous cost of the extra pipes ; * the great additional room necessary to accommodate them ; the complex machinery or key-boards that would be required to bring them into active use, &c. 739. Moreover, in proportion as theoretical perfection was approached, as to intonation, by the introduction of additional sounds, the practical disadvantages were increased, for it destroyed the ambiguity in certain harmonic combinations that is one of the greatest and richest resources of the musician's art. The beauty of an enharmonic modulation consists, as all musicians know, in " the theoretical change without the practical difference." Attwood. d> J J_U?J J r J g ^ R r=r g o r - i I *r *£2= w. J_by^J-4lt ^ j-^^-d: .a. * An enharmonic organ, with one stop and three manuals to play it with, costs about £300. 174 THE SOUND-PRODUCING PORTIONS OF THE ORGAN. A simple practicable raa- 740. The great question that had to be solved was not nual scale required. whether it Were possible to make an instrument that, whatever its merits, could not pass into general use — for that had already been done suc- cessfully more than once— but whether it were practicable, without increasing the number of twelve sounds in the octave, so to tune or " temper " those that they would practically meet the then increased and all future possible musical requirements. It was in Germany, and in the early part of the last century, that this important theme was first started and discussed ; and the glory of its elucida- tion in the affirmative was chiefly due to the genius of the great John Sebastian Bach, who produced and advocated the system of tuning now so generally known as that of " equal temperament." Equal temperamenL 741. This wonderful yet simple system consists in dividing the octave into twelve semitones by fixed sounds, as uniform in dimension to the ear as are the inch marks of the foot-rule to the eye. The results of that tuning are as follows : — Firstly, every one of the twelve different sounds can be made the key-note from which a well constituted and equally useful diatonic scale can follow ; and which diatonic scale, further, may be either in the, major or the minor form. Thus the twenty-four major and minor scales are at once rendered available, and equally so for melodic or harmonic progres- sions. Secondly, any one of the twelve- different sounds can be taken as the commencing note of an even and uniform chromatic scale. Thirdly, the numerous beautiful enharmonic transitions and modulations can be realized in the manner intended by the great composers who originated them, without the destructive distinctions which would result if the altered notation were accom- panied by an altered intonation that, despite its theoretical propriety, in practice is »(?/ wanted. 742. From what has been said, it will be seen that every note is, according to this system, designed to serve in " different capacities ; " some in several. . For example, the sound representing C may be either a key-note, or a natural diatonic second, third, fourth, &c., to another key-note, or it may be treated as B sharp or D double flat, or it may be changed, upon paper, from C natural to B sharp, as by an enharmonic change. Every one of the other eleven sounds is designed to serve in a similar manner. In a word, this wonderfully constituted compound sca\& com- prises the twelve major and twelve minor scales, and the chromatic and the enhar- monic scales all in one. 743. Nor did Bach simply "theorise" respecting his scale. His writing, teaching, and playing were in consonance with his artistic conviction. In the year 1722 he" produced the first book of his well-known 48 Preludes and Fugues, under the title of " The Well-tempered Clavier, or Preludes and Fugues through all the tones and semitones concerning the major third, or C, D, E, as well as touching the minor third, or D, E, F. For the use and study of young eager musical students ; as also for the leisure hours of those who are already advanced. Composed and revised by John Sebastian Bach." &c.* In the year 1744 he issued a second set of the same number of Preludes and Fugues, and again in the 24 different major and * "Das wohl temperirte Clavier oder Prjeludia und Fugen durch alle Tone und Semitonia sowohl tertiam majorem oder Ut, Re, Mi, anlangend, als auch tertiam minorem oder Re, Mi, Fa, betfeffcnd. Zutn Nutzen und Gebrauch der Lehrhegierigen Musicalischen Jugend, als auch derer in diesem studio schon babil seyenden besondern Zeit Vertreib aufgesetzet und verfertiget von Johann Sebastian Bach, f. t. Hochfiirsd. Anhalt. Cothenisclien Capeli- Meistern und Directore dorer Cammer Musignen. Anno 1722." THE TUNING AND TEMPERAMENT OF THE ORGAN. 1 75 minor keys. In these works Bach made use of the following members of his " compound " scale. (The diatonic and chromatic notes are distinguished by their initial letters D, C, and such of the enharmonic as are included are marked by En and a bind.) D C En D En C En D En En D En C En C C C C fa^5=;;;:;==g^^^.^^ E^^y_ ^j^: ^^=x5 ^gzz i^-^ D En C En D En En C En D En En En D In his " Chromatic Fantasia," Bach put upon paper many notes, which, differing in appearance, and being also unlike in theory, were yet intended to be the same in sound. 744. Nor did he leave his opinion as to the necessity for a compound diatonic, chromatic, enharrnonic scale for the organ less indelibly stamped upon the works he wrote expressly for that instrument. In those works he allowed himself the utmost freedom in the choice of " initial " keys ; also as to the other keys into which he passed, as well as the most unfettered use of chromatic progressions and enharmonic modulations whenever he required their intro- duction. The parb Bach took in 745. In the biographies of Bach, by Forkel and Hilgenfeldt, the estabhshment of ^^^^^ several passages that describe the condition in which equal temperament ^ ° Bach found clavichord playing and tuning, what he did to develop the capabilities of that instrument, and how he effected that end. Hilgen- feldt says, " At the end of the seventeenth century it was not customary to play in all the keys. Those with fnore than three sharps or flats were seldom used. The reason of this was, undoubtedly, the " unequal " mode of tuning the instru- ment, which was obstinately adhered to in preference to the system now known as " equal temperament." Forkel writes to the same effect : " Before his (Bach's) time, and in his younger years, it was usual to play not in all the twenty-four modes. The clavichord could not be perfectly tuned : people played therefore only in those modes which could be tuned with the most purity. Bach extended the use of the modes, partly by deviating from the ancient modes of church music, and partly by mixing the diatonic and chromatic scales. He learnt (or discovered how) to tune his instrument, so that it could be played upon in all the twenty-four modes. Bach tuned both his harpsichord and his clavichord himself; and he was so practised in the operation, that it never cost him above a quarter of an hour. But then when he played from his fancy all the twenty-four modes were in his power, ^iR did with them whatever he pleased. He combined the most remote 2& easily and naturally together as the nearest; the hearer believed he had only modulated within the compass of a single mode. He knew nothing of harshness in modulations ; his transitions in the chromatic scale were as soft and flowing as if he had wholly confined himself to the diatonic scale. His 'Chromatic Fantasia,' which is now published, may prove what I here state. All his extempore VOLUNTARIES are said to have been of the same description, hut frequently MUCH MORE FREE, brilliant, and expressive." 176 THE SOUND-PRODUCING PORTIONS OF THE ORGAN. Equal tempsrament op- 7^5. The equal temperament system, nevertheless, met with ning had beerbefore'iJ. ^^ greatest Opposition, as the unequal method had before it. While it was admitted that equal temperament, moulded into practicable form fifteen scales that were non-existent on an unequally tempered organ, it was objected that it also left the first nine scales in not so good a condition as they were before. This was, in substance, a repetition of the argu- ment that had held good for centuries against unequal temperament ; which latter, while it rendered seven scales practicable that were not so before, left the first two that previously were pure no longer in that condition. It was a line of reasoning that told against all temperament whatever, and could be applied until the perfect attunement of many centuries before were restored, and with it the comparatively primitive state of the art of musical composition ; or — the improved state of the latter partially preserved — enharmonic organs became general, and with them their theoretical beauties, practical imperfections, complexity of mani- pulation, and impossible pedipulation. Such a position, in fact, was assumed not many years ago by a writer whose advocacy of just intonation forbade his admitting any merit in any temperament whatever. Bontempi, in his History of Music, p. 188, 1695, spoke of temperament as a "divine thing," while tiie writer just alluded to described it in the same words without the adjective — namely, as 747. One of the strongest opponents to the adaptation of equal tuning to the organ is said to have been Silbermann, the celebrated organ-builder ; and the tradition runs that, whenever Sebastian Bach observed Silbermann among his select circle of auditors, he used to say to him, in perfect good humour, you tune the organ in the manner j/oa please, and I play the organ in the key /please ;" and there- upon used to strike off a fantasia in A flat major ; the contest invariably ending in Silbermann's retiring to avoid the " howling of his own wolf." 748. Equal temperament was opposed also on the ground that it destroyed the " distinctive character of key " which unequal temperament imparted to the different scales. A slight acquaintance with unequal temperament would disclose, as shown on pages 162 and 163, that a few of the commonest scales were by it ren- dered nearly, if not quite alike, by reason of the removal of the difference between the major and minor tones ; consequently, but little distinction of " character" existed among them, but rather was to be found among the remaining fifteen scales, some of which are shown on page 163. And it appeared among the latter in consequence of the dissonance produced in greater or less quantity, by the un- avoidable use of the wrong dieses, or quarter tones, as indicated by the black notes. All those scales contained at least one instance, and some two, of the same degree of the scale occurring twice overj some other degree, or degrees, being omitted altogether. This is shown by the figures, as well as notes, in the foregoing examples. Those wrong fixed sounds, brought into those scales intervals as whole tones, that were, in dimension, greater than the major tones of perfect attune- ment, — the REDUCTION of which was one of the grounds on which unequal temperament was originally devised; — and other intervals, as semitones that were considerably too small and dissonant for the purpose. Yet for those scales, the exaggerated or contorted intervals of which were not in the least degree produced by design, but appeared, both as to number and situation, just where accident had chanced to throw them during the process of tempering the first nine scales, — for those scales a merit and advantage was claimed on the plea that they established a variety of " character " that was useful and desirable to the musical art ! Scheibler * spoke much to the purpose when he said : " Such a * An Esiay m thi Thtory and Practice of Tuning, by Scheibler, p. 26. Cocks & Co. THE TUNING AND TEMPERAMENT OF THE ORGAN. 177 modification, or rather- cdrruption of the scales, was called temperament ; and, strange to say, the old theorists advocated the adoption of such unequally tempered scales, on the plea that the different degrees of deviation from the mathematical purity tended to give them a greater characteristic difference of effect, and thereby give a greater power of colouring to the musical art : a plea that represented a necessary evil in the colour of a real advantage and benefit." 749. No record seems ever to have been made of what were supposed to be the " characters " of the several keys as presented by unequal temperament ; nor does it appear that anything was advanced in support of the plea, beyond a few broad statements and generalities. Equal temperament re- 750. The case was very different with equal temperament, commended on the j^^ ^j^^ English translation of Bombet's Ufe of Haydn, published same grounds. . ^nn-n. n \ i- m the year 1818, the editor gave on pages 98, 99, and 100, a list of keys, with observations, in reference to this very subject of " character," which are here quoted. Those to which a * is attached are keys which have no practical existence on an unequally tempered organ. " F major . . D minor G major * E minor * A flat major * F minor . . A major . . * F sharp minor B flat major . G minor * B in sharps C major A minor * D flat major D major ' B minor "I This key is rich, mild, sober, and contemplative. J Possesses the same qualities, but of a heavier and darker cast : more doleful, solemn, and grand. iGay and sprightly. Being the medium key, it is adapted to the greatest range of subjects. Persuasive, soft, and tender. The most lovely of the tribe. Unassuming, gentle, soft, delicate, and tender, having none of the pertness of A in sharps. Every author has been sensible of the charm of this key, and has reserved it for the expression of his most refined sentiments. Religious, penitential, and gloomy. ) Golden, warm, and sunny. f Mournfully grand. The least interesting of any. It has not sufficient fire to render it majestic, or grand, and is too dull for song. (Handel's ' O Father, whose Almighty power,' Mozart's ' Benedictus ' in the Requiem, and Mendelssohn's ' O come every one that thirsteth,' are in this key.) Meek and pensive. Replete with melancholy. Keen and piercing. Seldom used. (Mendelssohn's ' I am He that comforteth' is written in this key.) Bold, vigorous, and commanding ; suited to the expression of war and enterprise. Plaintive, but not feeble. Awfully dark. In this remote key, Haydn and Beethoven have written their sublimest thoughts. They never enter it but for tragic purposes. Ample, grand, and noble. Having more fire than C, it is suited to the loftiest purposes. In choral music, it is the highest key, the treble having its cadence note on 4th line. Bewailing, but in too high a tone to excite commiseration. (Handel's 'Vouchsafe, O Lord,' and Mendelssohn's 'Oh God, have mercy,' are written in this key.) Z 178 THE SOUND-PRODUCING PORTIONS OF THE ORGAN. ' E flat major . \ Full and mellow : sombre, soft, and beautiful. It is a key in which all musicians delight. Though less decided in its character than some of the others, the regularity ot its beauty renders it a universal favourite. (Bach's St. Anne's Fugue is written in this key ; also, Mendelssohn's chorus, ' Thanks be to God.') * C minor . . . I Complaining : having something of the whining cast of B minor. (Bach's Passacaglia, and several of his most beautiful fugues are written in this key.) * E major . . . Bright and pellucid ; adapted to brilliant subjects. In this key Haydn has written his most elegant thoughts. Handel mistook its properties when he used it in the chorus, ' The many rend the skies with loud applause.' Though higher than D, it is less loud, as it stretches the voice beyond its natural powers. It is sufficient to have hinted at these effects. To account for them is difficult ; but every musician is sensible of their existence." 751. Enough is set forth in the above quotation— after allowing something for over-colouring — to show the immeasurable superiority of equal temperament over the unequal on the question of " character of key," under consideration ; not the least of its greater excellencies consisting in its transforming the otherwise " wolfish key " of A flat major into " the most lovely of the tribe." Temperament, as the 753. It is doubtful, however, whether the question of tionorkeT questioned' " Character of key " should ever have been so much mixed up with that of " temperament " as it has been, since writers are by no means unanimous as to the precise source from which springs that distinction. Pitch supposed to ex- 753. jn unequally tempered instruments, a distinct cha- establishin '" th'^"'^h™ ''^cter of key Undoubtedly exists ; but it is of so untuneful a racterofkey. nature, that, instead of proving an advantage, it is a source of pain to sensitive ears. To cite one further example, Dr. Bumey, in his Musical History, vol. iii., page 608, says of the work from which Ex. 16, on page 170, is taken : — "The anthem for three voices, from the eighty- eighth Psalm, is truly pathetic and expressive from beginning to the end ; but, unluckily, the key in which it is composed (F minor) is so much out of tune on the organ, as it is usually tempered, that the effect must be doubly offensive to those who, though possessed of good ears, are unable to account for it." Equal temperament removes the cause of this crude distinction. But in doing so, it must, in the opinion of some, destroy all difference between one key and another. Clear as this conclusion seems to be, experience shows that on an equally tempered instrument, a distinction of key nevertheless does exist. The equality of the tuning can be proved mathematically j yet a difference in the keys is perceived practically, and reason has hitherto failed to fathom this subtile phenomenon. Some have attempted to account for it by supposing that an unintentional temperament must find admittance ; that the tuner, un- consciously, has perhaps a bias in favour of certain keys. Others would attribute the distinction to the influence of a second and independent agency -— namely, fitch, or the grave and acute qualities of sound. As to the manner in which that influence is exercised, they propose to account for it by suppos- ing that, when an author composes a piece of music, he first determines his THE TUNING AND TEMPERAMENT OF THE ORGAN. 179 key, and then confines his ideas to the proper compass of the voices or instru- ments for which he is writing. Thus in penning a vocal piece for a treble voice of average compass, if c'' be taken as the key note, the available range would be half an octave upwards, and a whole octave downwards ; if f ', it would be a whole octave upwards, and half an octave downwards ; if a' flat, it would be a sixth upwards, and a sixth downwards ; and so on ; and that each separate melodial range has perforce its own distinct series of attendant harnionies. That students and auditors, by performing and hearing music so written, are thus gradually led to ascribe to each of the keys a specific character. In this case, however, the primary influences would appear to be the limits of the voice, and other circumstances under which the music was written, rather than any inherent and peculiar property in the pitch. If any specific quality ever belonged to certain sounds — of which sounds the musical scales are formed — that quality would continue to exist ; therefore, on an alteration of pitch taking place, such as has actually occurred, by ascent, to the extent of a semi- tone, since the time of Haydn, the scales that formerly had sharps for the signature, though now having flats, would still be brilliant ; and those which had flats, though now having sharps, would be the reverse. Music written, in the last century, in the " golden, warm, and sunny " scale of A major, would now be heard in the " least interesting key " of B flat major ; and so on ; whereas no such perversion of sentiment has ever been declared to have taken place. The internal resour- 754. The probability is, that neither temperament nor pitch ces of the musical art j^^^^ ^^ much to do with giving " greater power of colouring capable of giving any . ° ° ,° -,,.■, r , character to any key. to the musical art by means of the establishment of the so- called " character of scale," as the internal resources of the art itself. For since music has become a language, as well as a science and art, composers have been enabled to express whatever they please, in any scale they please. They have drawn music of a given " character," and its opposite, from one and the same scale. Thus, if Handel selected the " bold, vigorous, and command- ing " scale of C major for the " Horse and his Rider " chorus, he employed it with equal success also for his " Dead March in Saul." If Mendelssohn adopted the same scale, " expressive of war and enterprise," for his " Military Duet," he used it no less felicitously for his sweet and peacefiil aria, " O rest in the Lord." If he fixed upon the scale of G minor, ■" replete with melancholy," for his most pathetic second movement in the instrumental introduction to the Lobgesang, he adopted the same "meek and pensive scale" with equally perfect success also for two of his most vivacious scherzos, those in the Otteto and the Mid- summer Night's Dream music. Weber selected the awfully dark aijd tragic " scale of D flat major for his inspiriting " Invitation to the Dance." But to whatever circumstance, or combination of circumstances, the distinction of scak is observable, all musicians are sensible of its existence. Characteristics of equal 755. 'SNe'hs.ve heard \iovi "outoftune" the unequal- tuning temperament. makes Some of the scales that are even in constant use ; and we have seen the cause. We have also noticed in what way equal temperament removes that cause — namely, by, among other things, tempering the sound of all the short keys, so that they will serve either as th.e flat to the white key to the right, or as the sharp to the white key to the left. Its influence in the enharmonic scales, which is considerable, is not here dwelt upon. The equal temperament, by rendering each of the twelve fixed sounds susceptible of answering two or three distinct purposes, possesses advantages, as well as a degree of practical simplicity and efficiency, quite pecuUar to itself. Z 2 i8o THE SOUND-PRODUCING PORTIONS OF T,HE ORGAN, 756. In distributing the wolf equally among all the scales, the major thirds in a few of the more common keys are made rather sharper than in the unequal temperament. This — the most grave objection taken to the equal system of tuning — never amounts to a striking defect, while, under certain circumstances, it becomes a positive beauty. It is well known that the most perfect organ and instruments in existence, the human voice and the violin, can produce all the gradations of the enharmonic scale ; yet both singers and performers on string instruments prefer making the leading note not a perfect third to its root, but sharp. And as every major triad, at the same time that it forms the tonic triad of one scale, c for instance, also forms the dominant of \^& fifth below, f ; i s Wi i^^ ^ *= it follows that its third, e, as the leading note of that dominant harmony, accords more closely with the custom observed by the best practical musicians, from the very circumstance of its being sharper than perfect. Besides this, the sharp thirds infuse a freshness and spirit into the common keys, which according to the old temperament they do not possess. Besides this, the equal temperament much improves the effect of the whole series of minor scales ; in which, it will be recollected, a very considerable proportion of the English church music is written. Again, as nearly all well-cultivated voices have been tutored at an equally tem- pered pianoforte, a similarly tempered organ must prove the best accompaniment to them. No singer would think of sounding for semitones such intervals as those which occur on an unequally tempered organ between G natural and G sharp, or between E flat and E natural ; or such as those between G sharp and B flat, or between C sharp and E flat for whole tones ; or such as those between G sharp and C, or between B and E flat for major thirds. A- :fep=^= i=t =^ ^ =t ^ 'M :M In this respect, singers have frequently been censured for " singing out of tune," when the fault has rested solely with the barbarous temperament of the organ by which they have been accompanied. 757. Then, in practice, the equal temperament is the only system that affords unfettered facility for the transposition of a- piece of music (when that may be required), without distorting the intervals of its melody, or rendering the progress of its harmony crude and exaggerated. In this variable climate, it frequently happens that, by transposing a psalm tune or a chant a semitone' or a whole tone lower, the voices of a choir or congregation may be spared much exertion and unnecessary fatigue. Besides this, organs vary more or less in pitch ; and if an instrument be tuned very high, the music can then be transposed without harsh- ness being imparted to it. In the Harmonicon for 1824, a correspondent states that "till of late years the organ in St. Paul's Cathedral 'was half a note above the usual standard, and the organ-part of the music performed at the Feast of the THE TUNING AND TEMPERAMENT OF THE ORGAN. l8l Sons of the Clergy was therefore obliged to be transposed half a note lower than the other parts, for the accommodation of the organist." 758. As to the manner in which tempered sounds are received by the musical sense, Mr. G. A. Macfarren has explained this matter very clearly in his Lectures on Harmony, published by Longman & Co., Paternoster Row. On pp. 43 and 44, he says :— " The system, I believe, first practised by Sebastian Bach,— which has now become general, — of tuning keyed instruments by equal temperament, consists in prevaricating the enharmonic diesis, — the distinction, that is, between D sharp and E flat &c.,— by tuning notes too sharp for the one and too flat for the other of their names, and by making a like compromise between the still minuter discrepancies of the diatonic scale, so that, while no interval is perfectly true, the ear is in neither case shocked by false intonation. It is, however, a beautiful and a wonderful property of the musical sense, so to adjust these tempered notes, that in every key they produce the same effect upon us in relation to other notes, that the perfectly attuned notes would produce which they represent." And on page 141 he further adds that, " In despite of equal temperament, the ear has the admirable facility of so adjusting the tempered sounds which enter it, that they seem to us not what we hear, but what we should hear, were all the notes perfectly attuned to the true natural scale." At the same time, another fact cannot be concealed, which is, that it is quite possible for the ear, under the influence of a firm imagination, to be encouraged to refuse to receive tempered sounds when presented in a particular shape, — or even in any shape whatever ; — and yet tolerate the far more egregious effect of the use of the wrong diesis. The painful effect, however of such unequal tuning on sensitive ears, may be gathered from the following : — The late Adolph Hesse was in England in the year of the first Great Exhibition, together with his father- in-law, Louis Spohr. Both were at Westminster Abbey on the occasion of the Purcell Festival, and after service Hesse was asked to try the organ— then unequal — which he proceeded to do. He had not played many chords before he dis- covered the condition of the tuning ; when, directing Spohr's attention to it, he positively declined to touch another note, and, with Spohr, closing his ears, left the organ gallery. On his return to Germany, Hesse had occasion to write "something about English organs," in which he said, in reference to the unequal tuning, " It is inconceivable to me how, in the neighbourhood of the best orchestral music, and of the most splendid and perfecly well-tuned pianos, the ear can reconcile itself to such barbarisms." 759. One of the earliest and most earnest advocates, in England, for the appli-. cation of equal temperament to the organ was the late Dr. Crotch — himself a very great authority — who directed attention to the subject, on the last page of the second edition of his Elements of Musical Composition, in the following words ; — " The author cannot but regret that the preference of English organists for the old method of tuning has been (as he is informed) hitherto so strong and deter- mined, as to have resisted and repelled the attempts made to introduce the equal temperament into our cathedrals and churches. He has for many years uniformly recommended that this system should have a fair trial, upon the principle that as all tempei^ld fifths and thirds offend the ear, those systems which contain such as are most tempered and most discordant cannot be preferable ; especially in an age when the keys which have four sharps and three flats can no longer be excluded from general use. It has at length been fairly tried, and, having carefully examined it he feels convinced that its practicability and superiority are as unequivocal on the organ as they are allowed to be on the pianoforte, and on all other instruments which contain only twelve different notes on each octave. He continues to press 1 82 THE SOUNDrPRODUCING PORTIONS OF THE ORGAN. these opinions, not merely because they are his own, but because, in so doing, he is contending for the far higher authority of the ju., in voluntaries,— the above objection does not hold good. The Doubles cannot then interfere with or mislead any voices. Moreover, the tradition general throughout Germany is, that Sebastian Bach generally played his Fugues with the Doubles drawn ; there- fore, those who would aspire to perform his works after his oWn manner, can only do so by frequently availing themselves of that dignified class of Stops. As to the " octave below " being discernible at the starting of a Fugue, there is no doubt that any moderately educated musical ear can detect any interval or Stop in an organ that it cares to listen for, whether it be the Double Diapason, the Tierce, the Twelfth or what not ; but that affords no sufficient ground for the exclusion of any of those Stops. Besides, even supposing the Doubles to have an undesirable effect for some half dozen bars in the course of a musical composition, if it has a most advantageous influence in the remaining hundred or so, which fact is beyond question, the far greater evil would arise from their exclusion. The fact is, no single rule would be a good guide in this matter. The first movement of the " St. Anne's Fugue" sounds bad with the Doubles ; the last movement as ill without them. 837. Neither has the influence of the Swell been included in the foregoing scheme for producing various degrees of strong or weak tone. The Swell is of inestimable advantage for all classes of accompaniment, as it enables the performer to increase the tone when the voices may be getting flat, and to decrease it when all is going well. This power is independent of and supplementary to that of imparting expres- sion to the music, which latter attribute is of such peculiar value, as weU as being highly acceptable to those who have true appreciation and sound musical feeling. On the adaptation of 838. In applying the various combinations and resources t e organ-tone to t e ^Xx^z-Av specifie to dthe purposes of choral or congregational true purposes of choral ^ ^, . . accompaniment. accompaniment, there are many circumstances to be taken into consideration, and which ought always to influence the selec- tion. The first and greatest of these is of course the prevailing character of the words about to be sung, whether they are jubilant or supplicatory, and with which the accompaniment should always accord, so that it may produce a suitable impres- sion. A musical composer, when scoring a secular work for an orchestra, employs those instruments, the quality and character of tone of which are the most appli- cable to the subject of the words and the spirit of the music. An organ being the more seemly substitute for an orchestra in a church, and containing, as it does, imitations of most of the drchestral instruments, an organist should, by a skilful combination of its different Stops, adapt the tone of the instrument to the sense of the words and the character of the music that are being sung, in order that the result of his rightly-directed efforts may be as appropriate and acceptable as possible. When it is recollected how much pains is taken with the accompaniment to heighten the effect of music, some of which is avowedly written chiefly for man's amusement and pastime, it is obvious that at least the same amount of care should be exercised to, secure an equally appropriate accompaniment to those vocal strains which occur in the edifying Services of the Church. An organist cannot be too mindful of this, nor can he exercise too much forethought and discretion in making this most important condition of the utility of his office legitimately perceptible. It is in this particular, of all others, that he has the opportunity of showing his ON THE CORRECT USE OF THE STOPS. I99 superiority over the mechanical work of a self-acting instrument. A barrel-organ can be made to execute music with the utmost precision and finish ; it may even be made to shift its own Stops ; but it cannot be endowed with the reason necessary wherewith to direct the application of these combinations to their special purposes. A mind must be in active operation to do this worthily ; and herein lies the secret of an organist's great advantage in performance, over an instrument from which the Choral accompaniment is " ground" out. Nothing can be less acceptable than to hear bright Stops used, and an animated style of playing adopted, when the words are prayerful or supplicatory ; or, on the other hand, to hear only heavy Stops brought into requisition when the subject is a jubilant one. Every large and well-designed organ necessarily contains many Stops that are appropriate and inappropriate for all occasions ; and it is, therefore, capable of considerably heightening or of injuring the effect, according to whether its powers be rightly directed or not : and an organist who misses their judicious application, whether from causes resting with himself, or from the influence of others, is open to the supposition of being disregardful of the trust reposed in him, and may, therefore, hazard the respect due to his office — consequences against which every organist should guard himself by the exercise of his best powers of discrimination. 839. After ascertaining the prevailing character of the words, the next point to be considered is the exact quantity, as well as description, of loud or soft tone that the circumstances of time and place would seem to suggest as the most appropriate to -the occasion. As the number of the congregation will vary on different occasions, so also will the strength of the united voices of its members. The amount of organ tone, therefore, necessary for directing and giving support to the voices of a full congregation, will consequently be too much when there is but a " thin attendance." Particular care, therefore, should be taken to modify the tone in some way, so that it may not be too strong for a reduced number of voices, and yet strong enough to prevent the congregation singing out of tune or time. The simplest way of lessening the strength of the accompaniment without destroying its spirit and character, is to draw, on the Second or Third Manual, Stops of the same size, and perhaps name, that one would use on the First, if the concourse of persons were larger. Any modification in this combination that the peculiarities of the particular organ might render necessary, would of course be taken into account. With the resources at his command, which every parish church organ ought to possess, and which many do, an organist ought to find no difficulty in accommodating its tone to any exigency that may arise. 840. At the same time that every organist should view his calling as a high one, demanding the exercise of great intelligence as well as technical knowledge in the fulfilment of its duties, it should also be borne in mind that the introduction of organs into churches, and their judicious employment there, are but means to the attainment of certain ends. What those ends and objects may be, will be best gathered from the following quotation from the introduction to Schneider's School for the Organ, which well describes what is looked for from the Church organs and organists of Germany : — " An organ consecrated to the sanctuary and to sacred music is intended to be subservient to the edification of a congregation assembled together for divine worship ; to support and to accompany, in a proper manner the singing ; and to be instrumental in promoting a devotional frame of mind and the edification of the soul, and its elevation above everything earthly, to the contemplation of things invisible and divine^a noble object, which can only be obtained by a style of performance suited to the holiness of the place and the 200 ON THE CORRECT USE OF THE STOPS. sacredness of the subjects. ~ The proper management of this sublime instrument can induce a devotional spirit and an elevation of mind in the scientific hearer, as well as in any individual of feeling. The sound of the organ is able to insinuate itself by mild and tender tones, and then the mind is filled with the pious tranquility of filial devotion ; but it can also elevate itself to majesty and pomp, and peal and roll like storm and thunder, and then it elevates our hearts with sublime emotions. Whilst most other instruments can only express individual feelings, this kingly instrument can produce a variety of emotions. The organ alone can best fill with its- tones the lofty vaults of the vast cathedral, support the singing of large congregations, and, by its power, operate upon the religious feelings." ?Dtbiston 05IK, THE CAUSE OF MANY FAULTS IN AN ORGAN, WITH THEIR REMEDIES. CHAPTER XXX. 841. It is important that an organist should be in a position to ascertain the cause of the faults existing, or occasionally appearing, in his organ ; and also what are the steps necessary to be taken to remedy them. Some derangements arise from such simple causes, and can be so easily set right, that an organist might remove them himself, if quite certain of the seat of the disorder ; and, by so doing, save the organ-tuner perhaps a long journey to rectify what may not occupy him ten minutes whep he is there. Schneider, in his Organ School, (page 60, first English edition), expresses himself on the above subject in the following words : — " It is, generally speaking, necessary for the organ-player that he should make himself as intimately acquainted as possible with the internal construction of the organ, with the nature of every single part, the combination of which constitutes its whole ; as well of the particular parts of the mechanism which cause the pipes to sound, as also of the nature, peculiarities, and properties of the pipes themselves, in the manifold variety of their make, and the various kinds of sounds which are constantly produced ; by which means alone, a right and appropriate style of managing the instrument, and one in all respects suitable to its nature, can be attained. But, as regards a regularly appointed organist, the knowledge is absolutely indispensable ; for it is his first duty to take care of his instrument, to preserve it and carefully to look after it — a duty which can only be fulfilled when he is able to discover immediately the cause of those, derangements in the mechanism, &c., which are unavoidable in that instrument composed of so many diversified parts ; and even to remedy, himself, the defects in many cases, when an organ-builder may not be immediately at hand. If the organist, thus acquainted with the construction of the organ, fulfils that duty to the fullest extent, and, in those cases for which he does not find himself competent, procures promptly the assistance of some qualified person, an organ may continue for a long time in a sound condition, and a more extensive repair be rendered unneces- sary for a considerable period. On the contrary, an ignorance of the constniction of the organ, and negligence in the care of the instrument, and also with respect to getting small defects remedied, always leads to inevitable and more considerable damage ; and not only do expensive repairs become requisite, but also an instru- ment thus neglected can often only be restored in a very imperfect manner." THE UNBIDDEN SOUNDING OF A PIPE FROM CAUSES IN THE REGION OF THE PALLETS. Ciphering caused by 842. Among the numerous faults and derangements to dirt on the pallet. which all organs are at times liable, one of the most frequently 202 THE CAUSE OF MANY FAULTS IN AN ORGAN, recurring is that known as a " ciphering ;" in other words, the sounding of a pipe, on the drawing of a Stop, without any key being pressed down. A ciphering may arise from various causes. Some grit or chips may have worked down from the pipes, through the table and the channels of the sound-board, to the surface of the pallet ; and, by resting on its edge, and holding it a little way open, thereby admit sufficient wind into the groove to make the first Stop sound that is afterwards drawn. A derangement from this cause is frequently indicated by the controlling key being a little below the level of the others. To remedy it, the front-board of the wind-chest must be taken off, the pallet drawn open, and its surface carefully wiped, as well as that part of the groove against which it " beds," with some dry, rough substance, to remove the impediment. 843. To facilitate the rectification of such casualties, some German organ- builders fasten on the front-board with large wooden screws, having sexagon heads, so large that they can be turned by the fingers alone ; so that, in the event of a pallet becoming deranged during the service, the organist can get at it, with little loss of time, without the aid of noisy tools, and perhaps put it to rights before the organ is again required. ciphering from a pal- 844. Or the ciphering may be caused by the pallet-spring let-spring eing too jjgjj^g jqq weak to cause the key-movement to return quickly, and the pallet to thoroughly close over the pallet-hole. If this is the cause, the key will rise sluggishly, and only partially ; and the ciphering will continue till the key has been raised to its proper level by the hand. In this case, a piece of coiled wire, similar to that on the fourth string of a violin, and called by organ-builders "check-spring," may be fastened to the tracker, outside the wind-chest, and to some neighbouring wood-work, which will assist the return of the movement, and accelerate the closing of the pallet. Or, still better, the weak spring can be removed and replaced by a stronger one. Ciphering caused by the 845. Sometimes a ciphering will be caused by the pallet direction^'in'"^ "" " descending too low, and catching on one of the side direction- pins ; an accident that is likely to occur, if a key be struck too violently and suddenly. To cure this, the front-board must be taken off, and the pallet released. In some German organs, the two side direction-pins are omitted, and one pin introduced instead, of extra stoutness, placed in the centre of the front of the pallet, where a small vertical groove is cut in the pallet, to allow the pallet to descend and ascend without leaving the pin. Ciphering from damp 846. A ciphering will frequently arise — particularly in or°*heaT warping the instruments that are so situated as to be exposed to the pallet. changes of atmosphere in an aggravated form — from the damp in winter loosening the leather from the surface of the pallet, allowing it to swerve from its place over the pallet-hole, and admit- ting wind into the groove ; or from the heat in summer warping the pallet as it dries it, and, by destroying its evenness of surface, preventing its bedding properly over the pallet-hole. To remedy either of these derangements, the pallet has to be taken out ; and, in the one case, the leather has to be fresh glued on to the pallet ; while, in the other, the pallet has to be planed down afresh, newly faced with leather, and then re-fastened to the sound-board. 847. The pallet in some French sound-boards are made without leather pallet- hinges, but with simply a pin passing through a puncture in the tail end of the pallet, for the pallet to work upon. This arrangement presents the advantage WITH THEIR REMEDIES. 203 of allowing an almost instantaneous substitution of a sound pallet for a defective one ; and it also admits of the immediate resumption of the use of that pallet, instead of its remaining idle for many hours while the glue is drying. It also admits of the easy cleaning of the joint-end of the pallet, which is always a tiresome operation with pallets fastened on in the usual way. Ciphering caused by a 848. A ciphering is sometimes caused by a pull-down pull-down being rusty, having become rusty, which causes it to become fixed in the hole in the brass plate through which it ought to pass, and holding the pallet a little way open. This fault can generally be remedied by drawing the pallet open, and cleaning the pull-down with scouring-paper ; care at the same time being taken not to bend the wire, which would establish another source of ciphering. THE UNBIDDEN SOUNDING OF A PIPE FROM FAULTS IN THE KEY-MOVEMENTS. Ciphering from some 849. A ciphering wiU Sometimes be caused by some de- bgbetween''ih^"ke/^'" J'^ngement of the key-movement. Commencing at the keys, one of the commonest causes of ciphering is the falling of melted wax or tallow on and between the keys, which will attach two together. This is soon remedied by carefully scraping the sides as well as the surface of the keys with a penknife, to remove the cause of adhesion. Or it may be caused by dirt, or a pin having fallen between two keys. The best way to proceed to remove the impediment, in that case, is to " work it out," which may be effected by taking hold of the two keys, in front, with the thumb and forefinger of each hand, and raising the one key at the same time that the other is lowered ; drawing them apart with a Certain amount of firmness, without violence to encourage the impediment to fall. Ciphering caused by a 850. Another cause of a sticking at the key is its warping eywarpmg. from excessive heat, which causes it to rub against its neigh- bour, and become fixed. The eye will easily discover whereabouts the key is out of the parallel, if it is in the fore part of the key ; as well as the probable point of contact. To remedy this, the key has to be removed from its place, and either scraped, or a few very fine chips pared off from the part where it touches the next key ; which may be done sufficiently to ease the key, without disfiguring it. To remove the key, the book-desk has first to be taken out ; and if the disarranged key is in one of the lower sets, the upper must be lifted out, to lay the right Manual bare. Modern organs are usually so constructed that the Manuals can be moved in or out with little more difficulty than the drawers of a chest of drawers, which is a most convenient arrangement. Ciphering from a 85 1. Sometimes a sticker will "bind" in the hole in the Stic er in ing. register through which it should move, from damp swelling both portions of the wood-work, whereby the hole in the register becomes smaller, and the sticker larger. This can be cured by taking out the sticker, and either filing the hole in the register a little larger, or by scraping the sticker. Or the sticker may bind, from the black-lead having worn away from its surface ; in which case more might be added with a black-lead pencil, without, however, damping it. Ciphering caused by a 852. In a backfall movement, a ciphering will sometimes sticker" ^'"'°^°'^*'' ^^ '^^"^^'^ ^y ^^^ backfall shooting off the sticker, under the influence of a violent blow on the key, and catching on the 204 THE CAUSE OF MANY FAULTS IN AN ORGAN, top of the sticker-pin. To set this right, it is simply necessary' to press the sticker-pin carefully, but firmly — without, however, bending it — into its place under the drill-hole in the backfall, and lowering the backfall into its right place, dn doing this, the key will resume its proper level. Ciphering from grit in • 853. A ciphering will sometimes be caused by grit, dirt, the centre-holes; or by ^^ ^jj^^jj ^^^^ ^^ ^^^^^ ^j^j working into the pin-holes of swelhng of the move- - ^ , "^ , ° u 1 r n njent. some part of the movement, or between a square or backfall and the frame ; which, by preventing- the complete action of the movement, will hold the pallet a little way open, and also cause the key to remain a little way down. By tapping the key rapidly, the fault will fre- quently correct itself, and save further trouble : if not, it must be sought for through the movement, and removed. Or some part of the moveihent may have swollen, and be thus made to bind too tightly on the pin. This might be rectified by cutting the centre-hole the least degree larger ; but if the fault only appears in damp weather, and then only slightly, it is usually better to leave it to be corrected by a drier and warmer atmosphere ; particularly as the wood, by contraction at such a time, might otherwise leave the pin-hole sufficiently large to cause a looseness of action, and a rattling. THE UNBIDDEN SOUNDING OF A PIPE FRON DEFECTS IN THE SOUND-BOARD. 854. A running. One of the most tiresome and vexatious defects which can occur in an organ is a running j because the region of the disarrangement is frequently one of the most hidden parts of the organ. Its seat is always the sound-board, or immediately adjacent parts, and it consists of an unbidden sounding of a second pipe on the sounding of a first, which may arise from a variety of causes. The pitch of the second sound, however, will sometimes assist one in discovering the seat of the disorder, if some allowance be made for its pitch being flat, and its sound not well defined, on account of the defect frequently being produced by a very small quantity of wind, which breathes rather than blows into the pipe. For this reason, the evil is not apparent when all the Stops on the sound-board are drawn ; for then there are so many outlets for the fugitive wind, that it disperses and escapes without producing any audible effect ; but when one or two soft Stops only are drawn, then it frequently becomes painfully so. A running caused by an 855. A running may arise from an upper-board not being W?''"^"' ""^'"^ '°° screwed down sufficiently ; which is soon remedied by tighten- ing the screws in the immediate vicinity of the pipe originally sounded. Or it may be caused by a leakage from one groove to the next. Whether it arises in this manner, will be indicated by the pitch of the unbidden sound, when compared with the plantation of the pipes. If the pipes are planted semitonally, as in plan 2, and the secondary sound is the half tone above or below the tone sounded ; or if the pipes are disposed tonally, as in plans i and 3, and the un- bidden sound is a tone above or below that produced in the usual way ; the defect will, in either case, be traceable to the above-mentioned cause. ^illJdtofrr"'^'* "'^ ^ ^'^' '^^ ^ sound-board bar has " sprung,"— z>., has become raring" from thrtablT^ partially separated from the table; or a small crack has or by an unsound bar. " Started " in the sound-board bar itself, allowing a little wind to pass through from one groove to the next. To stop this, the crevice WITH THEIR REMEDIES. 20S is well covered with paper, coated and saturated with glue. Sometimes, to cure this fault, recourse is had to "bleeding," which, however, is only an objec- tionable method of hiding the fault. A humming caused by 857. A disagreeable humming, not unlike a running in effect, partiV "drawin"? ^"a ^Itl^o^gh it is not in reality one, will sometimes be caused by second. one slider rubbing against the next as it is being drawn, and partially drawing that also, causing a little wind to pass -into the pipes of a second Stop. In this case the effect will be like a running of an aggravated kind, inasmuch as the defect will appear to exist on nearly every key of the manual. The unbidden sounds will be rather lower in pitch than the correct sounds, though scarcely amounting to a semitone. To remedy this evil, a peg might be driven in between the two sliders ; or one of them might be planed at the edge to prevent its touching the other. As the objectionable custom of placing two, or even as many as three sliders together, without intermediate bearers, is entirely discarded by all modern organ-builders, the liability of a humming from the disarrangement last named is confined to old organs. When it occurs, all the Stops that are not actually in use should be pressed in. . A humming caused by 858. Sometimes the unbidden sounding of a second pipe pipes standing in too ^jjj 3^^.;^^ f^.^^ jj^g ■ ^gj packed too closely together, close proximity. .,, , , . , SO that the wmd that passes out at the mouth of one pipe enters that of another, causing it to produce a moaning sound. This evil frequently is not . an easy one to remove. The primary cause of this is the sound-board being too small, which leads to the pipes being placed in too close proximity. In some cases, this defect can in a manner be cured by turning the mouth of one of the pipes in another direction ; or by mounting the pipe on a longer foot ; or by conveyancing it off to another situation. The most thorough cure for such an evil, however, is the introduction of a new and larger sound-board. DEFECTS IN THE KEY MOVEMENT. A springing in the key- 859. A Manual key will sometimes go down about half-way, movement. under the pressure of the finger, without causing any sound ; after which, something will appear suddenly to snap, and the key will descend the remainder of the distance with a run, the organ at the same moment sounding. This disagreeable effect is caused by the roller being too weak. Instead of its setting the second arm in motion the instant the first one is operated upon by the key, the roller " springs " or twists for a time, until it has in this manner derived a sufficient accession of power to give a tug at the pallet ; the resistance at which being thus overcome, the pallet starts down, giving to the touch the tiresome breaking sensation already noticed. This can only be cured by introducing stronger, or thicker, or iron rollers. A dead resistance op- 860. In some cases, a key will at first altogether resist "he kt ' m*tme'nt" ^^ ^^^ *°"'^^ °^ ^^^ finger, and will not move until the pressure °^ has been much increased, when it will suddenly give way, and descend, accompanied by a sharp clacking noise. This defect, quite as annoying as the last, is found more frequently in old organs than in new, where the roller- arms are of iron, instead of wood, with metal tracker-hooks attached in both cases. The iron, after a few years, rusfs, causing a grating and biting, instead 206 THE CAUSE OF MANY FAULTS IN AN ORGAN, of a free and immediate action, which leads to the dogged resistance experienced at the keys. New wooden roller-arms are the only cure for this fault. A thumping at the keys. 86 1. A thumping will sometimes be heard as the keys go down. This will be the case, if the layers of cloth or baize under the front of the keys have become hard, or are too thin. The fault is easily remedied by the substitution of soft and thick baize, or by the addition of an extra layer. A rattling in the key- 862. The Original key-movements of old organs were fre- nor^na'turiTf the q^ently SO noisy, rattling, and squeaking, and their every m,iterials. motion SO audible, that whatever the organist played seemed to have the questionable addition of a " castanet " accom- paniment. This offensive interruption arose from metal having been used where wood has subsequently been found to be so much superior. The cause of the rattling was this. On touching a key, the first tracker-hook produced a "click" as it struck against the first iron arm; the second, iron arm produced a similar noise on coming in contact with the second tracker-hook ; the " metal against metal " not only produced a squeaking or a grating as the parts moved, on the finger descending ; but, when the finger left the key, and the movement returned, the tracker-hooks vibrated and chattered in the holes of the iron arms. Thus a rustling and sometimes also a chirping noise accompanied the action of the movement when it ascended, as well as when it descended. The removal of the cause of the defects noticed in the two preceding sections, will lead to the disappearance of those just noticed. 863. In modern organs, iron roller-arms are almost always avoided, even when the rollers themselves are of that metal — and wooden ones introduced, as being far more quiet in their action. Even in the few instances where the contact of metal with metal cannot be avoided, as at the junction of the tracker- hook with the pull-down, some organ-builders do not allow the two pieces of metal to touch, but "bush" — i.e., line the loop of the pull-down with cloth, to silence the action. For the like purpose of lessening the friction and quieting the motion, other organ-builders introduce into each of the studs which support the rollers a kind of leather button, in the centre of which the roller-pin noise- lessly works. A rattling sometimes 864. Sometimes, in "extended" key-movements, a noise caused by trackers ^{jj ^,5 caused by the long trackers flapping together. This is flapping together. j- j u • ^ j ■ jj-.- 1 soon remedied by mtroducmg an additional register. As, however, every additional register, or comb, adds to the friction — to avoid this latter, some Continental builders carry the trackers over little box-wood or ivory reels, by which means they are supported and steadied, without the touch being made heavier or more sluggish. A key down without 865. Occasionally a key will be found to have sunk — i.e., producing any sound, jj ^jjj ^^ ^^^^^ without, however. Causing any ciphering. This will arise from some connecting portion of the key-movement having slipped or given way. For instance, it will occur if either of the tracker-hooks is broken ; and it can, in that case, soon be remedied with a fresh piece of wire. Or, if the rollers are provided with wooden roller-arms, and the union of the roller-arms with the trackers is effected by means of tapped-wires and buttons, it will sometimes arise from the button slipping down the tapped-wire. In this case, all that is necessary to correct the disarrangement, is to screw the button up WITH THEIR REMEDIES. 207 again, which is done by turning it to the right. The tracker, however, should be held firmly, immediately above the tapped-wire, to prevent its twisting, or a cause of second derangement may arise while the first is being removed. A dumb key will sometimes be caused by the breaking of a square, a casualty to which squares are very liable, if they are formed of one piece of wood only, so that the grain of the wood necessarily crosses one of the arms. To cure this fault thoroughly, and prevent its recurrence, a new and stronger square must be provided. The touch of the ma- 866. In Warm, dry weather, the touch sometimes becomes nuaU too shallow at « shallow," and the pallets do not open sufficiently ; conse- certain seasons and ' . ^ ^ / ' too deep at others. quently the pipes sound out of tune, from the inadequate supply of wind, particularly in the bass. In cold, wet weather, the touch, on the contrary, becomes " too deep ;" which change renders the playing more difficult, and also causes a tendency to ciphering, from the keys then pressing against the thumping-board, and producing the same effect as its being slightly held down by the finger. The variations in the depth of the touch are caused solely by atmospheric change ; the heat, by drying and contracting the building frame and key movements, slackening it ; and the damp, by swelling and expanding them, tightening the touch. There are several ways of remedying these faults. 867. Most modern organs are provided either with small wedges, placed under each end of the square or backfall frame, immediately over each Manual, or with screws ; the forirfer of which are pressed in or drawn out, and the latter turned down or up, according as the touch requires deepening or being made shallow. The touch of the entire row of keys can thus be altered in a very few minutes. In older organs which have not these facihties, the depth of touch can only be regulated by screwing or unscrewing the button of every key separately, which process consumes a great deal of time. To make a key " higher," the button must be turned to the right ; to make it " lower," it must be screwed to the left. While this is being done, some one should be at the keys, who, by passing the fingers lightly over the key being regulated, and its neighbours, will ascertain whether the key is on an exact level with the others ; and if it is not, he will call out whether it is required to be " higher" or " lower," to make it so. An unevenness in the 868. A single key will sometimes be out of the level with the Manual "'^''°'"°*^*° "^^"^ ^^T' "^ '' ^^ ^^^°^' ^'^out causing a ciphering, the irregularity is most probably caused by the button having slipped, which, in that case, must be screwed up again ; and a second one might be added, and screwed up close to the first one, to assist it. If a key is above the proper level, without causing a ciphering, it has probably risen from the rapid return of the movement, on the quick or sudden removal of the finger from the key. A slight tapping on the key will generally be sufficient to cause it, or the movement, to adjust itself. A key screwed up too 869. A key that is screwed up rather too high, will fre- ?hf 5 c°e"htf the^p^es que^tly cause the pallet to open and close slightly and rapidly, to tremble. admitting a small quantity of wind into the groove by fits and starts, and imparting to the speech of the pipes an effect not unlike that produced by a tremulant when in motion. To stop this, it is simply necessary to unscrew the button a little. A key that has slightly deepened from change of weather, will sometimes produce this effect. 208 THE CAUSE OF MANY FAULTS IN AN ORGAN, A ciphering caused 870. A ciphering is sometimes caused by the spring that ^edau ri^^""^ °' ^ should raise a pedal having broken, whereby the weight of the pedal-key drags on the movement, and has the same effect as the weight of the hand on a Manual key. If a Manual remains coupled to the Pedal while this fault exists, it will cause an apparent ciphering there also, but which will be found to have no real existence on disconnecting the Manual, as the supposed derangement will then immediately disappear. If the Pedals are only furnished with bell-springs, they will be very noisy, as well as more liable to the above accident, and should be removed, and better springs provided. DISARRANGEMENTS CONNECTED WITH THE DRAW-STOP ACTION AND SLIDERS. A draw-stop rod will 87 1. A draw-stop rod will occasionally come out far beyond sometimes come out too j^g ^ distance, and will also return too far, and that far, or go too far m. ^ ^ ' ' without affecting the Stop, which will be either always in or always out. This fault arises from the connecting-pin at one of the centres having worked out ; and it may therefore occur either at the junction of the draw- stop rod with the trundle-arm — of the second trundle-arm with the trace — the trace with the lever, &c. All that is in general required, is, the restoration of the pin to its original position, or its place supplied by a new one. A draw-stop is some- 872. Sometimes, on the contrary, a draw-stop is very difK- times very sti . ^^j^ ^^ draw ; — in the language of organ-builders, it is " stiff." This derangement is generally caused by atmospheric change. In damp weather, the upper-board and slider become swollen, and, by pressing against each other, increase the amount of friction. The consequent stiffness is usually removed by slightly loosening the screws which fasten down the upper-board, which allows the slider more liberty. On the re-appearance of warm weather, and the subse- quent drying, shrinking, and return of the wood-work to its original and precise dimensions, the screws should of course be tightened again. In hof weather, however, as well as in cold and damp, a stiffness will sometimes appear in the action of the draw-stops ; but in this case the cause would be the warping of the upper-board or slider, which would lead to a "binding" of those parts. An abatement of the heat would be accompanied by an abatement of the fault. In the course of time, however, it may happen that if the screws of the upper- board are loosened sufficiently to remove all stiffness from the draw-stop, a running will be heard ; and, on tightening them, the stiffness will return. This is an evidence that the repeated changes of temperature and condition of the atmosphere have had the effect of permanently disturbing the accurate adjustment of the several parts to one another. When this is the case, the upper-board requires to be removed, the slider taken out, and the several parts " eased " at those points where the binding occurs. DEFECTS IN THE BELLOWS AND THE WINDING OF THE ORGAN. A creaking, from fric- 873. One of the most frequently recurring faults in a tion at the centres. ,,, r ^ ^ 1 ■ 1, ^ -. bellows, fortunately, is generally one of the most easy to cure ; namely, a squeaking or creaking. This commonly arises either from the friction of the bellows-handle on its centre, or from a similar rubbing at the junction of the WITH THEIR REMEDIES. 209 pumprods-with the lever or feeders ; and is removed by simply applying a little grease. A dacking, caused by 874. A clacking will sometimes be heard at the moment that the feeders are drawn up. This is only perceived in old bellows, and is caused by the valves being made of wood, covered with leather that has become hard, descending on the bottom-board with an audible blow. To remedy this, new leather valves must be substituted for the noisy old ones. . A gasping, from the 875. A rushing, gasping sound may occasionally be dis- aud^small™^ '°° °^' ^erned, as a feeder descends and inhales a fresh supply of wind. This occurs when the valves are too few in number, or are too small, or do not open sufficiently. The wind then forces its way through the gratings or orifices under the valves with so much additional force as to cause a whistling as it goes. To cure this, additional valves must be made. Bellows work quicker 876. In very dry seasons, the contents of the bellows will weat er. sometimes be exhausted much sooner than at other times. This is partly owing to the contraction of the wood of the ribs, which opens the pores ; and partly to the shrinking or curling of the leather valves, which togebber cause more or less wind to escape. Generally, this is only a temporary derange- ment, which a change of weather will rectify ; but should it prove otherwise, the assistance of the organ-builder should be at once secured, as the restoration of a firm and steady wind is of vital importance to the intonation of the organ. Belloxvs produce a 877. After damp weather, the bellows will frequeatiy d^ "weath""" ^ '^"^ produce a sharp, tearing sound when they are first blown, particularly if they have not been used for some days. This, however, does not announce any real accident, tiiough its cause might lead to one. In damp weather, the coat of glue with which the inside of the rfbs is covered, to close the pores, becomes softened ; which causes the j-ibs, as they lie together, to adhere slightly. When the bellows are subsequently blown, the sticky and adhering surfaces of the ribs are separated after some resistance, producing at the same time the sound above noticed, Tremulousness, from 878. Sometimes the worJcingcof the bellowsaffects tlie speech the length and elasti- ^ j^ pipes,— 2./?., a slight waving Or forcing of the ttsne will be city of the column of rr> ' 00 o ^^,i„j heard at the moment the feeders commence and complete their operation. This arises from the additional compression which takes place at the moment that the feeder and the surface-weights alternately exercise their influence. The fiaeder, before it can introduce fresh wind, has to overcome the pressure of the surface-weights by the exercise of more than an equivalent force ; and when this under and upward pressure ceases, the surface- weights and top-board return and descend upon the wind with all their original pressure. In this manner a series of little jerks are given to the wind at the commencement and completion of each stroke, which are sometimes communi- cated to the speech of the pipes, particularly if the wind-tninks are small or long. To remove this defect, a concussion bellows is usually applied ; but a more effectual remedy would be the introduction of wider, shorter, and more direct wind-trunks. When the wind-trunks are small or long, and the supply of wind to the sound-board barely adequate, the column of wind becomes more elastic ; in consequence of which, not only is every little and perhaps unavoid- B B 2IO ON THE CORRECT USE OF THE STOPS, able defect at the bellows conveyed to the pipes, but it is also exaggerated. When, on the contrary, the wind-trunks are broad and short, the column of air has greater firmness, from its greater bulk ; and is less clastic from the same cause, aided by its lesser length ; consequently it is not nearly so liable to communicate every little disturbance at the bellows to the speech of the pipes. Tremulousness, from 875,. Sometimes if a chord be held down with the right shortness of supply. ^^^^^ ;,^ jj^^ ^^.^^1^^ ^^^ adding a three-part chord with the left hand, in the tenor, the treble pipes will be weakened in their speech for a moment, and then will recover themselves ; and on withdrawing the left hand from the keys, the treble pipes will " raise their voices " for an instant, and then reduce their tone to the usual strength. These defects are sure indications of the wind-trunk, or the wind-chest, or both, being too small. In other cases, an organ will stand the above test successfully ; but if chords be held down in the treble and tenor with the two hands, and a disjunct passage be played upon the pedals in the bass of the Manual, a tremulousness in the tone will appear in the upper parts. This will show that the wind-supply at the grooves is still inadequate, from one or other of the causes already mentioned. Unequal intonation, ggo. In some Organs it is found that certain Stops sound ZrlXT^LT"'! ^l^^^Pe^ a^d l^^gl^t^'-' °>- stronger, when tried by themselves ; robbing. and flatter, and duller, or weaker, when used with the others. This serious fault rests either with the grooves, which do not hold sufficient wind to supply all the pipes effectually ; or with the pallet-holes, which do not admit the necessary quantity. The "robbing" usually manifests itself the most strongly in the lowest octave or octave and a half of the sound- board. It almost invariably appears in old sound-boards, and is not always absent from new ones. There are many simple ways of ascertaining whether a Manual organ is properly supplied, or not, with wind in the bass. If, on drawing the Mixtures by themselves, and holding down one of the lowest keys, the pipes sound firmly in a certain pitch, and with a certain amount of strength, and if, on adding the other Stops, the Mixtures fall in pitch and become more quiet in their tone, it is clear that the grooves either do not hold, or do not receive sufficient wind. Or if the Reeds be drawn alone, and they speak with a certain amount of crispness, promptness, and strength, but, on adding the other Stops, the Reeds sound tamely, sluggishly, and more quietly, it is evident that the demand on the wind in the grooves is greater than the supply. The only eff'ectual remedies for this 'defect are either "double palleting," or the introduction of a new and larger sound-board, with more capacious grooves in the bass,— or with double grooves,— and with larger pallet-holes and pallets. In the absence of this, the small Stops have to be tuned in the bass, with all the Stops on the sound-board drawn, that allowance may be made for the flatiening effect caused by the robbing ; and this is why the small Stops sound sharper, and perhaps tremulously, when tried by themselves, at which time they receive their full supply of wind. ™7e'of^nd''"'" ^^'- Sometimes a hissing or whizzing sound is heard to emanate from some part of the organ. The sound itself is, perhaps, scarcely perceptible, but it arrests the attention by its continuance. The exact place where it occurs is frequently difficult to discover. An engineer has an advantage over an organ-builder, under parallel circumstances ; for, in a steam engme, the locality of a slight leakage is immediately made evident by WITH THEIR REMEDIES. 211 the escaping steam turning to \-apour and attracting attention : whereas no such assistance appears in an organ to guide the builder to the seat of an analogous fault. This is frequently ascertained by means of a lighted candle, the flame of which will flicker as it draws near to the place where the escape is taking place, and as it gets into the unusual draught caused by it. SS::. The hissing frequently arises from an escape of wind at the joint of one of the wind-trunks ; which will be caused by the leather covering ha\'ing become loosened, from damp, age, or decay. This is remedied either by glueing the leather down again ; by appl)"ing a &esh strip of leather if the other is unsound ; or even by fastening a piece of thick paper over the little hole, saturating the stopping with glue. An escape of wind will sometimes take place at the side of a pull-down, through the hole in the brass plate ; particularly if the action of the puU-down has not been perfectly horizontal, and has worn the hole into an oval shape. FAULTS CONNECTED WITH THE SPEECH OF THE PIPES. Small pipes are fte- SS3. It frequently happens, particularly with regard to small quentiy dumb, tremn- ^ Flue-pipes, that a pipe wnll be •off its speech '—/.<. , kws, or weak in their r '^ '^~' - -„ , , , - , , , ' spe(;jj,_ wiQ not sound, or it will sound tremulously, or with less than its proper strength. A most frequent cause of this fault is dustj a ver>- small portion of which — ^so small that it would not affect the speech of a large pipe at all — ^being sufficient to render a small one dumb. If the fault is a general one throughout the organ, it can only be remedied by a thorough cleaning. If there are only isolated instances here and there, they can be rectified by taking the few pipes out, one by one ; wiping the surface of the languid, and carefidly dusting the nicking, and clearing the wind-way with a fine brush, or by blowing into it w-ith the mouth. Fine-pipes bixame mj- S84. Sometimes an irregularity wiU be caused in large or eqpai in tbeir sMngd. jjj - ^^. g^j^g disarrangement of the pipe itself. The and quahtj- of tone .- , ,-,- 5- ,, fiomTarious causes. uppcr-hp may be pressed m too far, or not far enough; the under-Up may have met with a similar temponuy derange- ment ; or the languid may be too high or too low. The foot-hole may have become slightly contracted, from the pressure of the body of the pipe upon the foot ; or it may have become too large from the partial decay of the apex of the toot. Anv one of these accidents would affect the intonation of the pipe, causing it to sound too loud or too soft, tremulously, or in the octave above ; and it is often more difficult to discover which may be the true cause of the fault in anv indi-vidual instance, than to correct it when it is foimd out. A pipe that sounds too loud, sometimes has its tone softened by pressing the under-lip a little nearer to the languid, which reduces the width of the wind-way, and therefore allows less wind to enter the pipe : and by altering the position of the npper-hp in the same direction. A pipe that sounds too weakly, frequently has its poflrer increased by the opposite process. A pqie sometinies SS5. A pijje wiU Sometimes " sound its octa^-e :'" and Stops stKiDids Its ""^ of small scal^ as the Dulciana. are particularly hable to such oroTei~4iloirin'-. derangement. This may be caused by a little dust ha^-ing fallen into the wind-way : or by the pipe having rather too much wind ; or even by simply a change of temperature. .\I1 Stops of slow speech — "heavy intonation,^ as the Germans have it, — as, for instance, the B B 2 212 ON THE CORRECT USE OF THE STOPS, ETC. German Gamba,— also are liable to casualties from similar causes ; and, like the Dulciana, may be thrown off their speech, if the bellows do not give a perfectly equal blast. A pipe that has too broad a wind-way, or an insufficiently high mouth, will also speak its octave. The tone of wood-pipes 886. Wood-pipes are much influenced by change of tem- influenced by change pgi.atu;|-e. In rainy Weather, the damp, by swelling the fibres of temperature. ^, , , ' , ' , 11, of the wood, presses and closes the pores ; and, by thus rendering the wood more compact, firm, and sound, improves and strengthens the tone. In very wet seasons, however, it is possible that the change may so far affect a pipe as to lessen the height of its mouth ; and, by swelling the block, lessen the breadth of the wind-way, which would have the effect of slightly flattening its pitch, as well as perhaps affecting its speech. In an organ that is placed in a damp situation, these vexatious changes and derangements are both frequent and unavoidable. In dry weather, the wood may shrink and become more porous, the tone then being weaker. The height of the mouth, from the excessive dryness and contraction of the wood, may be increased, as well as the breadth of the wind-way, which would raise the pitch of the pipe, and perhaps also alter its speech. The influence of these changes is the most discernible in the large open wood Pedal-pipes, which frequently will sound fuller in wet than in dry weather. Stopped wood -pipes 887. Stopped wood-pipes are in summer, occasionally put hrttrdrtught^^'' ^^ "^^^ °f °'^'^^'' '^7 *^ stopper shrinking and falling into the pipe ; raising the pitch and destroying its quality. The stopper must, in that case, be taken out and restored to its proper place ; some means being at the same time taken to make it fit tightly. This can frequently be done by putting a layer of paper between the stopper and the leather cover, on all four sides. Or an additional covering of thin leather might be put over the stopper, if this will not make it fit too tightly. If a stopper that fits too tightly be driven into a pipe, it may cause the front or back to separate slightly from the sides, at the joints ; and, by so causing the pipe to become unsound, render the tone false and weak. A defective intonation will arise also, if the stopper is not driven in perfectly level, but sideways. Oitiision i3t* SUGGESTIONS FOR THE CONSTRUCTION AND ERECTION OF AN ORGAN. CHAPTER XXXI. 888. The preceding chapters of this work having been devoted to a descriptive analysis of the structural details, &c., of an organ, it now remains to treat of other essentials which call for the attention more particularly of those to whom the duties of preparing the specification and superintending the construction of an organ are entrusted. THE COMPASS OF THE CLAVIERS AND OF THEIR SEPARATE DIVISIONS OF THE ORGAN. 889. The first subject to be considered, is the compass necessary for the Manuals and Pedal, together with their respective departments of the organ. 890. It is most desirable that patient attention should be devoted to this question, since nearly every separate compass yet devised has its advocates ; yet whose opinions, when compared, are found to be conflicting. As, moreover, what is advanced in favour of one compass, is not unfrequently accompanied by something else by way of objection against all or most others, it behoves all who would desire to arrive at a. just conclusion on this very important subject to weigh all the arguments for and against each plan, before making a decision ; otherwise, with the best intention, their efforts may only end in a perpetuation of the existing confusion. Precedents for nearly ggj. There are precedents for almost every imaginable every variety of Cla- ^g^^iety of range, both of Manual as well as Pedal ; and if vier range. j o 7 j the selection of any one from among the number were a question of no greater moment than the gratification of individual taste, or did not involve some violation of artistic arrangement that would not mitigate against the proportionate development of the separate departments of which an organ should consist, nor entail the sacrifice of funds and room in its consequences, could be no difficulty in the way of any compass whatever being adopted that fancy might dictate. But the case is far otherwise. On a just view of this matter depends the successful issue of the work ; its influence pervading the arrange- ments of the entire instrument. It is very important, then, that the most careful consideration should be given to this subject, before proceeding any further in the work, particularly as a false step in this direction, once taken, cannot after- wards be retraced. 892. In the "Historical Introduction" to this book. Dr. Rimbault has men- tioned that in the earlier organs, the number of notes was very limited : from 214 SUGGESTIONS FOR THE CONSTRUCTION nine to eleven (inclusive of the one chromatic note, B flat), being nearly their greatest extent, the execution of the plain- chant not requiring more, and harmony being then unknown. At the close of the eleventh century an organ was made for the Cathedral of Magdeburg, containing sixteen notes, and A KEY-BOARD. In the twelfth century the number of keys was increased, and every key was furnished with two or three additional pipes, sounding the fifth and octave, or the third and tenth. In the fourteenth century an organ was built, at Thorn, with twenty-two keys ; and besides this increase in the com- pass, which extended upwards and downwards, the keys were made smaller and neater, and with a lesser fall, so that they could be played with the fingers collectively and the thumb alternately. The most notable improvement effected in this century, however, was the gradual introduction of the four remaining chromatic keys. F sharp, the first sharp, was inserted in the early part of the century ; afterwards came the second sharp and second flat, C sharp and E flat ; and lastly the third sharp, G sharp. In 1359 or 1 36 1, Nicolas Faber built the great organ in Halberstadt, with fourteen diatonic and eight chromatic keys, extending from '£^' g to m\ yn . From this time the organs for large churches were frequently made with a compass of three octaves, from \^ ~Z1 to ^ ~. In the early part of the sixteenth century, we begin to glean something authentic respecting the compass of English organs. In 1520, Antony Duddington made an organ for Allhallow's Church, Barking, the lowest key of which is distinctly set forth in the contract as being Double Ce-fa-uij the 8-feet note that marks the full downward range of the Manuals of all the English and Continental instruments of the present day. Consisting of "xxvij playne keyes " (or naturals), and doubtless the requisite number of short keys, the compass, if unbroken, must have extended to a' in alt ; and if broken, that is to say, having the C C pipes planted on the appa- rently E E key, it would then have been of the four octave C C short octave compass. The latter is the more probable range, as it is that of many of the old German organs of about the same date. In 1637, Thomas Harris built an organ for Magdalen College Chapel, Oxford, which was also " Gamut in Do, Sol, Re ;" and Dr. Burney mentions that, in Father Smith's time, the usual organ compass was four octaves, from C C ; which range, however, was frequently departed from. The compass of the 853. Indeed, those who a few years ago were much in the ^mTJ whkh t'he"q"ues''- '^^^'' °^ visiting English Church organs, and of observing their tion was involved in general arrangements, were much struck with the remarkable England ; and the im- variation that existed in the compass of the Manuals and vi°e"''rf the subjecr"^^" P^dal of different instruments. A dozen organs might have been visited promiscuously, without any two being found to agree precisely in the above respects. Some had short-octave GG Manuals; others, GG Manuals with long octaves. Some had Manuals descending a note lower, to FFF ; others. Manuals to CCC ; while a fifth class would have Manual organs of the orthodox C C range. There were not wanting some having three Manuals all of diff'erent raiiges. Then of the Pedal : some organs had an octave of Pedals commencing at GG ; others, an octave and a half beginning on the same AND ERECTION OF AN ORGAN. 21$ note, or perhaps on FFF. Some had two octaves of GG Pedals, while others had one octave, an octave and a half, two octaves, or two octaves and a half of CCC Pedals. Such was the undecided state into which these divisions of organ arrangement had fallen in this country, previous to the commencement of the now widely-spread desire for their amelioration. How the true manual 894. That all the compasses for Manual and Pedal just tained^^ is o e ascer- j-jjg^j ^.^j^ ^g equally correct, is impossible ; either some are too long, or others must be too short ; or, supposing a medium range to be the true one, then some must be as much too short as others are too long. The question, then, is, of the number, which is the correct compass and which not ? 895. The presence of a certain number of keys on the Manual and Pedal claviers, and an equal number of semitones in their respective organs, must be necessary to render an instrument adequate to all the purposes a.nd uses of a church organ. Do those Manuals — the question of the compass of the Pedal is deferred for the present —then, that extend only to CC, fall short of this needful range ; or do the various kinds of long octave ones exceed it by just so much as their Manuals descend below that key ? Or, is the medium compass, the GG, the correct one, and consequently the CC range as much too short as the CCC is too long for the required purposes? The sources to which alone reference can be made, with the certainty of finding a correct solution to the above problems, are the choral and instrumental compositions that are most frequently heard in, and which are held in the highest esteem as accessories to the Church Service ; and for the accompaniment of the one, and the perform- ance of the other, the organ itself is employed in our ecclesiastical edifices. If reference then be made to the works of the long list of English choral writers, and to the scores of Handel, Beethoven, Bach, Mendelssohn, &c., this examina- tion will be attended with the following results. 896. In the selected movements from the works originally written with orchestral accompaniments, such as the solos and choruses in oratorios, masses, &c., it will be observed that the violoncello part, which comprehends within its downward range also that of all vocal basses, never descends below the CC note, which note (as all musicians know) is the lowest one on that instrument. The double bass indeed is a deeper-toned instrument ; yet, as it does not give a sound in accordance with the notes written, but the octave beloiSL, as far as its compass permits, its representative is correctly to be found among the unison (i6-feet) Flue-work of the Pedal Organ. Again, if the compositions written expressly for the organ, by Bach, Mendelssohn, Hesse, Wely, Henry Smart, and others, be consulted, it will be seen that the greatest extent to which the Manual part of those works descends, is also CC. The most elaborate sacred musical productions, then, whether they be essentially choral, originally written with instrumental accompaniments, or composed exclusively for the organ, neither require nor recognise a greater extent of compass downwards than that possessed by the shortest of the various kinds of Manual above mentioned. A few excep- tions to this otherwise universally supported fact, may indeed be found in the organ compositions of the late Samuel Wesley, Thomas Adams, and Dr. Wesley ; yet these examples would scarcely be deemed sufficient to outweigh the united authority established by the various and voluminous works presented to us by the writers previously named. That the CC Manual does afford ample scope for the perfect execution of the hand parts of all descriptions of music used in the church excepting the few excellent works already specified, has never been 2l6 SUGGESTIONS FOR THE CONSTRUCTION disputed. And that the CC Manual range Is the best one for concert-room organs, is equally beyond a doubt. So much, therefore, is greatly in favour of the CC Manual Organ. Arguments against the 897. Against it, and in favour of a longer compass, it has CC Manual compass sQi^gtimes been urged— -(i) that in accompanying the Choral and m favour of a . , . , , , . ^ r^ \, ' longer range. Service, and more particularly the quieter parts, a soft bass is frequently required (though not written) ie/ow C C ; (2) that if the Manual keys are made to end on that note, then the deeper sounds have to be obtained from the Pedal ; and (3) if that department be furnished with a fair proportion of Stops, a sliifting of these with every change from "Full" to " Verse," &c., becomes necessary ; or (4) if there be but one Stop on the Pedal, as is too frequently the case, the choice then lies between a ponderous and heavy bass, and none at all. 898. These objections are founded on. the manner in which CC organs are sometimes made in England, rather than on the Continental system, according to which they should be, and occasionally are, built. It is not a correct conclusion, that if the Manual keys stop at C C, the Manual sounds must also ceasg there ; any more than it would be that the upward range of an organ must cease at f in alt, if the keys do so. In all two Manual instruments of average pretension, the Great organ should have a Double Stopped Diapason (Bordun) throughout. This is; one. of the fundamental laws of the German system of organ-building, and is constantly adhered to in the construction of the average church organs of that country ; and it does not follow that, because the Great Manual of an English CC organ is sometimes made without a Stop of r6-feet size of tone, the inconveniences that must arise from such omission are to be attributed to a principle of organ-building, from whicli it is a departure. Where a Stop of the kind in question is disposed, instead of the downward range of the deep Manual sounds being limited by the termination of the keys at CC, it is increased to the extent of seven semitones- beyond what an old-fashioned GG Manual could produce ; so that, even on the question of " depth of tone," a CC Manual organ on the Continental principle has the decided advantage over a GG Manual organ on the English principle. Furthermore, the concen- tration of so many deep sounds on the Manual obviates the ," necessity " for employing the Pedals so constantly, if the performer cares to dispense with the use of the latter ; and thus the second objection to the CC Manual is, to a great extent, done away with. But even supposing the continued use of the Pedals to be desired, so far from the shifting of the Pedal Stops to obtain a soft bass being a matter of " necessity," some German Pedal organs are made with a windrtrunk valve (Sperventil) to cut off the wind from the Pedal Reeds and Chorus Stops, and worked by a Stop-handle that is shifted as quickly as a. Pedal coupler ; by means of which a soft or' loud Pedal may be obtained with the greatest facility. 89^ Q-ne fact relating to the subject of the deep Manual tones should not here be omitted. While the extra keys below CC are said to be so necessary for soft accompaniments, the Second Manual (Swell), on which the quieter parts would frequently be played, is always made ■ not only without those very keys, but, in tlie great majority of cases, also without the next whole octave above. This important circumstance much weakens the position, as to the "neces- sity" for the Manual keys, descending below CC, to meet the requirements of soft playing. gooi Nay, more ;. when the Second Manual organ (Swell) in GG instruments AND ERECTION OF AN ORGAN. 217 IS made to the short Tenor c compass, it is usual to arrange the keys beyond to act either on the Great organ, or on the " Pedal pipes." Now, in the former case, a shiftmg of the Great Organ Stops must be made with every change from forte to piano, and back again ; in the latter, there will be the strong and unseasonable bass ; so that the second and third objections, if they are such, exist, to at least an equal extent, in organs of long compass, and are not by any means peculiar to those of shorter range. 901. The CC is the only Manual range now accepted on the Continent. In Germany, Holland, Belgium, the Netherlands, Switzerland, France, America, &c., no organ is ever made to any other compass. The celebrated orgaijs at Haerlam' Freiburg, Frankfort, Hamburgh, Rotterdam, Dresden, St. Denis, Boston, U.S., &c.', are all CC Manual organs.* 902. Among the 300 or 400 English organs that have been either built or remodelled comfortably with this range, may be mentioned the Dome organ in St. Paul's Cathedral ; the organs at Christ Church, Newgate Street ; St. Paul's, Knightsbridge ; St. Peter's and St. Michael's Cornhill ; Temple Church ; St.' James's Piccadily ; All Saints', Margaret Street ; St. Andrew's, Wells Street ; and St. Giles's, Camberwell, &c. Also those in the Birmingham, Leeds, Newcastle, Brighton, Glasgow, Edinburgh, and Dundee Town Halls ; the Collegiate Institu- tion, Liverpool; the Parish Churches at Doncaster, Leeds, Newark, Ashton- under-Lyne ; &c. Muchroom, andagreat ^03. The CC compass for a Manual organ, at the same time expenditure of funds re- ^.i ^ -^ ••..._• r ^ . 1 , quired to extend the *"^'- '*• '^ l*^''^ satisfactory as to completeness and convenience, compass of a Manual is far less costly than one of longer range ; not that cheapness organ below CC. ought to be made a consideration in any case, where the object is to be -devoted to the Service of the Church, and where the question should not be " what wiU do," but what is best. Still, it does so happen that a given number of Stops to CC will cost very considerably less than when extended down to GG, or lower ; and the money and space saved by observing the distinction between what is essential and what is not, are of vital importance where funds and room are objects (and where are they not ?), since they can then be devoted to the proper proportionate development of other departments which are too often straitened, or altogether excluded, in order to allow of the lengthening out of a Manual organ. 904. Some idea may be foimed of the extra cost of a long octave Manual organ, from the increase that is made in the price of one Stop alone by this down- ward elongation. The charge for an Open Diapason to CC is about eighteen pounds. The cost of the Same Stop, if extended to G G, will be increased to nearly thirty pounds ; if the F F F and F F F sharp be added, its price will be about forty pounds ; and if its compass be, further extended down to CCC or i6-feet pipe, and a good quality of metal be preserved throughout, its cost will not fall far short of seventy pounds. From these few facts, it will easily be seen that a hundred pounds may be soon expended in extending the Stops of even a single * It is worth the mentioning, that the Manuals of Spanish and Italian organs sometimes descend below C C. Those of the new organ at the Cathedral at Seville go down to A A ; those of the two organs at Milan Cathedral descend to F F F ; those of the chief organ at St. Peter's at Rome range to CCC, short octaves ; while those of the organ at St. Ales- sandro at Milan are of C C C range, and of complete compass. (See accounts of these organi in the Appendix.) 2l8 SUGGESTIONS FOR THE CONSTRUCTION Manual, and this too, without extending its resources as a Manual organ, in any shape or way. The true method of in- goj. For an illustration of this latter fact, try two Manual creasing the resources ^ g t, jj^e Same builder, furnished with Stops similar in of a Manual organ. => ^ , , , r ., e i in every respect only that the compass of those of the one shall stop at CC, while those of the other shall extend to G G, or anywhere else. If this "»■ br any other chord be struck in pure four-part harmony, first on one of those Manuals, and then on the other, the sound will be found to be precisely the same in each case, both as regards quantity as well as quality ; in other words the tone of the GG Manual organ will possess no advantage over that of the CC one. The reason of this is obvious. Increasing the compass of a Manual, and increasing its resources as to tone and variety, are two widely different things, and they are worked out by totally opposite processes. The former end is attained by keeping to the same Stops, and augmenting then range ; which is like adding a fifth or sixth string to the stringed instruments in a band, with the view to increas- ing their efficiency. The latter is effected by preserving the original compass (that compass being a full and complete one), and engrafting thereon other Stops that emit sounds differing in pitch, or quality, or both, from those produced by the original ones ; a course which is equivalent to increasing the number and variety of instruments as the means of augmenting the resources of an orchestra. As the capabilities of a band would be amplified, — both in regard to its power of varied combination in the detail, and its grandeur of tone in the aggregate — by increasing the number of distinct instruments, so are the analogous powers of the organ correspondingly augmented by increasing the number of distinct Stops ; and they are increased only by this principle of development. A Manual can but be com- plete, let its compass be extended below C C as far as it may ; even as a violin could be no more, were the number of its strings to be doubled, or even trebled. Supposing such an experiment to be tried with a violin, music for that instrument would have to be altered, before any use could be made of the additions as violi?i features. In like manner all church music has to be altered, before any use can be made of the keys below C C as Manual features. How it may be ascer- go6. The bcst proofs of there being no legitimate use for the kiys''are''"ss"ndiri^ ^°"S octaves with the hand, are to be gathered from the devia- not as Manual ones. tions which it is necessary to make from the musical text, in order so to employ them. The keys acting upon these addi- tional tones and semitones are placed, as a matter of course, beyond the C C key ; and, as the Manual part of all descriptions of church music alike only extends to that note (as has been already shown), they are not available as above, so long as a composer's notation is adhered to. To make use of the extra notes with the hand, the hand must be transferred an octave lower than the music directs ; and single notes, octaves, or even full chords played down there : the Tenor part of the composition, meanwhile, being either entirely abandoned, or thrown an octave higher ; the consequence being in either case a material departure from the musical text, and a most undesirable transposition of the parts. AND ERECTION OF AN ORGAN. ;i9 907. Speaking of the superior effect that divided haimony produces upon the organ, over close harmony, Forkel says, " by this means, a chorus, as it « ere, of four or five vocal parts, ui their whole natural compass, is transferred to the organ. Let the following chords, in divided harmony, be tried : J — \ u i=^- w_ and then compare how the following, ( i=d=i a more common w ay e^^i of rendering the same sounds inxomparison ; and it will be evident what injury must accrue to the effect, from playing a whole piece in such a manner. In the former manner Bach always played tlie organ." (Life of Bach, Boosey's edition, page 33-) 90S. Taking all the foregoing circumstances into consideration, it seems clear that the " long octaves " do not possess any real ad^■antages as Manual adjuncts, to compensate for their enormous cost. And it is as indisputable that their appli- cation to certain departments — say the Chief Manual, or Great organ — is often the means of excluding many of those which are so from others ; of reducing the number and amount of their contents ; or even of necessitating their entire omission ; by absorbing for their construction a sum from the gross amount which would be sufiicient to secure the amelioration of one, if not more, of the above material blemishes. A few general illustrations may be given of these last-mentioned facts. To advance more specific ones would be inconsistent ^^ ith the object of the present work. The ameliorations that gog. If the general arrangements of a modern ;^4oo or £,yx) might be effected on a ^ ^ ^ ^^ examined, they will in tlie majority of cases be given specification, by *=* ' •' ^ •* regulating the outlay found tO be aS foUowS : other,vise than in the Compass of Great Organ, GG to P in alt, with construction of unes- ^ o j j sential Manual notes. G G shaxp 59 nOtCS. Compass of Swell organ. Tenor c to f^ in alt . 42 notes. The Swell Manual continued down to GG, and made to act either on the Bass of the Gr«at organ, or on the Pedal pipes at pleasure. Compass of Pedal-board, G G to tenor c iS notes. Compass of Pedal pipes, from CCC to CC 13 pipes. 910. From these particulars we perceive that, while the Chief Manual or Great orfan is carried half an octave lower than C C at a considerable cost, the second IManual organ (Swell) is discontinued a whole octave above that note ; the funds then not admitting of the latter department being made complete ; and tlie Pedal organ consists of "half" a Stop, and that sounding an octave out of pitch. Now 220 SUGGESTIONS FOR THK CONSTRUCTION it need scarcely be urged that the only particular in which the two Manual organs ought to differ from each other, are the number of Stops, or their strength of tone, and not in the compass, which should be the same in either case : for what is required for " soft accompaniments," is a Manual with Stops of a subdued tone, and not without any bass to it. In fact, the longer compass has sometimes been declared to be more specially needed for soft accompaniments. 911. The old organ-builders, although compelled to make instruments to all kinds of compass, and thus to give an air of vacillation to some of their arrange- ments, but for which they must not be held responsible, and, for reasons already shown, were yet fully sensible of the propriety of making both Manual organs to consist of the same number of keys ; unless indeed, as was sometimes the case, particularly in their very small instruments, one was only designed as a Solo or Echo organ, and not calculated for use in choral accompaniments. A few remark- able exceptions only to this rule are known to exist. In the generality of instru- ments built during the latter part of the seventeenth century, throughout the eighteenth, and even at the commencement of the present, we constantly find the Second Manual (Choir) of equal range with the First or Great. 912. No doubt, the Second Manual organ is, in the present day, sometimes made shorter than the requisite compass, through lack of funds ; and when such imperfectness is really the work of necessity, nothing can be said against it. That, however, is a separate question. When there are funds sufficient to pay for a G G Great organ and a Tenor c Swell, there must be sufficient also to procure a Second Manual organ of nearly, if not quite, perfect compass, if the expenditure be so directed ; so that the above plea is not admissible under such circumstances, since the lessened range of that department can then no longer be attributed to the smallness of the grant, but to the mode of its outlay. ' 913. The Swell being thus limited in its compass, some substitute is usually devised to supply the place of the omitted octave. The most usual expedients are to extend the second Manual downwards to the same range as the first or Great organ, and make the continuation keys communicate either with the Pedal pipes or with the Bass keys of the Great organ. It is only necessary, how- ever, to advert to the derivation of the terms Manual and Pedal (" manus," a hand, and " pes," the foot) ; when the inaccuracy of bringing on to a Manual certain pipes designed exclusively for the use of the feet, and distinctly desig- nated " Pedal " pipes, will become apparent. Besides, the Pedal pipes are the most ponderous-toned pipes in an organ ; and therefore, as a Bass to the Manual designed for soft accompaniments, are singularly inappropriate. Again, in many examples where there are " Double " Pedal pipes, instead of there being an interval of a semitone only between the unison sound of the last key acting on the Swell and the first one on the Pedal pipes, the two sounds are separated by an interval of a minor ninth ; so that not only is the sound of the borrowed Bass opposed to its newly applied purpose, in the several respects of character, strength, and quality of tone, but in pitch it is of " 16 feet :" whereas,' for the Manual, the 8-feet pitch is most required. 914. Neither does the Bass octave of the loud or Great organ form a satis- factory continuatioii to the soft or , Swell organ ; for the reason that, if the same combination be drawn on both Manuals, the strength of the Bass (Great organ) will be too strong to match well with the remainder (Swell) ; or if, to obviate this, fewer Stops be drawn on the Great organ, there will exist but slight affinity between the tone-character of the Bass and the other parts. As before observed, if such arrangements as these arise from unavoidable causes, it is one matter ; but if they are purely voluntary, as they must of AND ERECTION OF AN ORGAN. 221 necessity be when they appear in conjunction with a GG Great organ, it is quite another. 915. The next point to be illustrated is the extent to which "long octaves" limit the Specification of the different departments of an organ. 916. A good average specimen of a GG Great organ contains the following 10 Stops ; viz. : — I. Open Diapason. 6. Fifteenth. 2. Open Diapason. 7. Sesqui-altera- -III. ranks 3. Stopped Diapason. 8. Mixture 11. ranks 4. Principal. 9. Trumpet. 5. Twelfth. 10. Clarion. 917. By confining the above lo-Stop Great organ to the CC compass, in- stead of extending it down to G G, the sum so saved would nearly, if not quite, defray the cost of the following Stops ; viz. : — 2. Open Diapason . . 3. Open Diapason . . 4. Stopped Diapason . 5. Dulciana to Tenor c 6. Stopped Fifth . . . 7. Principal .... 8. Flute 6 feet tone. 9- Twelfth . . . 2| feet. 8 feet. 10. Fifteenth . . . 2 feet. 8 feet. II. Piccolo . . . 2 feet. 8 feet tone. 12. Sesqui-altera . IV ranks. 8 feet. 13- Mixture . . .Ill ranks. Si feet tone. 14. Trumpet . . . 8 feet. 4 feet. IS- Clarion . . . 4 feet. 4 feet. That is to say, the number of pipes to most of the keys could be increased from 13 to 20; the range of deep sounds extended downwards to the extent of seven semitones ; and the capabilities of the department for varied combination nearly doubled. 918. Or, supposing the sum saved were expended on the improvement of an originally contemplated Tenor c Swell, containing the following six Stops ; viz. : — 1. Double Stopped Diapason. 2. Open Diapason. 3. Stopped Diapason. 4. Principal. 5. Trumpet. 6. Hautboy. 919. Not only could its Specification be made to take the following im- proved form: — 1. Double Stopped Diapason 16 feet tone. 5- Fifteenth 2. Open Diapason .... 8 feet. 6. Mixture . 3. Stopped Diapason ... 8 feet tone. 7. Trumpet 4. Principal 4 feet. 8. Hautboy . 2 feet. .Ill ranks. . 8 feet. . 8 feet. but its compass could be extended downwards to at least Gamut G. That is to say, besides increasing the number of pipes to each key from 6 to 10, about half of the 8-feet octave could be added to the Swell Manual organ, which would be far more useful than half of the i6-feet octave to the Great Manual organ. 920. Or again, if the amount saved as above were to be laid out in getting T-id of the ordinary "Pedal pipes" of a single octave only in compass— in which the Unison and Double pitches are so strangely mixed together— and 222 SUGGESTIONS FOR THE CONSTRUCTION providing something more intelligible in their stead, the following Stops could be secured : — PEDAL ORGAN, COMPASS C C C TO TENOR D. 1. Open Diapason . . . wood . . . i6 feet. 2. Stopped Diapason . . wood . . . i6 feet tone. 3. Trombone wood ... 16 feet. 921. The questions that here suggest themselves are, first, whether the prin- ciple of organ-construction that necessitates the confusing of the Manual organ with the Pedal organ, and the Pedal organ with the Manual — making the one too long and the other too short — each rendered dependent on the other, while neither of thein are in themselves complete, nor even capable of forming a satisfactory whole when united, — whether such a system should be perpetuated, in preference to the other principle which has for its foundation the require- ments expected of each department, and which, from its well-tested merits, has become the standard principle of nearly all other countries. 922. Or, secondly, if either of the three modifications just suggested on the original Specification were to be followed, whether there would not result a much more satisfactory instrument ? 923. It should be remarked that the shortest and least expensive of the various long octave Manual organs was selected wherewith to draw the fore- going parallel Specifications. Had a longer compass been chosen, a still more surprising difference would have resulted ; which would also have been the case even with the same compass, had two Manual organs been taken into account instead of one ; or even one Manual organ, but having more Stops. Other views in favour 924. There are Other grounds yet to be noticed, on which of GG Manuals, and jj^g ^gsire for the perpetuation of elongated Manuals is against CC, considered. ^ -, , founded. 925. It is urged — (i) that the introduction of the extra keys offers scope for the production of many fine effects ; (2) that their presence is absolutely essential, to serve as pedal tones ; and (3) that shortening the compass is going backwards instead of forwards. 926. That sounds below C C on the Manual are of the greatest use, and capable of most impressive results, has already been admitted, and is indeed self-evident. What is maintained is, that the desirability for their introduction does not call for a lengthening of the key-board. 927. When, for example, such sounds are required, it is very easy to draw the i6-feet Stop alone, when they will be obtained not only to G G, but seven semitones lower. For this method of Rising the organ we have the authority of the greatest organist and organ composer that ever lived. Sebastian Bach not only played, but actually wrote some of his music to be executed with the left hand on a i6-feet Stop only,; by which means he drew from his instrument the practical effect of a C C C Manual, without overturning the theory of organ- building to obtain it. (See the translation of Forkel's Life of Bach, page 86.) 928 No rules, or specific directions, setting forth the manner of using the extra keys of a G G organ with the hand, with fine effect, have ever appeared in print ; and music for the organ, of what kind soever, offers little or no asssist- ance on the subject ; but, on the contrary, generally discountenances them. So that all is left to chance ; —one has to invent a mode of using them, if they are to be touched at all ; — and it is but a natural consequence that the attempts should in different cases be attended with various degrees of success. That the AND ERECTION OF AN ORGAN. 223 Manual keys below C C are seldom made use of with the hands, when they are introduced, is clearly evinced by the comparatively perfect state in which those keys are invariably found, when most of the others are so much worn as to require renewal. 929. But whatever may be the effects attendant on the lengthening of the Manuals, if they be placed in juxtaposition with the decrease sustained in the number of the Stops; the loss of the numerous soft combinations that could have been made with the aid of those Stops for accompanimental purposes ; and the impossibihty of playing the best music even correctly, still less with adequate effect ; it will then be seen what sacrifices must be made to secure the presence of five semitones — the advantages of which, when they are obtained, is very generally questioned. 930. The next position, " that the presence of the extra notes on the Manual is essential, that they may sirve as Pedal tones," offers anything rather than assistance to the principle of organ-construction it is intended to support. The anomaly of attaching to the Mafiual keys, pipes that are expressly adapted for the feet, has already been pointed out. The above plea is in favour of placing certain keys and tones on the Manual which are conceded to be chiefly for the use of the Pedals. This creates a fresh discrepancy, and one that assumes a more prominent form, when it is considered for what purpose the extra tones are said to be intro- duced, and how far it is possible they can effect the end desired. If the Manual Unison Stops are required to serve as substitutes for the Pedal Diapason, they should descend as far as those Diapasons, namely to C C C ; if as Octave Stops, only to C C. The G G range is 7 semitones too short for the one purpose, and 5 too long for the other ; therefore the peculiar unfitness of the notes in question, from B B to G G, for rendering the assistance sought, in a correct and intelligible manner, becomes obvious. 931. In suggesting the adoption of the C C compass for the Manual, it must not be concluded that the notes below C C are not required anywhere, but simply that they are not required on that Clavier as Manual notes. This leads to the third objection, that " shortening the compass is going backwards instead of forwards." This appears, at first, to be a well-grounded objection ; yet, in reality, it admits of a ready reply. The great question is not which is the longest, but which is the most correct, complete, convenient compact, and economical compass. These questions have already been once considered, but they may be, further illustrated by a return to our former parallel. Supposing a fifth and sixth strings to have been added to a violin, and, no legitimate use being found for them, they were taken off again ; the violin would not, on that account, become a less perfect instrument ; — there would be no " going backwards." Or, to draw the parallel more closely, if, to supply the two extra strings for the viohn, two had been abstracted from the violoncello ; and it was afterwards desired that both should be rendered efficient ; there could be no question as to the propriety of reducing the former and increasing the latter to the proper and precise dimensions. This latter comparison is the more exact one to draw ; for the essential lowest octave of the Swell, or the equally essential upper octave of the Pedal organ have been but too often omitted, where the one or the other might have been introduced but for the unessential notes from BB to GG on the Great organ. It is believed there could be but one opinion as to the roost correct course to pursue in regard to the stringed instruments ; and it would seem surprising there should be a second one against an equally consistent proportioning of the different departments of an organ. 932. It may be mentioned, by the way, that although the " Viols" of former times had six strings, and the modern violins had but four, yet the latter have 224 SUGGESTIONS FOR THE CONSTRUCTION always ranked as the more perfect instruments ; while the advancement in the composition of music for string instruments, as well as of the playing on them, date from the time of the general adoption of the instrument \\z.ym^ fewer strings. The parallel holds good, in every respect, in regard to organs and organ-playing in England. 933. The advocates for the long and for the short Manuals appear to be agreed on one very important point, namely, that the i6-feet range is the most correct one for as many of the organ Stops as possible ; the point of difference between them being as to where the large pipes should be planted, whether on the Manuals or on the Pedal. 934. In Germany, also, the C C C or i6-feet range is viewed as the most correct one for the organ Stops, even more generally so than in England, but not for the organ Manuals. The Pedal is justly considered as the only proper place for their Bass. This is conclusively shown in German Specifications, where may frequently be seen disposed to a " Principal 8 feet" on the Manual, a " PrincipaWrtj-j 16 feet" on the Pedal ; — to the " Octave 4 feet " on the Manual, an " Octave-i5aj-j 8 feet " on the Pedal;— to the " Flote 4 feet" on the Manual, a " Y\o\.t-bass 8 feet" on the Pedal ; — to a " Quint 5 J feet " on the Manual, a " (^\xmX.e.xi-bass of 10^ feet " on the Pedal ; — and so on. A reference to the German Specifications in the Appendix — taken either from German organ-books, or copied from the Stop-labels themselves — will fully illustrate this fact. How theCC Manual 935. The question here suggests itself how the CC com- celded.' ™' '''" "" P^^^ ®^^'' '^^"''^ '° ^'^ exceeded. The Manual range of the organs built immediately after the Restoration, generally con- sisted of four octaves, from CC to c^ in alt. (See Dr. Burney's article on the organ before referred to.) The Double Diapason at that time was scarcely known in this country, and was certainly not appreciated ; the Pedal organ was entirely unknown ; so that the English instruments of the date in question lacked those deep and sonorous tones which render an organ so peculiarly well adapted to its place in the Church, and so superior to all other instru- ments for religious purposes. In proceeding to supply the existing deficiencies, without regarding either of the two systematic courses that were open for adoption, the third and only remaining mode of doing so was by extending the Manual downwards. Two notes were therefore added ; one, sounding A A, placed on the C C sharp key ; and the other, giving G G, on an additional key placed next beyond the C C one. A Manual of this kind is now called a "short octave" Manual; to distinguish it from the still longer ones that are to be met with. The result of this experiment being favourable as to the effect, the intermediate semitones from C C to G G were applied (excepting perhaps the G G sharp) ; and thus the G G long octave Manual organ was formed. Further extensions were subsequently made ; first to F F F, then two C C C. It is now, however, admitted by the great majority of English organists, that these added keys do not so properly belong to the Manual as to the Pedal ; and that no sufficient grounds exist for introducing them as adjuncts to the former-mentioned departments in new work. It is not considered a sufficient reason for so doing, that the Manuals were made to G G in our fathers' time. Besides, if the key at which the Manual ought to stop is still to be passed— if the rules which should keep its compass within proper bounds are to be disregarded,— there then exists nothing to prevent the introduction of a G G G or even a C C C C Manual, if individual taste should desire it. Such an extension would be but carrying out, to the extent of a second octave, the AND ERECTION OF AX ORGAN. 225 elongating principle, which many would advocate to the extent of one octave, and which, moreover, would be equally justifiable on the same ground of individual fancy. 936. That the CC is the only true Manual compass, would not then seem to be so much a matter of indi^'iduaI opinion (as must be the supposition on behalf of any other), as a self-maniiesting feet — all church music clearly showing it to be so. That it is also the only one that fecflitates the perfecting of the range and proportionate development of the other departments, by a\t>iding an undue outlay on the Chief Manual organ, is also beyond a doubt. Under all these circumstances, independently of others about to be mentioned, the CC compass is the only one that can be su^ested with confidence for adoption as the best for the Manuals of new organs. The Gaofbsiiiii k the 937. But there is a disadvantage in lengthening out the b^ih^^^Sd^"^ Manual Stops that has not as yet been hinted at ; and one, moreo\-er, that seems to be always overlooked by the pro- moters of long Manuals ; namely, the confiision into which such elongation throws the question of the standard length and the Uteral pitch of the Stops. It must have been observed, that in much organ music, to save specifying any particular Stop that the instrument might or might not contain, the direction given is often simply an open one ; a^ for instance, " one 8-feet Stop ;" meaning, of course, thereby, a Unison Stop. Now, by extending the compass of the Stops downwards, their size is altered ; and so great is the confusion caused in conse- quence, that many of the lengthened Stops on a G G, F F F, or C C C organ are made to assume a size identical with that of certain other Stops, correctly ranged, to which they are quite opposed, either in nature and method of usage, or both : and which ambiguity is eminently calculated to throw those who are desirous of identifying the size and pitch with the use of the Stops, into the greatest doubt and poplexity. For example — an Open Diapason would be of 8-feet length on a C C Manual On a F F F Manual, the QuitU would be the Stop of that size ; and on one of die C C C compass the Principal. 11, therefore, an 8-feet Stop were leaDy to be drawn as directed, it would in the first case produce the right effect, but in the second would sound the music a fifth higher than written ; and in the third, the octave above. Again, in the instance of a G G organ, the Diapason and Principal (io| and 5 j- feet), which should be fireely available for the majority of combinations, and undostood to be so, are, from their altered size, made to be identical in measurement with the Quints of better-arranged organs ; while the Ttpeiflh and Lar^ot of a F F F organ (4. and z feet), which require to be used with much care, are by the same process made to correspond in size with the Principal and FifteenJk of a C C organ, which are scarcely at all restricted in their use. In feet, the size of the Unison, Octave, and Mutation Stops are mixed, crossed, and inextricaWy confused together. 938. But it mi^it be suggested, if the confiision of lengths could somehow be got over (which of course it cannot), and the Manuals were to be extended down to C C C, whether then there would not result a satisfectory substitute for a proper Pedal organ ; and one moreover that would ofier great conveniences for the pur- pose of dnet-pla>~ing. In one sense it would ; but at the same time new difBculties would be created. What is required of an efficient Pedal organ is not simply a Bass to the Great Manual Slope, neither more nor less ; but a Pedal Bass to as many of the leading Stops of ali the Manuals as drcDmstances wiD permit ; with the addition of such odiers as will stamp that department with a character of individuality. AH these ends can never be attained by extending the compass cf the Great organ even to C C C CC 226 DIRECTIONS FOR THE CONSTRUCTION, ETC., OF AN ORGAN. 939. And with respect to the conveniences for duet-playing, a principle of organ-building that takes two performers to produce the effect that one could manage under proper circumstances, can scarcely be said to be an advantageous one. 940. Again, if the Manual Unison Stops be increased to the 16-feet size, the Doubles will become 32; and 32 being then the Unison size for the Pedal, the Doubles will be 64 feet in length. The full development of a long Manual organ would demand the introduction of pipes nearly the height and bulk of factory chimneys, which would be destitute of definite tone when made. 941. In suggesting the adoption of the C C compass for the Manual, it will not of course be supposed that discontinuing the Manuals at that key will, alone and of itself, render an organ a better and more perfect instrument. It is nothing more than one necessary step towards a successful issue — a means to one end. Two of the most prominent faults of the long Manual systems are — they allot too much to certain Manuals, and too little to the Pedal ; both of which faults require correcting. But if the 16-feet octave, or even a portion of it, be omitted from the Manual, and nothing be added to the Pedal by way of compensation, then the organ is left practically less efficient than it was before, in spite of the theoretical corrections. This is because the " Bass " of the Stops, instead of being simply transferred from the Manual to the Pedal, is omitted altogether ; giving strong ground to justify the opinion of the pro- moters of the long Manual systems, that " shortening the Manual compass is going backwards." The minimum, number of " Pedal Basses " which a C C organ should have, is one third as many as there are Stops in the Great organ. The maximum number is one third as many Pedal Basses as there are Stops in the entire Manual organs. Below the former proportion the Pedal Stops are never reduced in Continental organs of pretension, (See Foreign Specifications, in the Appendix ; also the works of Topfer, Kiitzing, Seidel, Schlimbach, &c.) These observations, however, are not intended to qualify in the slightest manner the ample proofs already adduced of the great superiority of the C C organ, when consistently carried out. As compared with it, the inferior and patchy Pedal effect of the G G organ is only equalled by a second unsuccessful imita- tion, also peculiar to long Manual organs, namely, that of mimicking the effect of a 16-feet Stop, by coupling the Choir organ to the Great in the octave below. Such expedients in co-existing organs that have only been partially remodelled, are innocent enough, but they offer no satisfactory precedents for their adoption in new work. The upward range of 942. With regard to the upward range of the Manuals, organ music very seldom ascends beyond c' in alt; while the psalm tunes and chants, of course, do not reach any thing like so high : but, as the pipes to the keys above that c= are small, do not occupy much room, and cost but little, and moreover are very useful in a variety of ways, particularly where there are octave couplers, the Manuals are generally con- tinued up to g', a^, or even to c* in altissimo. This latter range is in some respects desirable for concert-room organs. OF THE PEDALS AND PEDAL ORGAN. 227 CHAPTER XXXII. OF THE PEDALS AND PEDAL ORGAN ; THEIR INTRODUCTION INTO ENGLAND ; AND CORRECT COMPASS. 943. Among the most important additions and improvements that have been made to the organ in modern times in England, are to be classed the , introduction of Pedals, and the establishment and subsequent development of the Pedal organ. These features, the importance and utility of which have for centuries been appre- ciated so justly on the Continent that a place has been assigned to them in every mstrument of even moderate pretensions, are even now only just beginning to be adequately valued in this country. Yet, as Forkel observes, in his Life of Bach, page 99, " the Pedal is an essential part of the organ : by this alone it is exalted above all other instruments ; for its magnificence, grandeur, and majesty depend upon it. Without the Pedal, this great instrument is no longer great : it approaches those little organs called in Germany Positivs, which are of no value in the eyes of competent judges. 944. A few particulars concerning the date, compass, and number of Stops found in some early Continental Pedal organs may be of use, as showing at how early a date an independent Pedal was appreciated abroad— r NAME OF PLACE. DATE. NUMBER OF STOPS. COMPASS. ''°' '" ''°''EIGN SPJiCIFICATIONS. Amiens Cathedral . . . 1429 . 7 ^ , Constance Cathedral . . 1518 . 8 CCC to Gamut G . . 115 Freiburg in Breisgau . . 1320 . 4 C C C to C C . . . , 37 St. Peter's, Hamburgh, l „ .,,.., earlier than . . . .j'^*^ " 13, mcludmg 2 of 32 feet 65 Rou™ 1630 . 8 CCC to Tenor c . . 17 Lucerne Cathedral . . 1651 . { "'^^4 f^f f e'felf "r^'.' } C C C to Tenor c, short ,14 St. Nicholas, Hamburgh 1686 . 16, including 2 of 32 feet 68 945. It is not a little remarkable that Smith and Harris, — the former of whom studed his art in Germany, and the latter in France,^-should never have made a Pedal organ, or even Pedals, in England. What the cause of this striking omission could have been, cannot now be positively ascertained ; but we know that nearly every other real improvement in the organ met with the greatest opposition, — as the introduction of Doubles, the establishment of equal temperament, the restora- tion of the C C compass, &c., — and probably the idea of introducing Pedals met with no better reception. Be this as it may. Pedals were not introduced into England till nearly the end of the last century. According to an autograph letter, written by the late Charles Wesley, and now in the possession of Dr. Rimbault, the Savoy organ, by Snetzler, was the first that had a Pedal-board, without, however, any pipes, and which formed part of Snetzler's original work. Another account states the organ in St. Matthew's Church, Friday Street, to have been the first to have Pedals ; and, further, that they were of the two octave C C C in compass, with a complete set of Stopped Diapason Pipes of i6-feet tone attached ; and were made in 1790, under the direction of the late Rev. Mr. Latrobe. A third account is, that the first Pedals made in England were those applied to the organ in Westminster Abbey, by Avery; that they were a ninth in compass, GG to Gamut A, with an octave of unison Open Pedal-pipes attached ; that they were such a novelty and C C 2 228 OF THE PEDALS AND PEDAL ORGAN. curiosity that people used to go from far and near to hear and see them ; and that Dr. Benjamin Cooke, who died in 1793, composed his fine Service in G for the opening of the instrument after receiving those additions. 946. Let which of the above accounts be right that may, one fact is certain, namely, that the range of the Pedal board and Pedal-organ — like that of the Manual and its organ — have in England been subject to great diversification. In seeking to form a governing opinion on this subject, — i.e., of the correct Pedal compass, the only sure course is to consider for what end the Pedal is introduced into the organ ; and to take as a guide the result to which that consideration may direct us. The primary object, then, is to enable the organist to play the Bass part of any church composition with his feet,* so that the necessity may be obviated of his deserting the Tenor and perhaps other inner parts ; to which, it is scarcely necessary to say, his left hand should be chiefly devoted.t 947. In Germany, Holland, &c., where the true principles of organ-construction and organ-playing are more generally understood and appreciated than was the case till lately in England, the question concerning the compass necessary for the Pedal-clavier and organ has long been set at rest ; whereas in this country no attention at all commensurate with the importance of the subject was bestowed upon it, either by organists or organ-builders, until within the last few years ; but the Pedals were generally made to accord with the incorrect G G Manuals. 948. But as music had to be more or less altered and injured to suit such Pedals, a proper spirit of inquiry was awakened ; the contents of the English and German sacred musical storehouses were diligently consulted ; and from those unimpeachable sources a solution was obtained to the problem — "What is the proper compass for the Pedal ?" The result of these examinations was the decision, that, to be competent to their purposes, a Pedal-clavier and organ should possess a range of from 27 to 30 keys and tones, commencing at C C C, and ascending to tenor e, or f. 949. This C C C scale has accordingly been almost uniformly adopted in England during the last few years. Occasionally, however, the old G G, or some other long octave range, has been adhered to, consequently it will not be superfluous to set forth on what substantial grounds it is considered wholly unsuitable to the present advanced state of organ-playing in this country. The insufficiency and gjo. The first disadvantage attendant upon a GG Pedal- Pe'^dlls'^for pLt?cS ^"^'"'^ '^' *^^' ^ ^'^'^ ^^^^S^ proportion of the music written purposes. • expressly for the Church cannot be correctly played thereon. Even many of the little pieces in the instruction books of Rink, Hesse, &c., are beyond their capabilities. In fact. Pedals have descended no lower than G G are precisely in the same imperfect state that a violoncello would be without its fourth string, that is, also descending only to G ; and the straits to which a violoncellist would be reduced by such a curtailment of the proper compass of his instrument, may well be adduced to faithfully illustrate the difficulties which an organist, who desires to play correctly, has to contend with when performing on Pedals so incomplete in their downward range. * Bach " produced with the Pedal, not only the lower notes, or those for which common organists use the little finger of the left hand; but he played a real Bass melody with his feet." — ForkeVs Life of Bach, page 33. f The Tenor was formerly the Canto Fermo, Plain-Song, or principal part in a composition, and derived the name Tenor from the Latin word tmuo, I hold ; because it held or sustained the air, point, substance, or meaning of the whole Cantus ; and every part superadded to it was con- sidered but as its auxiliary. In Tallis's Responses, the Plain-Song is preserved in the Tenor. OF THE PEDALS AND PEDAL ORGAN. 229 The wrong pitch in gci. In such case, even passages which actually lie within which GG Pedals ex- ^, • ' , / . ,, . , , ./, , ecute on the Manual *^"^ compass are not sounded in the right pitch on the Stops such passages as Manual Stops. It is the true nature of a Manual Unison do come within their Stop to produce sounds in exact accordance with the notes "^^"^^^ written ; whether the keys be pressed down with the fingers, or drawn down by the Pedals : but this, usually, is what is not the case on G G organs. For instance, if some simple progression, such as the following, ^' 1" ^ ^ /v ^^ t>s played first on the Manual Unison Stops, and =1= then repeated on the Pedals coupled thereto ; instead of the same sounds being produced we have the following, ^£> fl \ J in fact. we find this singular confusion of " size " and " sound " presented by a G G Open Diapason : while the Stop itself is of io| feet standard length, its pitch will be of 8 feet, if played with the hands, and of 16 if played with the feet. The impossibility of 952. The second disadvantage attendant on a G G Pedal- CC^c'pipi to^'oG bo^'^d consists in the impossibility of satisfactorily attaching Pedals ; and the false thereunto an octave of Pipes having C C C for their lowest pitch in which the Pipes sound. The Pedals do not extend low enough to admit of ^und when they are so ^^^ pjp^^ ^^:^^^ applied to the right keys; hence they are made to act on the only perfect C octave which the Pedals do present, namely, the octave above. But, in applying them in this manner, the pipes undergo transposition, which materially alters their nature. Instead of forming the lowest octave of a 32-feet Stop, they then constitute the upper octave of a 32-feet Stop, and produced a sound two octaves lower than the notation, thus : — , ^: \ J^ ^ sounded ^ ZCH ^ " ^ 953. The incorrect Manuals suggest wrong Pedals ; and the wrong Pedals necessitate a defective application of the " C C C Pedal Pipes." The pipes being attached to the Pedals in the manner just noticed, the remaining half- octave of Pedals {i.e., the five treadles from B B down to G G) are either made to communicate with the same pipes as their octave above, or they are fur- nished with pipes in unison therewith ; the result in either case being virtually the same. A " return " or " repeat " is caused in the series of Pedal sounds, which leads to this singular anomaly, — that the pipe which produces the lowest sound is attached to one of the middle Pedals, while another that gives one of the medimn sounds, is made to act on the lowest Pedals. The false readings 954. The third disadvantage attendant on a GG Pedal- which the CCC Pedal b^ard ariseS from the compulsory attachment of the CCC Pipes create. Pipes to the wrong octave of Pedal keys, and the consequent " return " that takes place on the half-octave of keys below. By this " return 230 OF THE PEDALS AND PEDAL ORGAN. Pedal Pipe system" the two G, G sharp, A, A sharp, and B Pedals are made to produce precisely the same sounds ; so that whether the upper half-octave of Pedals be used ff?; or both together. ^^ /_\. a 1 pj. n ^ /«^" " (PJ. li vri- ^ II "^ —e — u ^u 1 /«>• 1 or the lower, l^- ■^ & s> — ^ no contrast or relief of any kind can be gained. The consequence of this identity in. the sound produced from both ends of the G G Pedal-board, is, that such musical progressions as can be played on the treadles are altered, transposed, and reversed in their sounds, in the most remarkable manner ; often producing effects of the most startling and grotesque description. A few illustrations of this fact will now be given. 955. The first is taken from the well-known Chorus in Handel's Messiah, "And with His stripes." The subject, on its first entry in the bass, stands thus in the score ; — ^ :?== ist =pz: &c. 956. On " Return Pedal Pipes " it is given in the following form :- "^ X 1^ lEt a- &c. the subject being, in a musical sense, destroyed by the "return," marked by an asterisk, and a grammatical error of the worst description introduced. 957. The next illustration is the subject of the concluding Chorus in Mozart's Litany: — fel -^=— ^^f=- ^-i-(^ ^-rP-f^ Ste e-T?=t=t=t &c. -■i=^ !5^ 958. The above — one of the most dignified subjects ever written — is thu altered by the " Return Pedal Pipes " : — ^^s^s^ -S=l- ^=3= qrqr £B="3^zj3^- 959. The reading conveyed of the first five bars of this subject then consists of a tame and meaningless reiteration of a single note. 960. The following few chords exhibit the progress of the harmony in the opening phrase of the introductory symphony to Handel's Coronation Anthem Zadok the Priest: — ^i 5 SEE iite ES &c. =i;g=N=^=F OF THE PEDALS AND PEDAL ORGAN. 231 and the following notes show the very objectionable form the resolution of the seventh in the bass is made to take by the Return Pedal Pipes :— ^^ -or 961. The foregoing selections are from works written for voices and instru- ments. The two following are subjects from strict organ compositions. 962. No. I is taken from Bach's well-known Fugue on the German Chorale, " Wir glauben alP au einen Gott" and which stands thus in the composition itself:— 963. This is given out in the following form on the Return Pedal Pipes :— ^^^^^^% 964. The next is from Mendelssohn's Fugue in C Minor :- ^j^ rrri -^ :??=P =S?= f=^ ^S =Slc= ^ & ^ Stt iztt 965. The Pedal Pipes give the following version of the above :- m. iia ^^ ^ =^^+=i= ^ :1=F -:ir ^t^ 966. It would scarcely be possible to recognise either of the foregoing subjects when played on the Pedal Pipes alone ; for the original order and nature of the intervals from note to note are so frequently altered, that but few vestiges of the original progression remain. 967. Here are two of the simplest subjects that are to be found in the whole range of our standard choral works for the Church : — Opening subject of the Anthem, " I will exalt thee," by Dr. Tye. &c. - ^ As given on a Return Pedal Organ : — i-a* 1^ &c. 232 OF THE PEDALS AND PEDAL ORGAN. Opening subject of the Anthem, "Almighty and everlasting God," fey Orlando Gibbons : — ^ ^ q=4: Subject as given by a Return Pedal Organ : — g§ ^s- IZ2 =? &c. &c. 968. The list of examples of false reading rendered unavoidable by the principle of organ-construction already adverted to, might be increased ad i7ifinitums but this must be needless. The above specimens will be sufficient to show how defective is the GG Pedal and "Double Pedal Pipe" system. For concert-room organs it is absolutely worthless. The introduction of 569. But, independently of violating the rules of the ll^hffcfptlfdtop! Grammar of Music when they are being used, the "Double not in accordance with Pedal Pipes," by their introduction as the first Stop on the the laws of Organ- Pedal, involve a departure from the very rudiments of organ- buiiding. building ; one of which is, that the Unison Stops, of each Clavier, as being the most important, shall be first introduced. Others are (i) that the sound of the Unison Stops shall predominate ; and (2) that the first Stops proposed for the Pedal, shall be the Bass to some of the Manual Stops. That it must be impossible for the organ-builder to balance the tone of his instrument properly, if the most important Pedal Stops — the i6-feet— are designed to be excluded, and another— the Z>(7«iJ&— which should be sub- servient, is to be introduced, is self-evident. Moreover, the Specification itself presents great want of unity ar(d clearness of design, when the "Double" is the only Stop proposed for the Pedal, and yet is the Stop that is omitted from perhaps all the Manuals, as is generally "the case with GG organs. 970. It might be urged that the above important omission from the Pedal is very well supplied by coupling the Manuals thereto in such a manner as to obtain a i6-feet from the elongated Stops of those departments, so far as their compass will permit. This, however, is not really the case ; for, instead of the scale of the single Pedal Stop being so deduced from that of the borrowed Unison as to secure the predominance of the tone of the latter, it is generally so much larger, and the power and density of its sound so much greater, that it cannot be reduced into proper proportion, even if the Diapasons of all three Manuals are coupled together and brought to bear against it. 971. In fact, after carefully considering what are the characteristics of a GG organ, with Pedals of the same compass and Return Pedal Pipes, and ascertaining its theoretical and practical defects, it scarcely becomes a subject of wonder that such a system (or rather no system) should be considered unworthy of perpetuation in the present day. 972. For, in the first place, it is as necessary to have the bass part of a composition played in an intelligible and correct manner as any other— more particularly as part-singing, and consequently part-playing, is now more often encouraged and appreciated in the English Church than it used to be • and in the next, on an instrument so defective in the main points we' have described, the greater part of the music of the Church can either not be played at all, or without due effect ; as is but too well known to many an organist OF THE PEDALS AND PEDAL ORGAN. 233 whose misfortune it is to have so inconsistently arranged an organ whereon to play. Even the very name " Pedal Pipes," as applied to the single Half- Stop on the Pedal of a GG organ, is devoid of definiteness, and intelligibility. From such a name it cannot be gathered whether a Stop, so called, sounds in unison with the Manual Diapasons, or whether it gives the octave below ; or if it does neither the one or the other in particular, but partly both. Neither can it be discovered whether its pipes are made of wood, or of iiietal, or whether they are Open or Stopped. Then of the Scale ; the C C C pipes will in some instances be scarcely lo inches deep ; while in others it will be 20 inches — that is to say, there will be a greater difference than between the Dulciana and Open Diapason on the Manuals — yet there will be nothing whatever in the name or labelling to announce this difference. All these varieties of pitch, material, scale, and structure, are alike to be met with under the one indefinite term, " Pedal Pipes." The premature intro- 973. Besides the defects above enumerated which they PedirPi °L often"a ''""S ^'* *^™' ^^^ premature introduction of Double Pedal hindrance to the in- Pipes is an injudicious step on other grounds. They are often ^ troduction of more the means of preventing the subsequent introduction of the important Pedal Stops. ^^^^^ important Unison Pedal Stops, on account of the false impression which they convey of the " size " of the instrument of which they form a part. Instances might be cited, where an organist has represented to the authorities the imperfect state of his instrument ; and has been told, in reply, that the organ is " too large " or " too loud " already ; and this too when there has been but half a Swell, no Choir organ, and no Open Diapason, Stopped Diapason, &c. on the Pedal. Nor is such an answer made without some justification, although founded on a serious misconception. Those who have had neither the requisite leisure nor opportunity to make themselves acquainted with the technical details and practical working of an organ, can only speak of the instrument from the effect which it produces on them in the church ; and an octave of' Pedal Pipes (in a small organ), sounding two octaves below the corresponding octave of the bass voice, of a larger scale than those forming any other Stop in the organ, and often supplied with a wind of extra strength, are just the very things to betray one who so forms his judg- ment into a wrong conclusion. Their tone, standing apart (as it must do under su-ch circumstances) from the remainder of the instrument, arrests the attention of the auditor ; who, erroneously taking that as a sample of the sound of all Pedal Stops, feels opposed to the introduction of the latter. It may seem paradoxical to those who are not sufficiently masters of the subject to be aware of its perfect truth, that an organ will possess more adequate means for being played soft, if the one octave of Pedal Pipes be omitted, and some three or four complete Pedal Stops be introduced ; but such is nevertheless the fact. It is constantly the case in accompanying church music, that a soft Pedal Unison Bass (that is, one of i6-feet pitch) is the only appropriate bass, while one of a heavier and deeper tone is quite opposed to the purpose ; yet when, instead of some of these most important Pedal Stops, there are only the " Double Pedal Pipes " at command, the organist has no alternative but either to use those, in spite of their manifest inappropriateness, or none at all ; and with the certain prospect of missing the true effect, do which he may, and perhaps of being held responsible afterwards for the result. What has been here advanced in relation to church organs, applies with even greater force to concert-hall organs. 234 OF THE PEDALS AND PEDAL ORGAN. The arrangements of a ^74, How Strongly do the simple, systematic, and perfect C C organ contrast arrangements of the Pedal of a genuine C C organ contrast favourably with those . , , ,. , ^ , i ■ 1 , ,. -i , r ^1 of GG compass. With the complicated, faulty, and incomplete attributes ot the G G plan — many of the particulars of which have just been detailed ! For instance, on a correctly planned C C organ, the bass part of any piece of church music can be executed on the Pedals in all its integrity, let the instrument be ever so small. In the next place, music that is played thereon, with the Manuals coupled thereto, is not only sounded in the correct pitch, but is also given in octaves, consisting of the actual sounds represented by the notation, with the addition of the octave below, as would be the case in duet- playing on a CCC Manual organ. The most skilful left-hand would fail to play passages in octaves on a long-Manual key-board, which can be executed with ease on a properly arranged CC organ. The Manual Unison Stops (8 feet) give the various progressions as they stand (just as bass voices or violoncellos would), while the Pedal Unison Stops (16 feet) give it as faithfully in the octave below ; that is, in the pitch corresponding with that of the double basses ; — so happily does an artistically planned organ facilitate, and render comparatively easy, the perfect execution of music of the highest and most difficult class. 975. It should be the aim, then, of those to whom is entrusted the task of designing an organ (if it really be desired that the instrument shall . be as applicable and adequate to aU its purposes as circumstances will permit, and be worthy of recognition as a work of art when completed), to eschew all plans that involve the violation of those rules and principles of which every organ- builder and organist is naturally supposed to be an upholder. All attempts to produce an artistic instrument will prove futile, unless the stunted GG Pedal- board and the imperfect and defective 32-feet Stop be given up; and in their lieu, a CCC set of Pedals, and at least one intelligible Stop of i6-feet pitch, be substituted. In organs even of the most diminutive kind, this is quite attainable. A Covered Stop of that size of tone might, in extreme cases, be disposed on the Pedals ; in moderate-sized organs, two or three 16-feet Stops should be introduced. In instruments of larger dimensions, a 32-feet sounding Stop may be added ; and in those of the first magnitude {and in those only), should a 32-feet Open Stop appear. The 32-feet Stop, therefore, is one of the last, instead of the I'ery first, to be proposed. The rules which regulate the admission of these and smaller Pedal Stops, is a subject of separate consideration. 976. It need only be added here, that the CC Manual key should be capable of being united to the CCC Pedal; the Tenor c to the CC Pedal; and the middle c' key to the Tenor c Pedal. The intermediate Manual notes would of course be attached to the respectively positioned Pedals.* Thus would be secured the presence and union of the 8 and 16 feet scales, even in an instru- ment of the most prescribed limits. * In adding C Pedals to a long octave Manual organ, it would be necessary — to prevent the notes below CC from becoming useless — to have /wo Pedal Couplers; one of tlie VArA above recommended, and another to unite the GG Manual Note to the GG Pedal, and so on. In many existing cases, where tliere are CCC Pedals and G G Maniials, the Pedals from C C C to FFF take down the Manual keys from CC to FF, and then the GG Pedal draws down GG on the Manual. This creates a second return. THE SITUATION FOR THE ORGAN. 235 CHAPTER XXXIII. THE SITUATION FOR THE ORGAN. 977. The next subject for consideration — the situation for the organ — is of no less importance to those already discussed ; since on it depends, in a great degree, the best effect of the instrument when finished. So great an influence, indeed, does the position exercise on the power and quality of an organ, that an inferior instrument favourably situated will sound better than a superior one that is unfortunately placed ; and a weak-toned instrument in a good position will sound louder than a fuller-toned one in an unfavourable situation. Acoustical facts to be 978. Before entering upon the enquiry as to which are consulted. good situations and which are not, it may not be unimportant to mention certain facts connected with the production and propagation, the absorbtion and weakening, the interception and reflection, of sound ; as a recol- lection of these will materially assist in illustrating the relative excellence or otherwise of the several sites that will have to be brought under notice. How sound is produced 975. First, then, as to the production and propagation of and propagated. ^^^^ "When bodies are brought into sudden contact," says the author of the volume entitled Tke Art of improving the Voice and Ear, " or a single body is made to vibrate or expand suddenly, it must displace a quantity of the surrounding air. The air which is thus displaced, in its turn displaces that portion of air which is next to it or beyond it on every side, above and below, before and behind, on the right and on the left. This displaced portion of air displaces again what is beyond it, and so on, in a manner similar to the circles of water which arise from throwing a stone into a pond. In the case of sound, however, the waves are not in superficial circles, but in spheres, like the coats of an onion. Sound, then, travelling, as it does, in all directions, this circumstance clearly accounts for the excellent musical effect which an organ produces that occupies a central position in a building ; as, for instance, the choir screen of a cathedral or other large cruciform church. How brief sounds dis- g8o. A sound that is only an instant in duration and not P'"°' continuous, does not spread like a flood of water, pervading every part over which it passes ; but, like a ripple made in a lake, which leaves in repose the part that it has quitted. This may be ascertained by striking a full staccato chord on a cathedral organ that occupies a central position, when the sound will be distinctly perceived retiring from the instrument to the remotest parts of the building, gradually lessening in power, and ultimately dying away. How sustained sounds gSi. A continuous sound, On the contrary, pervades the more completely occupy g^tj^e space through which it has travelled; because fresh ^^'^^' sound-waves are constantly being engendered, which succes- 236 THE SITUATION FOR THE ORGAN, sively occupy the space the preceding ones have left. This is the reason that the first sound of a sustained chord on a cathedral organ is not heard receding. The greater strength of the sound-waves nearer the instrument, from being less spent by divergence, prevents the original sound being heard. On raising the hands, however, from the keys, the sound will again be heard fading away. The distribution of a ggj. A Sound that Is produced in such a situation that sound that car"" travel backwards. soun t at cannot jj. g^jjjjQj. fravel backwards, on account of there being a large reflecting surface to check its progress in that direction, as in the example of an organ placed at the west end of a church, spreads some- what after the manner of the rays of light through the bull's eye of a lantern. It travels forwards and sideways, upwards and downwards, and spreads as it proceeds. It is also reflected forwards by the surface behind ; and derives some accession of strength from being so reflected. Sound, however, being greatly more reflexible than light, it spreads more rapidly, makes its way into recesses, round columns, and passes great walls or corners of buildings, where the solid interpositions would in the example of light, only cast shadows. 983. An illustration of the fact of sound speading as it proceeds may easily be found in a galleried church having the organ at the west end. The tone of the instrument is heard the most completely, not by stationing oneself immediately inside the door, at the side of the organ, leading into one of those appendages ; but by traversing the gallery some httle distance. In a similar manner an illustration of the fact of sound descending as it progresses, is given in the circumstance of an auditor in the nave having to place himself at some distance from the instrument to hear it to the greatest advantage ; and in his having to increase that distance in proportion to the elevation of the organ above the ground. 984. The extent to which the sound of a west-end organ is strengthened, by reflection from the surface behind, does not meet with a familiar illustration in a church that has the instrument so situated ; but in those cathedrals wherein the organ occupies a central position, a good example is presented by the effect of the " Choir organ in front ;" the tone of which sounds strong in the Choir, into which part it is directly reflected by the Great organ case behind ; but which sounds weak outside the choir, on account of the Great organ case standing between the Choir organ and the auditor, and therefore presenting an interposition to the tone travelling in that direction. The extent to which the Great organ case assists the tone of the Choir organ in its forward progress into the Choir, and checks its backward course into the nave, are points that received distinct illustration in St. Paul's Cathedral in the year 1854, on the occasions of the Sunday Morning Service being celebrated in the Choir of the church, and the afternoon under the dome. In the fore-mentioned part of the building, the tone of the Choir organ, as far as the Principal — reflected as above — sounded louder, and afforded more support to the vocal choir, than did the same stops, with the Twelfth and Fifteenth added — impeded as above —when the singers sat outside the choir screen. Another proof, though of a negative kind, of the extent to which a sound is strengthened by reflection', is afforded by the circumstance of its being so much weakened by the removal of the reflecting surface from behind. An illustration of this fact was given at Westminster Abbey, when the Great organ was removed from the centre of .the screen ; which alteration, allowing more of the tone of the Choir organ to travel backwards into the nave, caused it to appear more " faded " in the choir. THE SITUATION FOR THE ORGAN." 237 Sound weakened by 985. As the circular waves on, the surface of a piece of divergence. water become more faint as they proceed and diverge, so sound becomes weaker the farther it travels and the more it disperses. " When- ever," says Dr. Brewer, in his work on the Phenomena of Sound, " sound can diffuse itself freely round its centre of propagation, it loses in intensity what it gains in extent f consequently, a sound that has travelled twice a certain distance, will only be heard with one-fourth its original strength ; the loudness not diminishing inversely as the distance increases, but inversely to the square of that distance. This is the case in the open air ; but in a building — as a church or a concert-room — the walls and roof limit the extent of the divergence of the sound, and so prevent its fading away so rapidly. Moreover, after the sound has struck against them, and is checked by them, it is by them reflected back ; and if the original sound has ceased, the reflected sound forms an echo ; but if it continues, the latter mingles with the former, and enriches and strengthens it. Echo. g86. When the return of the sound is perceptible to the ear, it is termed an echo. A certain time, however, must elapse between the production of the sound and its being reflected, or no echo will be perceived ; and that time must be at least the twelfth part of a second, within which interval the ear is incapable of receiving separate impressions. The distance of the reflecting surface, therefore, must be at least forty-seven feet from the place whence the sound emanates to cause an echo. • Resonance. 987. But the Strength and quality of a musical sound are much increased and improved by the reciprocation of bodies in the more immediate neighbourhood whence the first sound emanates. Thus the vibra- tions of a tuning-fork will, on the tip of the handle of the fork being placed on a table, acquire a marked accession of strength. This augmentation of sound is due to resonance. The sonorous vibrations created by the tuning-fork, set the wood upon which it is placed in a similar state of citation ; the simultaneous vibrations of which being communicated to the superincumbent air, greatly increase the strength of the original sound. The front, back, sound- post, and all the air contained in the body of a double-bass or violin, in like manner contribute to produce the volume of tone elicited from the instrument, by vibrating in unison with the strings and with each other. If only the strings vibrated, the sound would be comparatively insignificant ; but when the entire body of the instrument is set in motion, the impulse is sufficient to produce sounds of considerable power. 988. A sound thus increased and enriched is capable of further augumenta- tion from resonance, if it is produced under circumstances favourable to the extension of that influence. The tone of a double-bass, for instance, is much increased in power by the instrument resting on a hollow platform — as the reciprocating floor of a concert-room orchestra. " The platform receives from the musical intrument a vibratory motion, imparts the same to the air between it and the floor of the building, and the whole combined gives a powerful impulse to the air in the concert-room." (Dr. Brewer, page 277.) 989. These several examples illustrate precisely the effect of resonance on the tone of an organ. The tone of an organ is much improved by the instru- ment being placed on a wooden floor ; and it is still more beneficially affected when that floor is a raised one. The reasons are these. The sound-board acting something after the manner of the belly of a violin ; the frame-work 238 THE SITUATION FOR THE ORGAN. as the sound-post ; and the wooden floor as the back ; all are thrown into a state of greater or less vibration by the sounds, which in this case are produced by pipes and not strings. 990. The vibratory motion of portions of the framework is sometimes perceptible to the touch, even when a single Stop only is being sounded on the sound-board above — as, for instance, the Stopped Diapason ; while that of the floor is frequently felt by the feet, when all the Stops are in full play. 991. The air between the sound-board and the ground is also set in motion, like that in the body of a violin ; and sometimes its tremulousness is sufficiently great to cause the trackers to vibrate in their registers. The tone of a large pipe, again, is much strengthened by standing on a wooden floor, even as that of a double-bass is by resting on the platform of an orchestra. This is one of the reasons why organ-builders place their great Pedal Diapason pipes as near to, if not actually on the floor, whenever this arrangement is practicable. 992. The wooden portions of the case of an organ, again, are frequently of essential service in increasing the resonance. It has sometimes happened, that a pipe that has produced but a weak sound, has, when tried in its situation, and been assisted by the vibrations of the case, produced one of the finest notes in the instrument. 993. When the wooden floor on which an organ stands is a raised one, the platform, together with its supports, and also the free air about the whole, are all thrown into a state of vibration, to the augmentation and improvement of the sound ; and when the heavy-toned Bass pipes are being used, the vibrations of the flooring or platform are sometimes communicated to the wooden fittings' of the church, or even to the very walls of the edifice. 994. Echo and resonance, therefore, each exercise great influence on the tone of an organ. Echo imparts to it that inexpressibly charming, etherial, lingering effect which is so perceptible in cathedrals and other large buildings that are comparatively free from absorbents, after the actual sound has ceased. Many buildings which do not produce a perceptible echo, yet impart a certain buoyant, free effect to musical sounds produced within them, that is highly bene- ficial to the quality of their tone, as well as favourable to their distribution. 995. Resonance is the cause of the agreeable, pleasant, humming effect which is heard to come from within the organ itself In low, broad, galleried buildings, where but little room has been allotted to the organ, and where the contents of the instrument have in consequence been so crowded together as to leave but little free space inside it, the resonance is much decreased : and an effect is frequently per- ceived as though the sound of the organ were struggling to develop and disperse itself, in spite of the impediments with which it is beset. The effect of an instru- ment so constructed and situated is frequently dead and palpable. Instead of the many different sounds which in an organ are concentrated on each key, mingling together, and producing the effect of one excellent whole, every " item" falls on the ear as a distinguishable separate and isolated sound. Impediments to the ggg. The most common impediments to the equal dispersion sound. '*'""'""'°" "^ of the tone of an organ occupying a west gallery, are the lateral galleries. These catch the sound as it spreads, and prevent its descending into and pervading the aisles beneath so effectually as it would other- wise do. Absorbents of sound. 557. The materials and fabrics common in churches, that soften and deaden sound, are wool, cloth, hair, tow, matting, &c. " They shut up THE SITUATION FOR THE ORGAN. 239 a large quantity of air between their minute and detached parts ; so that they cannot readily transmit an impulse." (Dr. Brewer.) Cushions, hassocks, curtains, people's dresses, and matting, therefore are all absorbents of sound. Church arrangements ggS. The exclusion of lateral galleries from modern churches, somd'^ avoura e to ^Qggjjjgj. ^jj-jj their baize linings ; the introduction of low open seats, in place of high closed.pews : the removal of hassocks in favour of kneeling boards ; and the substitution of Minton's tiles for matting up the avenues ; are all favourable steps towards the preservation of the acoustical properties of the building. Ahsorbents sometimes ggg. While the influences of impediments and absorbents introduced to ' " " excessive echo. introduced to subdue ^^.^^ generally speaking, highly detrimental in their effect, there have been instances of the latter being made to serve a bene- ficial purpose; as when the echo in a building has been so great as to render sounds, whether of the voice or of music, confused and indistinct. At the Chapel Royal, Whitehall, the echo was found to be so excessive, a few years ago, after the building was restored, that the clothing of an assembled congregation was insuffi- cient to check the remarkable prolongation of sound ; and crimson cloth was therefore hung, in festoons, round the building, which, not presenting a sufficiently hard surface to throw off all the tone, but, on the contrary, a sufficiently soft one to absorb some of it, produced the desired effect. ^ Velocity of soundi looo. The average rate at which sound travels in atmo- spheric air is 1 1 20 feet in a second of time ; and high and low sounds, soft and loud sounds, all proceed with the same velocity. Thus the tones of the lightest treble voice will reach the extremities of an extensive building as rapidly as those of the heaviest bass voice ; and the sounds of the most delicate Dulciana as quickly as the tone of the most ponderous Posaune. Were it otherwise, the acute and grave tones of voices, and the weak and strong-toned Stops of an organ would be heard confusedly jarring after one another. looi. But for the same reason that the ripple caused by dropping a small pebble gently into a smooth piece of water, will not spread so far as those produced by casting a large stone into it, the sound-waves produced by a soft musical Sound will not extend so far as those excited by a powerful one. Its precise strength depends, in the first instance, on the force of the shock that is imparted to the air ; and which produces sound-waves of correspondingly decided character. The distance to which it will travel depends on the extent to which the sound-waves can spread without nieeting with an obstruction. When there are no impediments, and but few absorbents in their course, the sound not only reaches farther, but mellows as it progresses : when they meet with many obstructions or absorbing circumstances, it not only does not reach so far, but its strength is lessened and its quality impoverished. 1002. The distance to which a sound will travel depends upon its intensity, density, and perhaps gravity. A dense sound will travel farther than an intense one,- as is proved by the fact of the beat of the great drum of a military band, playing in the open air, being distinctly audible at a greater distance than the united sounds of the trombones and ophicleides. Grave sounds also appear to travel farther than acute ones. The Open Pedal Diapasons of an organ may be heard at a greater distance outside a church than the higher organ-sounds ; and the tone of the double-basses in an orchestra may be distinguished sooner than the 240 THE SITUATION FOR THE ORGAN. treble instruments, as you approach a concert-room. The " tenor " of a peal of bells is also frequently heard at a greater distance from a church, or at any rate more distinctly, than the other bells. The apparent strength 1003. The apparent Strength or weakness of a sound will on ATpMitioro^/the depend on the relative position of the sounding body and the auditor, &c. auditor ; that is to say, whether they be near to each other or far apart : and also, to a material extent, whether there be many absorbing substances between them. A sound of a given strength will sound louder at a greater distance, when the intermediate space is comparatively free, than it will at a less distance with impediments interposed; — hence, the fact mentioned at the commencement of this chapter, of the tone of an inferior organ being improved, and of a better one being injured, by its position ; the acoustic capacity of the church ; and the nature of its fittings. If the auditor is stationed below the level of the sounding body, he will hear the sound as it diverges down- wards ; if he is on either side of it, he will hear it as it spreads ; but if he is on the same level with it, and near to it, he will experience its full and direct force, at the same time that his clothing will present an absorbing im- pediment to its free progress ; while on the contrary, if he is stationed at a distance, and other persons intervene, the sound will reach him in a weakened and faded form. 1004. When the amount of absorbing substance in a church is needlessly increased, and the organ occupies a position unfavourable to the equal distri- bution of its tone, the instrument will sometimes sound " too loud " in some parts of the church, at the same time that it will appear " too soft " in others. This inequality of effect, however, is under such circumstances, unavoidable. Penetration of sound. 1005. Sound possesscs the power of penetrating and pass- ing through hard substances ; hence the circumstance of the tone of an organ being heard so plainly outside a church. When an organ is placed in a chamber built out from a church, and is accompanied by other arrangements disadvantageous to the free dispersion of its tone, it will even be heard almost as distinctly outside the building as in it. Another illustration of the pene- tration of sound is presented by the Swell of an organ, the tone of which is heard perfectly well, though in a sweetly subdued form, through the thick wooden box, when the shutters are perfectly closed. 1006. Having noticed such phenomena connected with sound as appeared to be necessary to illustrate our present subject, we may now proceed to consider the various situations occupied by church organs, as well as the merits of each. The west end of a 1007. The most usual position assigned to the organ, in ttn' for the organ.""^' Continental churches, for at least the last three hundred years, has been the west end. Old examples of west- 1 008. A few examples and dates may be cited, illutrative nentalchu"rchi". '^°""' °^ *'^ *'^'='- '^^^ '"'S^"^ '" Amiens Cathedral, which has a i6-feet front, and was completed in 1429, originally stood and still stands at the west end. The -organ in Chartres Cathedral, buih in 1 5 13, was first erected over the great western doorway. In the Cathedral at Constance, in Switzerland, the organ at the west end was originally erected in that situation in the year 15 18, which date appears on the case of the THE SITUATION FOR THE ORGAN. 24I instrument. The organ at the west end of the nave of the Cathedral at Freiburg, in Breisgau, was built in 1520. At Hamburgh, the oldest organ in the town, previous to the conflagration of 1842 — in St. Peter's Church— stood at the west end, and had a 32-feet front. It was not known when or by whom it was originally built ; but the last two Manuals — it had four — were made at Hartzongenbach, in Brabant, by Mister Nargenhof, in 1548, and sent to Hamburgh by sea. . This, M. Pfiffer, the organist to the church, towards the latter part of the last century, informed Dr. Burney was upon record. Again, at Lubeck, in St. Mary's Church, the Great organ, which has lately been rebuilt, but originally made in 15 18, is similarly situated. This instrument is a " hanging " organ, with a 32-feet front of tin ; and the beams which support it are built into and project from the wall behind. 1009. There were three old west end organs standing a few years ago in churches at Liege. That in the Church of St. Denis, which had the Choir organ in front, bore the date of 1589 carved on the case; — the second, in St. Jaques', also with Choir in front, was built in 1600 ; — and the third, in St. Anthony's Church, had the date of 1624 carved and gilt on the case. The merits of the west iqiq. In selecting the west end of the church as the end, as the situation for -^ ^' e ^t. ^r. i - ..• !_-.... the organ, considered. Situation for the Organ, the ecclesiastics, architects, organ- builders, organists, or whomsoever fixed on that position, no doubt gave it the preference for the same reasons which in after times led to the end of a concert-room being generally recognised as the best place for an orchestra ; — namely, because the tone could travel " forwards, sideways, up- wards, and downwards ;" in fact, could be dispersed throughout the building more equally from that situation than from any other. loii. An orchestra, so placed, has the area of the entire length of the room before it ; into which the sound, from the great concourse of instruments, can travel, and, in an united state, fall on the ear of the auditor. In the same manner an organ, similarly situated in a church, has the area of the entire length of the nave and chancel before it ; into which the sound from the several pipes can travel, and, in an united and mellowed form, reach the ear of the clergy and congregation. 1012. The west end afforded sufficient space to admit of the organ being erected on an elevated platform or gallery — as a modern orchestra is elevated above the level of an audience — whereby the resonance was increased, and additional freedom also imparted to the tone. 1013. By elevating the instrument, the full force of its tone passed over, instead of overwhelming those nearest to it, into the open space before it ; whence it was diffused throughout the edifice. A sound is distributed more equally from a raised position in any part of a church, than from a low one ; hence the necessity for a reading-desk, pulpit, and steps to the altar, to elevate the minister so that his voice may travel to the remote parts of the building. 1014. The west end, at the same time that it admitted of the organ being sufficiently elevated, presented facilities for this being done, and yet plenty of space being left between the top of the instrument and the roof of the church ; whereby the tone was still further and beneficially affected. Into this space the numerous pipes poured forth their separate sounds ; which, there meeting and amalgamating, entered the church with united and mel- lowed effect. 1015. Had the organ, however, been placed too near the roof, its tone would ■have been partially " smothered " in effect, and the instrument itself exposed D D 242 THE SITUATION FOR THE ORGAN. to considerable injury from the excessive heat of the sun in summer (which might then often have been conducted into it through the roof), and from the cold and damp in winter. A certain amount of derangement from atmospheric change would at times be unavoidable, as explained in a former chapter ; but such variations would have told with much greater severity, had the organ been placed close to the roof; where, in addition to its pipe-work being more frequently thrown out of tune by the excessive alterations of temperature, the mechanism would, by its exceeding dryness at some seasons, and dampness at others, have been rendered more subject to sticking, swelling, warping, ciphering, and many other evils of a like kind, with which casualties subsequent organ- builders were compelled to become famihar, when they had to erect instru- ments in " second galleries." 1016. The west end, again, generally admitted of more space being devoted to the organ, which obviated the necessity for crowding the mechanism and the pipe-work. 1017. When an organ-builder is " cramped for room," the mechanism has often to be crammed so closely together, that, on the occurrence of some trifling fault, much additional derangement must be caused before the seat of the original faiUng can be arrived at. And the same with the Pipe-work ; but with the additional disadvantage, that, when the Pipes are " packed too closely together," there will sometimes arise a beating or a jarring, or a weakness or unsteadiness of speech in some of the Pipes that will defy correction. 1018. Another very important object attained by placing the organ at the west end of the church, was this. An efficient organ was necessarily also a large one ; and the larger the organ, the greater probability of its becoming an eyesore. By erecting it, however, at the west end, it would not be within sight of, but at the back of the congregation ; and would only be visible to its members on their turning to leave the church. 1 01 9. The reasons, musical, acoustical, and structural, in favour of the west end, as an eligible situation for the organ, therefore, were very great. An architectural ob- I020. Architecturally considered, however, it was frequently jection to the organ ^^^^ ^^ ^^^ ^^^ objection. Most churches had a west end"''^"^ window ; generally one of the most handsome in the building ; to hide which would have been a serious sacriiice. Many organs were therefore made, so as still to occupy the west end for the sake of the musical effect ; but so that the architectural feature should not be hidden, nor the light through it excluded from the church. Several instruments so constructed are mentioned by Dr. Burney, in his tour through Germany and Italy, the particulars of which are here extracted. Examples of divided I02I. " In the town of Courtray, the organ, at the col- west-end organs in ] j^jg Church of Notrc Dame, is disposed of in a very Continental churches. .° ..,,.' „ , , smgular manner ; it is placed in a gallery at the west end of the building ; but, in order to preserve the window, which was necessary to light the body of the church, the organ is divided in two parts, one of which is fixed on one side of the window, and one on the other ; the bellows run under the window, and communicate with both parts of the instrument, which is a large one of sixteen feet, with Pedals, and seems to have been but lately erected (1772). The keys are in the middle, under the window; but not to be seen below." 1022. '* The organ at the Dominicans Church, at Frankfort, has an arch THE SITUATION FOR THE ORGAN. 243 cut through it, to let the light into the church from the west window ; it is in a handsotne case, the ornaments over the arch are in good taste, and the side columns are well disposed. The keys are on the right hand side of the instruments, over which there is a small front ; the compass is from C to C, the pedals have an octave below double C." 1023. " In the Cathedral at Passau, which is a very beautiful modern build- ing, of the Corinthian order, there is a very magnificent organ, to look at. The case is finely carved and gilt, and the pipes are highly polished : it is divided into two columns of large pipes, one on each side, and has a complete little organ in the middle, which joins them together, and saves the west window : it is what builders call a 32-feet organ. The front pipes are of bur- nished tin." 1024. St. Michael's Church, Vienna. " This instrument has no front ; the great pipes are placed, in an elegant manner, on each side of the gallery ; and there is a box only in the middle, of about 4 feet square, for the keys and Stops ; — so that the west window is left quite open. The compass of the organ, in the Manuals, extends only from double E * in the bass, to C in alt ; but the pedals of most German organs have an octave lower -than the lowest note of the keys that are played by the hands, which is the case with this instrument. It has forty Stops, and three sets of keys, which, by a spring of communication, can be played all together." 1025. Prague. The organ in the Church of St. Nicholas " is divided into two parts, placed one on each side the gallery ; and the keys, with a positif, or small Choir organ, are in the middle, but placed so low as to leave the west window clear : instead of wood, the framework, pillars, base, and orna- ments of this instrument, in front, are of white marble." 1026. To these examples may be added the organ at Weingarten, in Suabia, which is so constructed as to admit light into the church through six semi- circular-headed windows, ranged in two rows, of three each. The organ at the Minoreten Church, at Cologne, is also pierced with several window-like openings, to admit light from the west window into the body of the building. Smith and Harris's 1027. When Smith Settled and Harris returned to England, Parish Church organs ^(,^^^3 tjjg latter part of the Seventeenth century, to take part usually placed at the . \ . ■' ' }^ west end. ™ supplymg Our churches with new organs, m place of those that had been so needlessly destroyed ; they followed the custom, usual in their own countries, of placing their organs at the west end of churches not of cruciform shape ; but they at the same time erected them in that situation, whether there was a window there or not. No instances are known of a divided organ having been made by either of those artists, for the purpose of preserving an architectural beauty. The earliest English specimen of an organ constructed in this manner appears to have been that made by Green, for New College, Oxford. Many others have since been constructed in this way ; one of the most successful in its treatment being that by Hill, in the Church of the Immaculate Conception, Farm Street Mews. Their Cathedral organs 1028. The Cathedral Organs built by 'Harris and Smith usually placed on the ^^^^ usually placed on the Choir screen. This situation ap- Choir screen. ■> \ , , ,- r^, ■ pears to have been selected for two reasons. The instruments * The organ is really of C C compass, but having short octaves ; which fact appears to have escaped the Doctor. See Foreign Specifications. , D D 2 244 THE SITUATION FOR THE ORGAN. they were called upon to build for those spacious and venerable piles were scarcely a whit larger than those they made for ordinary parish churches ; and it must therefore have been obvious, that if they were placed at the west end, the firmness of their tone would have been utterly spent before it could have reached the choir. They were accordingly erected some 150 or 200 feet nearer to the vocal choir, and generally in such a situation as a knowledge of acoustics prescribed as the best. Harris's proposal for a 1029. Renatus Harris, indeed, made a proposal, in 1712, bi'stpluit Cathedra" ^"''' Aerefore, after the death of Smith, to erect an organ in St. Paul's Cathedral, "over the west door, at the entrance into the body of the church," which was to be such an one as " in art and magnificence should transcend any work of that kind ever before invented;" and in its construction it was intended to "apply the power of sounds in a manner more amazingly forcible than had perhaps before been known." (See Hawkins's History of Music, vol. iv., page 356 ; quoting the Spectator, No. 553, for December 3, 17 12.) Is it possible, as this quotation would imply, that Harris had some partial acquaintance with the principle that Cavaille has in our own times carried out with such fine effect in his Harmonic Flute-work, and Hill in his "Tuba" Reed-work? At any rate, to equal "any work before invented," Harris's must, in size, have been a 32-feet organ. But whatever the details of his plan might have been, the plan itself was not accepted. The erection of Father 1030. Father Smith had previously erected an organ on Choir ^ sc°r'Sn" of St^ '^^ Choir Screen of St. Paul's ; but whether it should occupy Paul's opposed. that position or not, had been a subject of warm contention between Sir Christopher Wren and the Dean and Chapter of the Cathedral. 1031. "Sir Christopher Wren," says the article in the Musical Gazette, from which we have before quoted, "wished the organ to be placed on one side of the Choir, as it was in the old Cathedral, that the whole extent and beauty of the building might be seen at one view : the Dean, on the contrary, wished to have it at the west-end of the Choir ; and Sir Christopher, after using every effort and argument to gain his point, was at last obliged to yield. Schmidt, according to his instructions, began the organ ; and, when the pipes were finished, found that the case was not spacious enough to contain them all ; and Sir Christopher, tender of his architectural proportions, would not consent to let the case be enlarged to receive them, declaring the beauty of the building to be already spoiled by the— box of whistles. After all this contention, the architect, sorely against his will, was obliged to make an addition to the case. He not only had been niggardly in regard to the depth of it, where another foot would have been of no consequence whatever, but also in the height ; for when Schmidt came to put in the large Open Diapason pipes in the two side flats, they appeared through the top nearly a foot in length, and spoiled the appearance entirely. Schmidt now entertained hopes of having a new case ; but Sir Christopher, who before would not suffer any ornaments on the top, was now obliged to add several feet, or else alter the case, which vexed him exceed- ingly. These ornaments consist of angels, with trumpets, standing at the side of a small altar. The colour of the wood that these are made of being lighter than the organ-case, the addition is soon discoverable." 1032. In this struggle. Smith evidently viewed the question musically, while Sir Christopher Wren considered it architecturally; and both had reason on THE SITUATION FOR THE ORGAN. 24S their side. - Sir Christopher was of course correct in asserting that an organ in the centre would prevent the whole extent of the building being seen at one view ; but then the objection applied with equal force against the Choir screen, to defend which, and condemn the organ, involved a manifest incon- sistency. 1033. The result of the contention was, as we have seen, that " Music won the cause ;" and the arrangements just detailed were uniformly followed in Cathedral and other Churches, from the time of Smith and Harris, down to within the last few years. 'rhe comparative me- 1034. In recent times, the west-end of a Parish Church, si^tio' ^ ^^^ ^.^ as the position for the organ, has been strongly objected to^ particularly where there is a choir ; and there is no doubt that a much better musical effect results from the choir and organ being near to each other — as a more united effect is produced in a concert-room by the band and singers being together. 1035. Next to the west end, the best place for the organ, as indicated by the laws regarding the propagation of sound, will be some elevated position, having space above, and both sides free. These conditions point to the siiie of the church ; and in every instance, where aU or most of them have been complied with, a very good effect has resulted. 1036. The organ in the new Church of St. Mary Magdalene, St. Pancras, built by Gray & Davison, may be cited as a successfiil example of an instru- ment so placed. It is supported on stone brackets, about 8 feet above the ground ; has good head room ; is entirely free at one side, and has a reflector immediately behind, in the south wall of the aisle. 1037. In some instances, where sufficient room could not conveniently be found in the church itself for the organ, a recess or organ-chamber has been built out firom one of the sides for its reception. An old example of such an organ-chamber exists in the chapel of Christ's College, Cambridge ; a second occvirs in the chapel of Hampton Court Palace. The tone of an organ so placed is much weakened in consequence, as it cannot .begin to spread and disperse till it has passed through and over the front of the case. The natural disadvantages of such a situation, however, can be considerably modified by making the chamber of ample dimensions, by hning it with wooden boards, and by fiimishing it with a hollow wooden flooring. It is also of the highest consequence that there should be plenty of space between the top of the case and the turn of the arch ; otherwise there wiU be no possible means of egress for the tone, which will then be smothered. All these precautions were taken in the construction of the organ-chamber at the Temple Church, the flooring of which is 8 feet above the level of that of the church ; the Great organ sound- board being nearly another 8 feet above the chamber flooring. There is also plenty of space between the top of the organ and the roof of the chamber. 1038. An organ that stands in a recess certainly appears to possess less strength of tone than if it were placed at the west end ; but if there be plenty of head room over the Pipes, and attention paid to other circumstances favourable to resonance, what the instrument loses in power it frequently gains in sweetness of quality and Cathedral-like character of tone ; and as the loss of power can be easily compen- sated for by disposing additional Stops, there appears to be no reason why an or<^an should not tell fully as well at the side than from the west end, if every 246 THE SITUATION FOR THE ORGAN. means be taken to make it do so. This is specially the case with the organ in the Temple Church. 1039. By this, it is not meant that an organ placed in a side recess will tell as well, as the same kind of organ would at the west end with space around it ; but that if -it be judiciously enlarged, in proportion to,its loss of power, so as to coun- teract the otherwise ill effect execcised by the recess, it will then sound at least as well as the unenlarged west-end organ. The distinction here intended to be drawn is well illustrated by the difference produced by a choral staff of a given number singing forte, as compared with a more numerous body singing sotto voce. Sup- posing the strength or abstract power of .sound produced by each to be about the same, yet there will be a marked difference in the quality of the tone, which, under many circumstances, will be in favour of the larger, but softer, sounding body. The subduing influence of a recess, in a similar way, frequently imparts to the tone of an organ a certain chasteness and kindliness of character, as well as a slight haziness — as though a fine veil were drawn over it — that is exceedingly pleasing, and even beneficial, if the volume and fulness of tone at the same time remain unreduced. The organ in Leeds Parish Church is a very successful example of an instrument placed in a transept ; and causes one to regret that the magnificent new organ at Doncaster does not enjoy the advantage of a similar position. 1040. At Liibeck, the " little" organ in St. Mary's Church — which, by the way, has upwards of 30 Stops, including 10 on the Pedal — partly projects from the east wall of the South Transept, and partly stands in a recess in that wall. The Choir organ, containing 10 ranks of Mixture, stands in front ; and the effect of the instrument is altogether most admirable. The treatment of the position, so as to give to a moderately deep organ only a shallow projection into the church, is both ingenious and successful. Neither the view of the building on the one hand, nor the tone of the instrument on the other, is destroyed. This organ is said to be about two hundred years old. 1041. A most unfavourable plan, usually, for the tone of an organ, is that of putting the instrument in a recess, and placing the front Pipes so as to form an ornamental filling up of the arch. With walls on three sides, and a tier of large Pipes entirely occupying the fourth, the tone can only force its way through the interstices between the Pipes, as water escapes through the fissures in a flood-gate. The contrivance is frequently more calculated to keep the tone back than to let it out. The organ at All Saints' Church, Manchester, built by Kirtland & Jardine, of that town, is most picturesquely treated, it being divided, and a portion placed in a recess on each side the Chancel ; but the Pedal Open Diapason, which pro- duces a very bold effect in the recess where it stands, sounds in the church as weak as an ordinary Pedal Stopped Diapason. At the Church of St. Mark, Old Street Road, the organ was similarly placed in a chamber ; and the calculation of the organ-builder, Bevington, was, that only one-fourth of the tone of the instru- ment found its way into the church. The melody of a Chorale played out on the Great Diapasons, Principal, and Trumpet of this organ, sounded no stronger than it would have done on the Stopped Diapason and Clarionet of most instruments that are favourably situated. The good taste of those in authority, however, had this mistake satisfactorily remedied long since. 1042. The worst possible arrangement is that of putting the organist, as well as the organ, into a chamber at the side ; filling up the arch, as before, with Pipes, which form an ornamental wall between the player and the congregation. This arrangement did exist at St. Mark's, Old Street Road, where three-fourths of the organ-tone was boxed in, and which, returning and descending pn the organist, produced a din around him like that heard from a peal of bells in a belfry. The THE SITUATION FOR THE ORGAN. 247 wall of pipes was not only a serious impediment in the way of the organ-tone travel- ling into the church and reaching the congregation ; but, telling both ways, it was as effectual a check to the voices of the congregation entering the recess and reaching the organist. Added to this double impediment, the deep humming sound which the ornamental Pipes, forming the Bass portion of one of the Stops in most constant use — the Open Diapason — was producing between the congregation and organist, presented another difficulty in the way of the one hearing the other. This arrangement was therefore soon abandoned. The east end of an aisle, 1043. Jt has been a frequent custom during the last few or a Chancel chapel, as i i ^i. • i , , r /- i the situation of the or- V^^^^ '° place the Organ either at the east end of one of the gan, considered. aisles, or in an organ chapel on one side of the Chancel. These arrangements are preferable to the one last noticed. In such a situation it is necessary (i) that the ground should be of wood, and hollow; (2) that the sound-boards should be kept as high as possible ; (3) that there should be a good amount of clear space over the organ ; and (4) that as much ground space as possible should be allowed for the organ. 1044. The wooden floor increases the resonance'; concerning which all has been already said that is necessary. The elevation of the sound-boards to a satisfactory height causes the mouths of the pipes to range above the heads of the congregation, whereby their tone is more likely to travel before it becomes partially absorbed, instead of being partially absorbed before it travels. It may easily be surmised how comparatively dull and muffled a clergyman's voice would sound, were he to stand only on the same level as the congregation ; and the tone of an organ that has its sound-boards kept low, will have a decided tendency towards the same fault. If the mouths of the Pipes, generally, can be kept as much above the level of the vocal choir, as those of the choir are above the level of the con- gregation, it wiU be so much the better both for singers and organ. 1045. The space over the organ relieves the tone of the instrument from the force and hardness which its contracted situation, as compared with the west end, is otherwise very liable to impart to it ; while the greater space allowed for the organ admits of the Pipes being planted in a less crowded and confused maimer. Of the quantity of wind that enters at the foot of the Pipes, something like three- fourths of it passes out again at the mouth ; a comparatively small portion only entering the body of the Pipe. From this it must be obvious how necessary it is to allow the Pipes the utmost available room to speak in. When this is not the case, some Pipes have to be mounted on longer feet ; others turned this or that way ; and others grooved off here and there ; not from design, or preference, but from necessity ; and which " packing and contriving " give to the interior of an organ a very unsystematic and disorderly appearance. 1046. If the organ be placed in a Chancel Chapel, there should be an arch — the more lofty, the better — opening into the Aisle, as well as one towards the ChanceL The importance of this arrangement is explained by the first fact mentioned at the commencement of this chapter, regarding the propagation of sound ; and its object is to allow the tone of an organ to pass down the Aisle as well as across the ChanceL When there is no second arch, the whole strength of the organ-tone is directed towards the vocal choir in the Chancel, which is then more liable to be overpowered by it, at the same tinje that the congregation will experience scarcely any support from it. If there be two arches, and they are simply separated by a column, or a pier, this w(JJ be more favourable to the egress of the tone than an angle, formed by the junction of two walls, and having a hollow angle inside ; which latter ig apt to catch and throw some 248 THE SITUATION FOR THE ORGAN. of the tone back, while the former would allow it to pass round and proceed onwards, diagonally, into and across the Nave of the church. 1047. As much free space as possible should also be left near to the organ. This enables the tone to get fairly from the instrument before it begins to be absorbed by the dresses of the congregation. The organ in the " Catholic and Apostolic Church," Gordon Square, built by Gray & Davison, which stands at the end of the south transept, on the ground, has plenty of free space around and over it, and sounds very freely in consequence. Space being left, and the congregation not being seated so near to an organ, together, allow of the instrument being voiced more boldly and church-like, with little ill effect and much good resulting. The conditions necessary to cause the tone to travel to the extremities of the church can then be better attended to, without causing inconvenience to any one ; but if seats be placed too near to the organ, those who occupy them will hear more of its tone than they wish, while their clothing will prevent its getting away, and reaching those at a distance so effectually, by absorbing some of it before it can do so. 1048. If the several precautions just enumerated be taken, to prevent dead- ening the sound of the organ, and to lessen the partial and unequal distribution of its tone, to which all side situations have an unavoidable tendency, an organ may be made to tell very fairly in either of the positions just considered. The Chancel an cli- 1049. Another, and more rare arrangement is that of di- dlvide/or tn" '°' " viding the organ, and placing a portion of it on each side the Chancel, where there is room ; as at St. Margaret's, Leicester. This plan is in every respect a most excellent one. It is scarcely, if at all, inferior, even in a musical point of view, to that of a divided west-end organ ; while, under its working, the organ is accommodated, without being sacrificed, to other arrangements that are now considered essential in most churches. In the first place, as the Chancel is generally more lofty than the side chapels, this circumstance admits of the sound-boards being kept up higher, the important advantage of which arrangement is already known to the reader. Next, as the Chancel is usually not very much less in height than the Nave, it affords nearly as much space over the instrument for the mellowing and sweetening of the tone. Thirdly, the Chancel being only occupied by the clergy and choir, it is comparatively unencumbered by absorbants and impe- diments ; which is highly beneficial to the tone. Again, the organ will still be at the " end " of the church— although the opposite one to that which it frequently occupies — with the whole length of the edifice before it, into which its harmonious tones can travel. Moreover, by being placed to the east, with the vocal choir nearer to the Nave, it will occupy its proper subordinate position in regard to the voices. No one would ever think of placing the instrumental staff between the vocal choir and the audience in a concert-room ; and an analogous arrangement is equally ineligible in a church. (In a theatre, the arrangement is different ; but the sunken position of the band there tends to Its subordination.) Such a distribution of the organ might lead to a new use of the instrument, of an antiphonal character ; of the advantage of which, however, we have at present had no practical experience in this country, although it would perhaps prove a source of many very fine and legitimate effects. The two parts could ordinarily respond to each other, after the manner of the sepa- rate sides of the choir ; and be united, by means of couplers, when the entire choir joined in bursts of joyful exultation. Many Continental churches are furnished with divided organs in the choir, or with two separate and distinct THE SITUATION FOR THE ORGAN. 249 organs ; the effect of which, when used as above, is said to be singularly fine. Then, with regard to the construction of such an organ, as the two parts would stand sideways, and therefore would be seen only in profile from the church, their projection could be lessened, if room for greater breadth be allowed, whereby the view from west to east would be less interfered with. For the interior arrangements, the Abbd Vogler's system of pipe arrangement might be advantageously employed, as being admirably calculated to facilitate the progress of the tone through the side of the case towards the church. At All Saint's Church, Margaret Street, the organ is divided, and a part placed at the extreme of each transept. The result of this arrangement is quite satisfactory. The relative position lojo. Respecting the relative position of the choir and o t e voca c oir Qj-gg^jj jjj ^ church, concerning which a few words may here be said ; it may be accepted as a good general rule, that if the organ is to be in a line with the choir, it should not be on a level with it ; and if it is to be on a level with the choir, it should not be in a line with it. That is to say, the choir should never be subjected to the direct force of the tone of the instrument. When it is so — as, for instance, when the organ is placed immediately behind one-half of the choir — that half hears the tone too strongly and palpably, while the clothing of its members deadens it, before it reaches the other part of the choir. No given amount of organ-tone, whether much or little, is then so equally and agreeably distributed to both. When the organ is out of a line, but on a level, with the choir, the choir hears its tone, as it is spreading, with less force, but with equal distinctness : when it is in a line with the choir, but elevated above it, the choir catches its sound as it descends in the course of its propagation. But, inasmuch as the sound produced at an elevation is necessarily less under the absorbing influence of the clothing of the congregation below, the plan of putting the organ " in a line with the choir, but above its level," is the preferable one. The tone of the organ can then reach the congregation and support its voice, as well as that of the choir. Hence the excellence of the arrangement at the Temple Church. At the church of St. Mary Magdalene, St. Pancras, the organ is above the level of the choir, and also out of a line with it ; and also pro- duces a good effect. Kecent anangeraents 1051. Much pams have been taken within the last few in Cathedrals. years to find a better place, architecturally speaking, for our Cathedral and Minster organs. 1052. At the time the alterations in the interior of Westminster Abbey were in contemplation, a very excellent article appeared in the Parish Choir, No. 20, for August, 1 847, from the pen of the Rev. Sir William Cope ; in which it was proposed to erect the organ at the west end of that church, and at the same time to strengthen its tone as much as possible. The solid stone Choir screen was proposed to be placed at the west end, so as to extend across between the first pair of pillars of the Nave, with its architectural face to the east. The entire expanse of the Minster, from west to east, from the ground to the roof, would then have been seen at one view. " Let our readers," says the article alluded to, "now consider how splendid the whole expanse of the church thus laid open would be ; looking to the east end, the eye would rise from the altar to the screen, and be led up by the beautiful apse to the vaulting of the roof ; and if the spectator turned toward the west, he would see the stone screen sur- 250 THE SITUATION FOR, THE ORGAN. mounted by the organ ; above that 'vyould appear the whole extent of the perpendicular window, with its coloured glass, running up into the vaulting of the roof. And if, besides these architectural beauties, the eye of the Christian spectator were to rest on the vast multitude who (we are sure) would throng the expanse, and to see a reverent and attentive congregation joining, as they would then be able to do, with one mind and one heart, and, we trust, with one voice with the clergy and choir of that glorious Church, in those majestic hymns which forms the Choral Service of the English Church, would it not be a sight to which English Churchmen might point with an honest exultation?" This proposition possessed the unusual recommendation of treating the question musically, as well as architecturally ; and, besides this, of providing for the orderly arrangement of a vast congregation. As the arrangements were sub- sequently carried out, the Choir screen was retained in its former position ; the organ was divided into four portions ; the Great organ being placed within an arch on the north side of the Church ; the Swell under the corresponding arch on the south side ; the 32-feet Pedal Pipes were laid horizontally along the west side of the screen ; while the Choir organ hung over the east side, in the usual way. The tone of the organ, on the whole, tells exceedingly well, although the instrument is so much broken up ; which, no doubt, arises partly from the two main portions not being put too much under the side arches, but partly projecting out from under them ; and, again, from the organ having been con- siderably enlarged at the same time. 1053. At Ely Cathedral, the organ, as re-constructed by Mr. Hill, under the direction of the able architect, Mr. Scott, is a hanging one ; the appearance of which is most gorgeous. It projects from the side of the Choir, overhanging the stalls. The keys are placed behind — that is to say, on the aisle side ; so that some portion of the organ is directly between the organist and the singers. The organ, thus arranged, is pleasant to sing to, and the organist can hear the Choir organ quite distinctly. The vocal choir, also, he can hear pretty well ; but the tone of the Great organ does not reach him so readily. 1054. At Canterbury Cathedral, the organ is placed in the triforium over the south side of the Choir, at a great altitude ; and the keys are placed behind the stalls. The touch being both heavy and deep, it is a most laborious organ to play upon ; and on account of the length of the action between the keys and the pallets, and the manner in which the tone has to find its way down into the Choir, a perceptible interval occurs between the keys being struck and the sound being heard. 1055. In making praiseworthy endeavours to find a less prominent locality for our Cathedral organs, every facility should be provided for the organist hearing and seeing the choir, and vice versd. For this purpose, it would be an admirable plan to make the organ play at the side. This arrangement has so many recommendations, and not one drawback, that it is surprising it should not, long since, have been generally adopted. The organist, by a mere turn of the head, would then have at least half the choir under his view ; and could by a gesture, imperceptible to the congregation, convey a suggestion down to its members, or by the same quiet means receive one up from them. More- over, the organist would in all cases hear the voices much better. In the instance of an organ on the Choir screen, if the keys were placed in the manner here suggested, the organist could probably see both sides of the choir, instead of neither, as at present ; and at the same time he could also see to both ends of the Cathedral. Another important end would be gained by placing the keys of a Cathedral organ in the manner under consideration. The space of THE SITUATION FOR THE ORGAN. 25 1 the organ-loft could be taken into the Great organ-case, by moving the east front forward to the back of the Choir organ, and inserting new panels to fill up the openings in the sides ; which would admit of a material improvement in the organ, by admitting of the introduction of many large Pipes, on the tone of which the true dignity of the organ so much depends. The arrangement above recommended may be met with in Snetzler's organ, at Beverley Minster ; which instrument, standing on the Choir screen, has the keys on the north side. 2S2 THE SIZE OF THE ORGAN. CHAPTER XXXIV. THE SIZE OF THE ORGAN. The organ should be 1056. THE size or contents of the organ should, as a rule, proportioned to the con- ^^ regulated by the number of the congregation whose united gregation and church. o j 00 voices the instrument will have to sustain ; and by the dimen- sions of the church in which it is to be placed. This is assuming that usefulness of instrumental support, as an aid to the voice, in devotional exercise, is admitted ; which point, however, is not conceded by some religious denominations. The question before us, however, is not whether an organ is admissible for the pur- pose above specified, but — that opinion being supposed to be acquiesced in — what should be the properties and attributes of the instrument, to render it adequate to its purpose. The size of the organ would also be influenced by the kind of Stops chosen — whether they are chiefly of loud or soft intonation ; — Dulcianas, Flutes, and Piccolos usually having little to do with the power of an organ, although they increase the number of its Stops, and materially add to the number and variety of its soft and agreeable combinations. Certain influencing cir- 1057. The acoustical Capacity of the church, again, must be cumstances to be taken ^^^^^ ;„jq account ; some churches being as good for sound, as into account. ',,.„, , , .- , others are bad ; as is well known to most clergymen, who find little difficulty in filUng some, while they have great trouble in making themselves heard in others. If there be much echo — a circumstance that may soon be ascer- tained by sounding the voice in various parts of the church — such a natural advantage will be much in favour of the organ ; but if the sound do not get away, but immediately fall dead, then more Stops should be disposed, to enable the organ-tone to make its way ; or a greater proportion of loud Stops might be introduced ; or the whole should be more strongly voiced and blown. Some such steps would also have to be taken, if the organ is to be placed where its tone is likely to be weakened ; as, for instance, in a recess. An approximate calcu- 1058. From what has just been said, it is obvious that the lation of the number of „m^^,gj. gf gj^, necessary for an organ to have, cannot be Stops necessary for an , • , , , . ,- , , r 1 organ to have. deduced With absolute certainty from the number of the con- gregation ; although an approximation to it may be drawn froiti that source. According to Seidel, for a congregation of from 200 to 300 persons, an organ with from 8 to 10 Stops may suffice ; for one of from 400 to 500, an organ of from 12 to 16 Stops ; and for a congregation of from 1000 to 2000, an organ of from 24 to 30 Stops. In this calculation, allowance is not made for Half-stops ; still less are the Couplers and other mechanical contrivances taken into account. Half-stops are of comparatively rare occurrence in German organs ; although Short- stops are common enough, particularly among the Flute-work. When a Stop only extends to Tenor c, it is usually grooved into the bass octave of some other Stop below, instead of that other Stop being cut to draw in halves, as is the more THE SIZE OF THE ORGAN. 253 frequent custom in England. Neither are Couplers included in the calculation, since they have no " voice " * at all. With these exceptions, and making some allowance for the addition to the number of a few soft Stops that are in great favour in this country, the above calculation is a very good one. Too small an organ in 1059. As it is quite as great an evil to design too small an sirablT''' """^ ""''''' °^S^^ ^°^ ^ ^^S^ church, as it is to plan too large an one for a small church, it may be well to explain why an instrument of fair proportions may with confidence be admitted into a place of worship. The primary purpose for which an organ is introduced into a church, is to support and direct the voices of the congregation, fit therefore becomes necessary to ascertain, if possible, what may be the strength of that congregational voice which the organ is expected to sustain. The strength of the 1060. To this a clue may be obtained by a very simple ''ared"wrh''tharorthe experiment. If an anemometer be provided with a flexible organ-wind. tube, furnished at the end with a large mouthpiece, and the breath be freely expired into it ; the index, prepared at the side, will show that the human lungs produce, without any very great exertion, a current of air of 9 or 10 inches pressure ; the Manual departments of a church organ being ordinarily voiced to a wind of from 2^ to 3 inches pressure. This result, perhaps scarcely expected by many, makes it apparent that the human voice when firmly delivered, is sounded by a wind 3 or 4 times the strength of that which ordinarily gives speech to a church organ. Then the sound-waves which surround every singer — as they encircle an organ-pipe that is speaking — are proportioned in strength to the power of the voice that originates them ; and at the same time they to some extent prevent his hearing other external sounds distinctly. The general requisites 1061. Now a church Organ should possess Sufficient fulness, of a church organ. depth, and travelling character of tone, to make its way through all other sounds, to the ear of the congregation ; and support, keep in tune, and lead the united voices of its members. Whether much or little organ will .suffice for this, is a question that much depends not only on the number of the congregation, and the dimensions of the church, to which its size and power should in the first place be adapted, but also on whether the entire congregation takes part in the singing, or only a portion ; and whether the many or few who tune their voices, do so boldly or timidly. In those large churches abroad, wherein great numbers assemble, and among whom the singing is both general and zealous ; where, in fact, may be heard the finest congregational music — namely, in some of the Protestant churches of Germany and Holland — there will also be heard the largest organs in the world. The "music mill" has long been considered the necessary concomitant of the " vocal thunder ; " and the two have been exercised conjointly, from week to week, for centuries ; — the one in uttering, in unison, the melody ; the other, in playing in fine progressive harmony, the simple and magnificent Chorales of the former country ; — without the one injuring the effect of, or obscuring, the * In German Specifications, the Stops are generally called Kiangbare Stimmen (sounding voices), and the Couplers and other mechanical contrivances, Nebmregistern (accessory or secondary registers). 254 THE SIZE OF THE ORGAN. other in the slightest degree.* And it is now tolerably clear why no ill effect should have resulted from this union of instrumental with vocal sound. It would not be easy for an organ, voiced to a 2J or 3 inch wind, to interfere with an assemblage of 800 or 1000 voices, singing with a strength equal to a 9 or 10 inch pressure of organ wind, if its tone be rich and full, and its Stops well balanced. An organ of sufficient 1062. A fine Organ, then, may fairly be considered as a dimensions in a church, ^ acquisition for a church to possess ; provided, of a great acquisition. ° P- , , , /- n • j j course, that its powers only be fully exercised on rare and befitting opportunities. Dr. Spark, in his pamphlet on Choirs and Organs, page II, gives a good instance when the full peal of an organ may be beneficially employed. " Who," he writes, " can have heard a crowded congregation in a large church sing with heart and voice that glorious, time-honoured tune, the Old looth Psalm, accompanied with the full power of a great and beautiful organ, and not acknowledge the powerful aid and thrilling effect which a grand organ gives to some portions, at least, of our Church Service?" At such times, the propriety of a cheerful accompaniment is at once recognised by the mem- bers of the congregation ; they raise their voices, energetically and earnestly, under the combined influence of the service, the occasion, and the appropriate tone-character of the organ: — the trebles, singing in unison with the melody, and the tenors and basses below, add immense strength, in the Unison and Double Diapason pitch, to the mass of musical sound, — the result being that the choral song stands out distinctly in bold and grand rehef, through the dignified and impressive peal of the full organ. 1063. Thus much has been said to illustrate what an organ should be capable of, when the upraised voice of the congregation may put its powers to the test. Of course, there are times and seasons when the hymn of praise and thanksgiving would be hushed, and the song of sadness raised in its stead ; and on which occasions the organ-tone would of course be reduced to accom- modate it to the altered sentiments of the words. The strength of the congre- gational voice itself would also, at such times, be much subdued. With regard to the organ, however, this forms an entirely separate question ; and presents no subject for consideration, while the power requisite for the instrument to possess is being discussed, but rather bears on an important matter connected with its after-use. On this latter head, much has been said in a former chapter : it need, therefore, only be added in this place, that when a subdued tone is desired — produced of course by using a portion only of the organ— those Stops should be selected that will give the requisite " tone-colouring " to the words, in addition to affording the exact amount of support required. On this point, a very correct idea will be obtained of the manner in which an organ should be used, by a reference to the vocal and instrumental scores of Mozart, Spohr, Mendelssohn, &c. ; from which it will be seen, that, however extensive the orchestra at disposal, their authors have not yielded to the temptation of using a single additional instrument beyond what were necessary for the particular purpose ; but have first confined themselves within the proposed limits, then * Tt should be mentioned, that while unison singing is at once the most simple in Itind ; the most easy of execution; and the most appropriate for a congregation to adopt; it is at the same time the most powerful in effect, from its concentrating all the vocal force into one part ; and is therefore the kind of congregational singing that requires the most organ for its support. THE SIZE OF THE ORGAN. 255 proceeded to select such instruments for use as would sympathise the most closely with the words to be sung, and yet at the same time produce so trans- parent an effect, that the voice could be heard clearly and definedly through the whole. These are precisely the several processes that should be gone through, to secure the best, because the most appropriate, kind of subdued organ-tone for accompaniment ; that is, if the organ admit of a choice. The power of an organ 1064. It was Stated just now, that, while an organ is of tone "^ ° "^ °'"™' commonly voiced to a 2^ or 3 inch wind, the human voice is frequently produced by a current of air equal to a 9 or 10 inch wind. This fact would Beem to imply that the tone of an organ must be much weaker than that of voices ; and although the above figures may or may not represent the exact comparative strength of the two, yet there is no doubt of the fact, that unison Stops alone in an organ would be quite unequal to the support' of a large body of strong voices. Organs, therefore, are never made with this one class of Stops alone ; because they then could not possess the requisite nerve, ring, and power. The " power " of an organ is in a great measure due to its greater extent of tone, as compared with that of voices ; pitch exercising a marked influence on its loudness. Everyone is aware that, in a quartet sung by the four varieties of male voice, the treble part always sounds the most prominent, not because the boy's voice is the most powerful, for it may be the weakest, but because it is the highest. So great is the influence which acuteness of pitch exercises, that the general ear, and conse- quently voice, will follow the upper part of a four-part harmony, whether it should do so or not. Of this, a remarkable instance is given, on all occasions when Tallis's Responses are sung in cathedrals — i.e., on Church Festival days. The chief melody or " Plain Song " is set in the tenor, for which reason it remains unrecognised by the congregation generally, who never follow it, but on the contrary, take the treble or acute part, which in reality is only a portion of the choral accompaniment. 1065. Now, for the same reason that the adult male members of a congre- gation hear the trebles so much more clearly than the choir voices that are in unison with their own, the trebles hear those of an organ-stop that sounds the octave above their voices much more distinctly than those that are in unison therewith. This fact must be familiar to all who have had inuch experience in accompanying a choir, and who will have noticed this illustration of it that if the treble voices get flat, they will be set right much sooner by drawing the Principal, or by playing the melody in octaves, which will produce the same kind of effect, than by adding a number of other Unison Stops. The addition of one Principal to the Great Diapasons will, at such times, be heard more distinctly by the trebles, and will exercise a far' greater corrective influence, than the addition of three or four Unison Stops from the Swell, by means of coupling, even if there be one or two Reeds included among the number. This, however, does not arise from any greater power possessed by the Principal ; for in that respect it is rather inferior to the other accessory mentioned ; but from its acuteness. The influence of high-toned Stops extends still further. For the same reason that the Principal adds clearness to the Diapasons, the Fifteenth and Twelfth impart a cheerful ring to the tone ; while the Mixtures add brilliance and vivacity, perhaps keenness if they be voiced too loud, as is too frequently the case. So much for the Stops sounding above the unison. But the remaining Stops also fulfil certain important conditions. The Unison and Double Stops impart a fulness to the tone that is appreciably felt by a 256 THE SIZE OF THE ORGAN. choir and congregation, and conduces, in conjunction with the Pedal Bass, to convey that sensation of nearness of accompaniment to the singer that is of such essential consequence in infusing confidence and affording encourage- ment to those who need support. The Pedal Bass, in its turn, marks the progress of the music ; and that much more effectually than any of the other Stops could do. Summing up, then, in a few words, the influence which the three classes of Stops exercise : the octave and other acute Stops tend to keep the voices in tune ; the Unison and Double Manual Stops afford them support ; while the Pedal Diapasons, by marking the time in the course of the onward movement of the music, keep them together. How the acoustic ca- 1066. What has hitherto been said, has had more especial pacity of a Manual j-gfej-ence to the requirements of an organ as an accompani- organ is increased to . ^ . . ° , ^ adapt its tone to a mental mstrument. But it is necessary also to consider by large building. what process of development an organ, as an independent instrument, is made to fill, with its musical tones, a building, however large its dimensions ; particularly as this point has not the less bearing on the question concerning its efficiency and excellence in the capacity already considered. The presence of a Double Diapason has already been mentioned, as being necessary in an organ to support the Tenor and Bass voices in a congregation, as the unison do the Trebles. But a Stop, or Stops, of that size are required to fulfil another end, totally distinct, but of not inferior consequence. If a chord be played in the Treble part of the Great organ of an instrument placed in a large building, and not having any Stops lower in pitch than the unison, there will be perceived a certain smallness of effect, which makes it evident that, although the Treble may possess sufficient brightness and intensity, perhaps even amounting to shrillness, yet it lacks the amount of fulness and volume necessary to produce an ample and dignified tone. This arises from the fact of even the Unison Pipes in the Treble being comparatively acute in their sound ; and, therefore, in the very nature of things, unpossessed of stately im- pressiveness. It thus becomes obvious that the harmonic corroborating series of Stops alone do not present all the resources necessary to form a satisfactory organ. Something that is essential appears to be wanting ; and a fresh element is felt to be necessary to supply that absent property. The acoustical grounds 1067. The property Wanting is gravity J which possesses on which Double Stops ^ character peculiar to itself, and for the absence of which are introduced into an ^ . , . , organ. "o amount of intensity m the other sounds will compensate. Of the travelling and filling-up character of grave sounds we have already spoken ; and of the fact itself, a sufficient illustration is given in the circumstance of a chant sung by twenty tenor and bass voices, in unison, pervading a building more completely than if sung by thrice the number of trebles. Again, the deep tone of a Pedal Diapason will travel through a building more entirely than a double chord of six or seven notes played on the Manual Diapasons, from middle c' upwards. Its sound will certainly not be nearly so well defined ; but it will be of a more pervading character. The want felt, and above specified, however, is not a substitute for the harmonic sounds, but a new element, which, added to them, shall render the general tone larger and more ample. It is worth mentioning, that this want was so much felt, nearly three centuries and a half ago, abroad, that means were, even at that period, taken to supply the deficiency. It was about the year 1508, that a Covered Stop of i6-feet size of tone was invented in Holland; THE SIZE OF THE ORGAN. 257 and which, to some extent, imparted the necessary, deep, resonant, humming effect to the other Stops, and was hence expressly called Bourdon j a name that means a hum or drone ; and which Stop has never ceased to be highly valued abroad to this day. 1068. The strength of this under-sound has to be regulated by the size of the organ, and the dimensions of the building in which it is to stand. For a small church organ a Lieblich Bourdon is sufficient ; for one of ordinary size, a full scaled Bourdon (Double Stopped Diapason) will be ample ; for a larger instrument, a Double Open Diapason is also required, perhaps accom- panied by Double Mutation Stops ; for a still larger one, a i6-feet Double Trumpet is necessary ; and for organs of first class magnitude, a small Sub- Bourdon, in addition, of 32-feet tone, as far as the Fiddle g or Tenor c key sounding GG or CCC. In the Bass octave the 32-feet sound can be produced acoustically by means of a Bourdon and Quint of io|-feet tone. When a Manual organ is thus developed, the tone of its Treble is so ample, that in the largest buildings it may be used by itself without any insignificance of effect. The effect of a large 1069. It has been thought necessary to enter thus fully organ not constructe j^^j^ ^j^j^ guijjgct because there are many who hold that all on acoustic principles J ' ■' as well as on harmonic. Double Stops are inadmissible, from the circumstance of their not being included in the harmonic suggestions of nature. This opinion, however, does not imply a complete view of the question. The rearing of a large organ is not governed simply by the laws of harmonics j but also by the laws of acoustics. The former have already been sufficiently considered in the previous chapter ; and it only remains here to point out what an organ becomes, when the claims of the latter are overlooked. The greater the number of Stops introduced into the Great organ, and the greater the quantity of Chorus-work, the more is the tone of the Treble drawn upwards. The greater the number of ponderous Stops put on the Pedal, the more the Bass is drawn downwards. As the size of the instrument is increased, so is this effect of the severance of the two parts in proportion ; which accounts for the fact of the largest organs, built not on acoustic principles as well as on harmonic, being the greatest failures. The two parts contain no one property or characteristic that is common to both. Instead of the Manual tone being extended downwards to meet the Pedal, by means of Doubles, &c., and the Pedal being extended upwards to meet the Manuals, by means of small stops, &c. ; the 8-feet and smaller tones of the former, and the 32-feet tone of the latter, draw the two asunder. The sharpness and acuteness of the one, and the depth and fulness of the other, instead of producing the effect of harmo- nious amalgamation, convey an impression of the two parts being engaged in an altercation. It then becomes necessary for the left-hand of the organist to be employed in holding down nearly every concordant note within reach, and as low down on the Manual as possible, to disguise the deficiency. 1070. It is not consistent with the real dignity of the instrument, that its good or bad effect should depend on the player's power of hiding a defect. AH the properties and attributes for producing the best and a perfect effect, should be embodied in the organ itself; but this will not be the case, unless what is acoustically necessary is provided, as well as what is harmonically so. Besides, a certain combination of concordant sounds, as a note and its fifth, will gene- . rate sub-hsxmamc% or undertones, — in this case, the octave below ;■ — and this phenomenon without doubt first suggested the introduction of " Doubles." Deep tones were felt to be a necessity ; and the laws of acoustics suggested what those sounds should be. E E 25 S VARIOUS MATTERS CONNECTED WITH THE DIVISION CHAPTER XXXV. VARIOUS MATTERS CONNECTED WITH THE DIVISION OF STOPS, AND THEIR SELECTION ACCORDING TO SIZE. The proportionate divi- 1071. IN distributing a given number of Stops among the sior. of a given number ^^^^^.^j departments of an organ, care has to be taken not to of Stops among the ^ . i , . j _* several departments. devote too great a proportion of that number to one depart- ment, and so few to another that the latter will be insignificant beside its compeer ; but the endeavour should be made to develop all the depart- ments that are proposed to be introduced at all, gradually and proportionably. 1072. The Great organ, as being the most important department, and the one required to have the fullest tone, should have the greatest number of Stops. The second Manual (Swell) need not have quite so many, although the difference ought not by right to be great. The third Manual, if there be one (Choir), would have somewhat fewer again. For the Pedal the minimum proportion should be one third as many Stops as there are on the Great Manual. When even this proportion cannot be secured, there should always be an Octave Pedal Coupler, which is a Stop of great use. Below the ratio just given the German and French organ-builders never descend, except for instruments of the most unpretending description. The maximum number for the Pedal is as many Stops as on the Great Manual. The German proportion often exceeds this. 1073. According to the size of the proposed organ, the Stops would thus be assorted into from 2 to 4 or 5 separate divisions. In so appropriating them, two extremes have to be avoided ; namely, of reducing a moderate number of Stops into too many divisions, and of confining a large number of Stops to too few Claviers. By the former course, in consequence of the Stops of every Clavier having to commence with the unison, several and minute varieties of the same Stops must necessarily be introduced, which might, under the circumstances, be very well dispensed with ; while the effect of the whole is small as compared with what it might be. On the other hand if a great number of Stops be assorted into too few divisions, the Stops that produce the more delicate grada- tions or shades of tone, if introduced, cannot then be used with the same facility, advantage, or convenience. A greater number of Manuals will always possess advantages over a smaller, provided the organ-tone be not dispossessed of its proper dignity to secure them. 1074. Asa rule, possessing sufficient accuracy to answer all general purposes, it may be laid down, that an organ with 6 to 12 Stops might have i or 2 Manuals ; one having from 12 to 30 Stops, 2 or 3 Manuals; and one with from 24 to 60 Stops, 3 or 4 Manuals. In each case there should be separate Stops for the Pedal, as far as possible. 1075. It may in some cases happen that there are large funds at disposal. If, under such circumstances, it be thought desirable to add to the comparative completeness and efficiency of the organ, without increasing its strength of tone, or throwing it out of proportion with the church, this could be done either by adding a second Manual organ (Swell) ; or, if that be already designed, a third OF STOPS, AND THEIR SELECTION ACCORDING TO SIZE. 259 Manual organ (Choir) ; or it might be effected by proposing extra Stops of a delicate character of tone. The size of Stop that 1076. The next point to be observed is the size of the Stop the Manual and Pedal '^^^ f°''™^ *^^ unison or basis of the Manual and Pedal tone. '°"«- For all the Manuals this would be the same — namely 8 feet ; but for the Pedal, 16 feet. The Stops first to be selected for the former must therefore be of 8 feet, or 8 feet size of tone ; and for the latter, 16 feet, or i6 feet size of tone. for°^°' °T ^"^^ °°'''' '°^^" ^^ *® ^^"^^ *™^ '* would be incorrect, for reasons incorrect. *' 'Already assigned, to place only 8-feet Stops on the Manual, and only 16 feet on the Pedal. The effect of such a selection of Stops, at first serious and solemn, would gradually become dull and monot- onous, and then oppressive and dispiriting. Other and smaller Stops are required to give life and energy to the organ-tone, and to serve the numerous other purposes mentioned in former chapters. The proper size for the 1078. A Table of the Smaller Stops just referred to was given which' th"ey'sho°ufd"be °^ ^ previous page. All these of course cannot be placed in selected. every Manual organ in the first instance. They are not indeed required ; for the individuality of character in the tone of the several Manual departments depends as much on the size and proportion, as on the choice and scale of the Stops with which they are each furnished. 1079. Where, however, fulness and power are required, as is always the case with regard to the Great organ, the series of smaller harmonic or corroborating Stops should be introduced in a complete form as soon as possible, or the above- named essential requisites will not be secured to the full extent. The Principal, 4 feet, is the first Stop of the series to be introduced, after the Unison Stop itself. Next to that, the Fifteenth. It is a rule never to propose a Third or Fifth-sounding rank without the Octave-sounding rank the next smallest in size to itself being also introduced to cover its tone. This is why the Twelfth is never disposed before the Fifteenth ; although its size is 2f feet, and that of the latter only 2 feet. In like manner the Nineteenth or Larigot, should always be acco"lnpanied by the Twenty-second or Octave Fifteenth, or the Mutation tone may appear remark- able, or even offensive. The Stop from which 1080. As the tone, on the one hand, would tend towards the harmonic corrobo- jhinncss, if any of the requisite Mutation ranks, were to be rating Stops must be . ' ■' ^. measured. Omitted ; SO, On the Other, it would become thick and vague if Mutation ranks of too great size were to be introduced. It is necessary, therefore, to bear in mind from which Stop the harmonic series should be measured, as this will prevent the occurrence of either error. The proper Stop to be used for this purpose is the largest one of the Open Diapason species proposed to be placed on the same Manual. If that Stop is to be of 8 feet, the harmonic corroborating series would, for the theoretical reason before explained, be as follows : — I 8 12 IS 17 19 22 26 29 -&- £2 m izz: mi -e- 8 feet. 4 feet. i\ feet. 2 feet. i,^ foot. x\ foot. i foot. 8 inches. 6 inches. 1081. The order of the harmonic corroborating sounds will easily be com- E E 2 26o VARIOUS MATTERS CONNECTED WITH THE DIVISION mitted to memory, if the series be viewed in this way. All the octave sounds are required. The interval of the first octave from the Fundamental tone must not be broken ; the second should be broken by a Fifth only ; while the third may be broken by a Third* and Fifth. In the above example, the fiUing-up sounds, in their correct situations are represented by minim notes. 1082. If a large organ is proposed, having a i6-feet Stop — Double Open Diapason — the harmonic corroborating series of that fundamental sound will be of the following sizes and pitch : — I 8 12 15 17 19 ^ 22 26 29 i T rz2z -s>- 8 feet. si feet. 4 feet. 3J feet. 2I feet.. 2 feet. li foot. I foot. 16 feet. 1083. For a small Choir organ, having no larger Stop of the Open Diapason species than the Octave or Principal of 4 feet, the following would be the proper sizes for the Harmonic series : — I 8 12 15 m mi fj ■0- i feet. i| foot. I foot. 1084. As to the naming of the Stops of the Manuals, this point is always decided in England by their pitch in relation to the unison tone of those departments, as shown in the following scheme : — 2g ■a s -r-r -&2 -Gi- 6 inches . 8 inches . ~ .... I foot . . . ijl foot.. . -. . ..I,? foot. . . . 2 feet . . . .2| feet... .3* feet... .4 feet ... • Sjfeet... .8 feet ... •ill O Coo E « c ~j:2L -w=- Twenty-ninth Twenty-sixth . Twenty-second . . Nineteenth . . . .'Seventeenth . . . 1 1 u n u Ir . . Fifteenth ..Twelfth W ^ . .Tenth ~~ . . Principal f ^ ..Fifth . . Open Diapason . . AV' .... Double Diapason. * In Germany, the Tierce is not commonly introduced into new organs of moderate dimensions, on account of its not harmonising so well with the slightly sharpened thirds of the equal tempeiament. The flat Twenty-first is never included, even in the largest organs of that countf)'. OF STOPS, AND THEIR SELKCTION ACCORDING TO SIZE. 261 1085. We perceive, from the middle column of the above scheme that when the largest open cylindrical Stop of full scale is only of 8 feet, it would be wrong to introduce either a Fifth or Tenth (see directs) ; because they form no portion of the 8-feet harmonic series, but of the 16. Or, to put the fact in a practical instead of a theoretical form, the Fifth would break the first octave from the fundamental tone, and the Tenth would introduce a second filling-up sound into the second Octave. In effect, these would, under such circumstances, obscure the Foundation tone, and render the whole thick and indistinct. 1086. The Twelfth, on the contrary, would be a necessary Stop to dispose to an 8-feet ground-tone. This, however, in its turn becomes inadmissible, when the largest Stop of the Diapason species is only 4 feet in length ; as shown in the third column of the above scheme. The meaning of the 1087, As the meaning of the German terms " 1 6 -feet M3.8TtM^uat ^^"^^1'" "S-f««' M^""^l" ^"d "4-feet Manual," are by no and 4-feet Manual. means generally understood, an explanation of them may not be uninteresting in this place. They have by some been supposed to signify a CCC Manual, a CC Manual, and a Tenor c Manual respectively ; whereas, in reality, they refer to nothing of the kind. The Ger- man Manuals never descend below CC, and in modern specimens they seldom fall short of that compass. The terms refer to the size of the greatest Stop of the Open Diapason kind on the Manual to which either of the three may be applied. If the Stop in question be of Sub-octave pitch, corresponding with the English Double Open Diapason of i6 feet, the Manual on which it stands is said to be a i6-feet Manual. If it be of 8-feet length, the Manual is said to be an 8-feet one. If it be of Octave pitch, it is said to be a 4-feet Manual. The fact of there being a Bourdon of i6-feet tone, and perhaps even a " Gedact- Quint," or a '' Rohr-Quint " (Stopped Fifth, Si~feet tone), does not affect the classification. In the same manner, the presence of the Stopped Diapason, and perhaps other Unison Stops not of the governing kind, are again not permitted to affect the classification. Stops ofone class alone 1088. Two facts have already been mentioned, that the "he'be^trgln°eff^t" harmonic corroborating series of Stops are usually formed of pipes of the Open Diapason species, and that the presence of that series is essential to the production of a full and satisfactory organ-tone. At the same time those Stops do not present all that is necessary to produce the best attainable effect. No single class of Stops can do this. For instance — Open Stops of the Diapason kind, alone, would produce rather a cutting tone ; an organ entirely of Covered Stops would sound weak and muffled ; while one composed entirely of Reeds would be too strong and penetrating. The four great classes of organ Stops — Open, Covered, Flute, and Reed — are, in fact, to a great extent dependent on each other for the production of the most satisfactory result. The Covered Stops impart a quiet solidity to the Open Stops ; the Open Stops bestow roundness and firmness on the Covered Stops ; the Flute Stops give variety and increased character to the soft combinations ; while the Reed Stops impart to the full organ stateliness and splendour, and in return receive fulness and brightness from the Open series of Stops. The proportion to be 1089. In selecting Stops from the Covered, Flute, or Reed observed in the -lum- gnggieg for addition to those of the Diapason kind, certain berof Stopsofdifterent '^ '. , ,, , , j • j , , , r ji^es. proportions should be observed in regard to the number of 263 VARIOUS MATTERS CONNECTED WITH THE DIVISION each size proposed to be introduced, or the proper balance of the general organ tone will not be preserved. The foundation tone should in all cases predom- inate over the mutation sounds ; and in like manner the unison sound should predominate over all the octave sounds. The former point is attained by doubling the number of 8, 4, and 2 feet ranks or Stops ; and the latter by introducing more 8-feet Stops than of 4-feet, and a greater number of 4-feet Stops than of 2-feet. For the regulation of these matters, certain general rules are laid down in Germany, which are embodied in what foUovys. 1090. A Great Organ Manual should ordinarily have, besides the Open Diapason, from one to three or four other 8-feet Stops, according to the size of the instrument. In addition to these, there should be a good proportionate number of 4-feet Stops. These latter should be, at the least, half as numerous as the 8-feet ; and if of those of 8-feet there should be an odd number, the balance should be given in favour of the 4-feet Stops. Thus, (1) to two 8-feet Stops, there should be one 4-feet Stop ; (2) to three or four 8-feet Stops, there should be two 4-feet Stops, and one 2-feet Stop ; (3) to four or five 8-feet Stops, there should be three 4-feet Stops, and two 2-feet Stops. logi. The Stops should, in fact, in regard to their proportion and size, be arranged after the manner of a pyramid ; lessening gradually as they rise. Thus, for a small Great Organ they should stand thus :— to three 8-feet Stops, two 4-feet Stops, one 2|-feet Stop, and one 2-feet Stop. The Twelfth would be required, to give that kind of " chorus " effect which is so desirable a characteristic for even the most limited Manuals of the kind to possess. 1092. A Great Manual that is to have 9 or 10 Stops should include a Twelfth, a Compound Stop, and a Bourdon. This would make the second of the three tables just given take the following form : — One i6-feet sounding Stop, three or four 8-feet Stops, two 4-feet Stops, one 2|^-feet Stop, one 2-feet Stop, one Mixture of III, IV, or V ranks— 9 or 10 Stops. 1093. If the Great Manual is to have 16 Stops, it should include two i6-feet Stops and a Quint of S^-feet. These would give to the third table the following form :— Two i6-feet Stops, five 8-feet Stops, one S^feet Stop, three 4-feet Stops, one 2|-feet Stop, two 2-feet Stops, two Mixtures, comprising VIIJ ranks- 16 Stops. OF STOPS, AND THEIR SELECTION ACCORDING TO SIZE. 263 1094. It will be understood, from a glance at the foregoing tables, that it must be improper to propose two Twelfths with but one Fifteenth to cover them. If they were to speak out properly, the fifth sound would certainly be stronger than the octave, and the predominance of the foundation tone would be to some extent obscured. There would then appear a certain thickness and nasal quality in the tone. It would be equally wrong to propose a greater number of 4-feet Stops than of 8-feet ; or a greater number of 2-feet than of 4-feet. Either of these latter miscalculations would have the effect of drawing the tone up from the unison pitch, whereby the requisite fulnes? and gravity would be lost, and an undue brightness and thinness substituted. It is equally bad to dispose a full-toned and powerful 4-feet Stop with only a delicate 8-feet Stop to support it ; yet this is frequently done in modern Choir organs. 1095. The foregoing schemes and observations have more immediate reference to the properties requisite for the Great organ to possess. They, however, apply equally to all the Manuals, and indeed to the Pedal also ; but the Swell and Choir organs are seldom furnished with as many Stops as the Great ; and moreover are not developed in the same manner. For instance — the Harmonic series of Stops are among the first to be proposed for the Great organ ; their importance is shared by the Reeds in the Swell ; while, in the Choir organ, they are the very last that find admission. 1096. The Swell may be considered as an Echo to the Great organ in one sense, and as a Solo organ in another ; and the Stops that are selected for it in these two capacities, render it a most valuable division of an organ for accompanimental purposes. 1097. To serve as an Echo to the Great organ, the Swell should have, besides two Unison Flue Stops, the Harmonic-corroborating series of ranks complete, as far as practicable ; and it should be the first, after the Great organ, to have a Bourdon. As a Solo organ, it requires at least one soft Unison Reed, even sooner than the Great organ. The proportion in the number of Unison and Octave Stops, even in a small Swell, will therefore almost of necessity stand in the following ratio ; namely : — to three 8-feet Stops, one 4-feet Stop. For a larger Swell, there should be two Unison Reeds, and a second 4-feet Stop, which might be a Clarion. The proportion could then be as follows :-- to four 8-feet Stops, two 4-feet Stops. It is quite wrong, as to effect, convenience, and' completeness, to propose a Bourdon for the Swell before a Compound Stop. One of the reasons why Reeds are so soon and so freely introduced into a Swell, is that, on account of the Stops being enclosed in a box, the tone must be of a more penetrating quality to make itself heard ; and a strong and a weak Unison Reed are therefore proposed. It is also for the above reason that the second 4-feet Stop, proposed for the Swell, is almost always a Clarion in preference to a Flute. 1098. The Choir organ should be of a lighter tone than either the Swell or the Great organ. By this it is not meant that it should be so very much softer. Choir organs have sometimes been voiced with the delicacy of a Chamber organ ; and have therefore, for church purposes, been of little use. Excellent examples of what the comparative strength of the like Stops in the Great and Choir organs should be, will be found in some of the best old instruments which 264 MATTERS CONNECTED WITH DIVISION OF STOPS, ETC. still remain : not indeed that the Choirs of those organs present good models for literal reproduction ; for they are, or were, in their original form, very much out of proportion. It was a constant practice with the old builders to propose a Stopped Diapason only, to stand against two 4-feet Stops and one 2-feet Stop. Instead of the unison tone being properly maintained by such a specification, it was completely overbalanced by the higher sounds, and a quality of tone was produced that was characterized by excessive thinness, in spite of its sprightli- ness. Probably this misproportion in the old Choir organs arose from the same cause Vhich operated against the proper balancing of the old Great organs ; namely, lack of room, want of funds, or both. In later examples of Choir organs, a Dulciana was generally introduced ; but so weak an unison, even as an addition, was insufficient to reduce the strong-toned Principal and Fifteenth into proportion ; hence the custom was introduced of voicing the last-mentioned Stops much more quietly than before ; and this two-fold modifi- cation, while it certainly had the effect of producing a more equally balanced Choir organ, at the same time brought in the chamber quality, as already mentioned. The attributes for a Choir organ are lightness and variety, rather than fulness and power ; hence a given number of Stops, that would in the case of the Great organ require a Twelfth and a Compound Stop, neither call for the one nor the other when appropriated to the Choir organ. A good number of 8 and 4 feet Stops, comprising delicate accompanimental and Solo Stops, are among the first that should be selected for this department. 1099. The Pedal organ should contayi a "Bass" to as many of the leading Manual Stops as circumstances will allow. A good complement of 16 and 8 feet Stops should first be disposed for this department ; particularly as all smaller Stops can be conveniently borrowed by coupling the Manual to the Pedal The i6-feet (Unison) Stops are the most indispensable, because their tone forms the true basis of the Pedal tone. Of scarcely less importance are the 8-feet (or Octave) Stops. When there is a choice of Stops of this latter size, the Pedal can then, in soft playing, be freely used without their existing any necessity for coupling either of the Manuals thereto to produce a good effect. The left hand, moreover, will not then be constantly deceived by descending on a key that is already down, or the melodic progression of a tenor part be broken from the same cause. If these Stops cannot be introduced, or not in sufficient proportion, an " octave coupler" to the Pedal Stops should be introduced. HOC. With regard to the proportion between the 16 and 8 feet Stops on the Pedal, this should, if practicable, be the same as in the Great organ. When there are 5 or 6 Pedal Stops, these should include a Quint of io|-feet tone ; and when there are 10 Pedal Stops, a Double Open Bass of 32 feet might be included. THE COMPOSITION OF THE MIXTURES. 265 CHAPTER XXXVI. THE COMPOSITION OF THE MIXTURES. iioi. We have now arrived at the consideration of the composition of the Mixtures ; that is, of the Compound Stops generally, under whatever name they may appear — as Sesqui-altera, Mixture, Furniture, Cornet, &c. The subject is one of great interest and importance. So great indeed is the influence which the class of Stops in question exercises, that, after taking the greatest care to preserve the Harmonic-corroborating series of Stops entire, and to secure the proper propor- tionate number of Stops of the different sizes, it is quite in the power of incorrectly compounded Mixtures to disturb those pre-arrangements, and to qualify the perfect effect of the work. For this reason, it becomes necessary to inquire what may be the several requisites of the class of Stops above named. Why should there be II02. The first question that presents itself is. Why should breafe in a Compound ^j^^j.^ ^^ ^^^ "breaks" in a Compound Stop.? In the first place, because there is a practical difficulty in the way of continuing the smaller ranks throughout it the original altitude of pitch above the unison, although to do this is not impossible. It is far from easy to make pipes small enough for the purpose ; and when made, are difficult to tune ; and are put out of tune again by the slightest change of temperature, or by the smallest particle of dust. A Compound Stop 1103. Moreover, there exists no necessity for continuing a without a break not Compound Stop up without a break. The Mixtures are in- m accordance with the ^ ^ ^ suggestions of nature, tended to Corroborate certain of the higher harmonic sounds. But these sounds are not heard to rise to so great an altitude when the Fundamental tone is higher up in the scale, as when it is lower down. So long a series of harmonic sounds will not be traced rising above the middle c', as from the CC string of a pianoforte.. To continue a Compound Stop throughout, would be to " corroborate " what cannot be heard. The same compound 1 1 04. Furthermore, there is a very important practical fact, not productive of the connected with the sound of the small Stops of an organ, that same effect in different ,,,, , . ... ,, ,.°' parts of the scale. should here be mentioned. It is no other than this : that the same combination or compound does not produce the same effect in different parts of the scale, but possesses more prominence in the upper than in the lower part. For example — if the Great organ Stops, as far as the Fifteenth, be drawn, and this, or any similar passage be played in the treble, i w^ lei ^ * -d--" 266 THE COMPOSITION OF THE MIXTUKKS. a certain completeness of effect will be produced that will be satisfactory to the ear. Repeat the progression in the Bass : — i=^^^ ^^^=^^n."7^ -^: and an equally perfect effect will not be experienced. The Mutation sound (Twelfth) will appear to be stronger than before ; and, besides this, there will be a sensation of dulness as compared with the effect resulting from the previous experiment. If there be a 3-rank Sesqui-altera, and that Stop now be drawn ; on repeating the same low notes, the Bass will be found to be brightened up, and the Twelfth-tone to be covered. If, however, the Treble of the added Stop be of the same composition as the lower part, and the foregoing passage be repeated in the higher part, the Treble v/ill again appear to be in advance of the Bass, in regard to comparative brightness. These facts clearly show that there is a close connection between the extent of the audible harmonic series of sounds in nature, and the good effect of the harmonic corroborating Stops, when of approximate range. It is evident, moreover, from their works, that the old English builders were aware of this, and that they worked accordingly, so far as circumstances permitted. Might not a rank "die 1105. The second question is, might not a rank, as its °"n't'in Tbreak? '"^'" Continuation becomes unadvisable or impracticable, be al- lowed to "die out?" No. For, in that case, the Treble, from having fewer Pipes, would sound weaker than the Bass, and consequently would be overpowered by it. To prevent this, the same number of ranks should be maintained throughout ; and when it becomes advisable to discontinue a rank at its original altitude of pitch above the fundamental sound, a duplication of some larger rank should be introduced in its stead ; which, by strengthening one of the most important remaining tones, will add fresh energy to "that tone, and so compensate for the loss of extent in the harmonic series. The valuable aid ren- 1106. These duplications, introduced where the breaks dere to t e re eo Qgj,y_ ^jj(j increasing as the harmonic series decreases, per- an organ by the return 70 7 r ranks. form a most important and valuable office, when rightly managed. It has already been mentioned more than once in the course of this work, that there is always a tendency in organ Stops to become weaker and of lighter tone in the Treble than in the Bass. The duplications in question offer one means for almost entirely removing this defect from organs of average dimensions ; which they do by presenting a great accession of tone to the ranks that are " repeated." These advantageous duplications of course alter the proportions as to the number of Stops and ranks of different sizes in the Treble, which modification takes place without any detriment, but, on the contrary, improvement to the general effect. The two chief rules to be observed in regard to the Treble, are (i) that, of the Foundation ranks, those of a smaller size shall never exceed those of a larger, as more Fifteenths than Principals ; and (2) that those of a Mutation rank must not be greater than those of the Foundation rank next below, as more Twelfths than Principals, or more Nineteenths than Fifteenths, &c. The more nearly the return ranks present a general duplication of the entire Treble, the THE COMPOSITION OF THE MIXTURES. 267 better. The reinforced Treble then more nearly matches, in strength, the brighter Bass. On what keys the jjo;. The breaks, then, being not only unavoidable, but breaks had better take , , , .,.., j^, pia„ even advantageous when judiciously managed, the next ques- tion is. On what keys they had better be made ? For these changes no fixed positions were recognised by the old builders ; nor have any been' uniformly adopted by the modern. They are met with on c, c sharp, f, f sharp, and g, in different organs. In the following plans for Compound Stops they occur chiefly on c sharp and g sharp. Where the broken ranks uo8. The next point to be considered is. Where should the broken ranks return to ? Seidel says, " in the repetition of a Mixture, Fifths and Octaves must be used alternately." This refers to the Compound Stops of many modern Continental organs tuned on Equal Tem- perament, in which there are no Tierces, and is the best arrangement. Smith sometimes broke his Mixtures by Octaves in the bass ; and used Fifths, Thirds, and Octaves successively in the Treble, England and Green more frequently used Fifths as well as Octaves for the breaks in the Bass ; and Fifths, Thirds, and Octaves alternately in the Treble. But, in whatever way the breaks be made, the consequent duplication should be introduced with the view of pre- serving the predominance of the Foundation-tone, and the subordination of the Mutation. 1 109. These precautions used not to be uniformly taken ; hence certain misproportions will sometimes be met with in the old Mixtures of even some of the best builders. For example — in some old organs there will be found, in the Tenor octave, to three Unison Flue Stops, one Principal and two Twelfths ; the Fifth-sounding ranks being in consequence ' more numerous than the Octave-sounding ranks the next below them in pitch : and from middle c' upwards to two Principals, three Twelfths and one Fifteenth — the misproportion being thus increased. When the sound of the Mutation ranks is strengthened beyond the necessary degree, it then no longer simply gives roundness to the tone, but imparts a slightly nasal quality to it, that has nothing to do with the production of the peculiarly rich and musical effect that so frequently distinguishes the old Mixtures, but, on the contrary, it to some extent deteriorates it. 1 1 10. In one organ the writer examined not very long since, there were in the treble of the Great organ, to I Open Diapason — 2 Principals — 3 Twelfths — and 4 Fifteenths. The tone was extremely bright, on account of the Fifteenths being so much more numerous than the Principals and Diapasons ; but the fundamental sound was far from being properly maintained. In another there were, to 3 Principals — 2 Twelfths — 2 Fifteenths— 3 Tierces, and 4 Nineteenths. In this case, the "Chorus" was anything but brilliant, although there was a great quantity of it, on account of the Tierces and Nineteenths being more numerous than the octave sounds immediately above and below them. On the Mixtures last referred to being subsequently revised, and the Foundation and Mutation ranks brought into better proportion, their power and clearness were considerably increased, without a single rank being added to the original number. 268 THE COMPOSITION. OK THE MIXTURES. Plans for Compound nil. Some Compositions for Mixtures will now be given, ill "'''^' the preparation of which special care has been taken to guard against the appearance of any of the misproportions already alluded to. Advan- tage has also been taken of a personal examination of some of the finest English and Continental Mixtures, the best points in which have been freely incorporated, so far as the proposed number of ranks would in each case allow. As, however, two Mixtures of even the same number of ranks will produce a very different effect according to their composition, scale, and strength of voicing, the one giving a sharp and clear tone, the other a full and bold tone ; the terms " Full Mixture" and "Sharp Mixture" have been used, after the German manner. The term " Mixture " has also been applied alike to all the Compounds ; for which, however, any other name would of course be substituted that might be preferred. 1 1 12. The first kind of Compound Stop that is required for a small organ, is one that will brighten up the Bass and Tenor, and add fulness, body, and firmness to the Treble, without, however, imparting sharpness or keenness thereto. The kind of Stop that is usually proposed for this purpose is a 3-rank Sesqui- altera, consisting of 17 — 19 — 22 in the Bass and Tenor octaves ; and 12--15 — 17 from Middle c' upwards. Almost the only fault to be found with this composition is, that it places two Twelfths to one Principal in the Treble. This misproportion would be entirely removed by arranging the composition thus : — I. COMPOSITION FOR A FULL MIXTURE OF III RANKS. Kev on Manual Intervals in relation to the The corresponding sounds in ^ ' Unison. Tablaturc. CC to middle c . . . . 15 — 19—22 c' — g' — c". Middle c'# to the top . 8— 12— 15 c"— g''— c». 11 13. This alteration is effected entirely by substituting some other rank for the Tierce, which is not required where equal temperament is adopted. The advan- tages presented by the substittiied rank are, that the Fifteenth gives increased clearness to the Bass and the Principal fulness to the Treble. 1 1 14. The goodness of a Mixture composition depends, as already explained, on the extent to which the predominance of the foundation tone and the rules of proportion are preserved, when its ranks are added to the other Flue Stops of the same Manual. Let the above composition, then, be tested in this manner. Suppose it to be added to a small organ, such as that proposed as the First Specification immediately preceding the Appendix. The proportion to the size of the Stops as there given is as follows : — ■ 3 Unisons — 2 Octaves— i Twelfth — and I Super octave throughout. With the above addition, it would stand thus ; — From CC to Middle c' .... 3 Unisons — 2 Octaves — i Twelfth — 2 Super octaves — 19 and 22 ; and From Middle c'jf to the top . . . 3 Unisons — 3 Octaves-:— 2 Twelfths — 2 Super octaves. 11 15. For a somewhat larger organ, such as Specification No. IV., a 4-rank Mixture would be required. This might be of the following compound : — THE COMFOSITIOX OF THE MIXTURES. 269 Intsrak in relaiiao 10 die The oon^fmidii^ sounds in Unison. TablatnpCL II. CXIMPOSmoX rt)R .\ CLE.\R MIXTURE OF IV RAXKS. Key on ManoaL CC to Fiddle g .... 19 — ;; — 26 — 20 g' — c» — g' — c^ Fiddle gi to Middle c' . 15 — ig — r; — 26 g; — dj — gi — di. Middle c'S to Treble c» . 12— 15— 19— 2; S^i—c^C—^^—c^^ Treble c'S to the top . . i — S— 1; — 15 c'J — c'i— g i— c^ I nd. The duplication of the four principal ranks of the oi^an from Treble c'i upxcaids (an octavie and a half) impartj great breadth and dignity to the upper part of the ManuaL The Sesqni-alteia in the organ at the Stockport School-room, by Kirtland & Jaidine, is compounded as abo\-e. 1 117- If a keener tone should be required, the compound might have the foUoning form : — IH. tX)MPOsrnox for a sharp mixture of jv raxss. Kev -m llanKBL Interrals in i^atkn to the The ooncspondii^ sounds in X. nison. TafclatnKL CC to Middle c> . . . 1^—22—26—29 g' — c* — g* — c'. Middle c>S to Tiddef* . 12-15—1^—22 g''::—c^—g^—c*^ Treble f-S to b» above . 8—12—15 — 19 f ^S— c*S— f*S— c^^C c* in alt to the top . . i — 8 — 12—15 c* — c* — g* — c*. 1 1 18. As compared \dth the preceding composition, the above presents a Hnifitli contrast fitun Treble c' to b* in alt — nearly a complete octave. In the first half of that occive it has a 19 and 22 in place of the Open Diapason and Principkal ranks before proposed : and in the seoHid half octave, nearly, it has a 19 in Hen of the Open Diapason. 1H9. The 2g is continued unbroken through the Bass and Tenor octaves. The of^er rank, however, might hive been dianged at Tenor cj : and at Treble c^S the 23nd might have been discontinaed, leavii^ the 19th at top. These modifications would have caused the cranposition to stand thus : — IV. OOMPOSmOX FOR A QUIXT MEETCRE OF PT RASKS. Eey«>lbnB>L I«=TOlsm^«ElDthe TIk CC to Tenor c .... 19—22 — 26—29 g* Tenor c; to Middle c . . 15 — 19 — 22 — 26 c*;- >liddle c; to TreUe b Trdde c^i to b* above c» in alt to the top 12— 15— 19— 22 g»5- 8— 12— 15— 19 c^- I — 8— 12— 15 c» 1120. A break here occurs tm every ci key thrw^^out the scale; and the octaves and fifths are discontinued ahematdty, after the manner proposed by Seidd. The chanoes are thoefore verr gradual In some respects diis ccmqiosition resemUes that frequently adopted by En^and, wko was very partial to the 26th as the top rank in the Tenor c-ct.ive : and smnetimes in the Bass octave aJsoL In connection with the disamtinuance of the Octave Fifteenth at TrtMe c ^i it may be moitioned, as a cirt^nnstance worthy of obseivatioa, that the tone of that particular rank has a decided tendency to fall on the ear with great prominence .ibove that note, unless it be very carefiiDy treated, and well balanced. 2/0 THE COMPOSITION OF THE MIXTURES, 1 121. If a very full tone be desired from the Mixture, the following composition would produce that effect : — V. COMPOSITION FOR A FULL MIXTURE OF IV RANKS. Kev on Manual Intervals in relation to the The corresponding sounds in " ■ Unison. Tablature. CC to Tenor c .... 15 — 19 — 22 — 26 c" — g' — c'' — g''. Tenor cjf to Middle c' . 12 — 15—19—22 g'# — c^Jf— g'}}- c'#. Middle c'# to the top . . i— 8— 12— 15 c'J|:— c=J|:— g^#— c^jf. 1 1 22. At Tenor cj( this composition is exactly like that adopted by Green in the organ at Rochester Cathedral, excepting the omission of the Tierce ; and the Treble is also the same as that planned by that builder for the same instrument, excepting the same omission and the substitution of the unison rank in its stead. 11 23. Let these several 4-rank Mixtures now be tried in the manner prescribed in an earlier part of this chapter. The Great organ, in Specification No. IV., would have, without the Mixture, Reed, and Double — 3 Unisons — 2 Octaves — i twelfth — and i Super octave throughout. With the clear Mixture of IV ranks, it would have — From CC to Fiddle g 3 Unisons — 2 Octaves — i Twelfth— i Super octave — 19—22 — 26 — and 29 ; From Fiddle gjf to Middle c' • . 3 Unisons — 2 Octaves — i Twelfth — 2 Super octaves — 19 — 22 — and 26 ; From Middle c'Jt to Treble c" . . 3 Unisons — 2 Octaves — 2 Twelfths — 2 Super octaves — ig — and 22 ; and From Treble c^Jt to the top . . . 4 Unisons— 3 Octaves — 2 Twelfths — and 2 Super octaves. With the Sharp Mixture of IV ranks, it would have — From CC to Middle c' .... 3 Unisons — 2 Octaves — i Twelfth — i Super octave — 19 — 22 — 26 — and 29. From Middle c'J to Treble f . . 3 Unisons — 2 Octaves — 2 Twelfths — 2 Super octaves — 19 — and 22. From Treble fj to b= in alt . . 3 Unisons— 3 Octaves — 2 Twelfths — 2 Super octaves — and 19. From c^ in alt to the top .... 4 Unisons — 3 Octaves — 2 Twelfths — and 2 Super octaves. With the Quint Mixture of IV ranks, it would have — From C C to Tenor c 3 Unisons— 2 Octaves — i Twelfth — i Super octave — 19 — 22 — 26 — and 29. From Tenor cj to Middle cJt . . . 3 Unisons — 2 Octaves — i Twelfth — 2 Super octaves — 19 — 22 — and 26. From Middle c'J to Treble c" . , 3 Unisons — 2 Octaves — 2 Twelfths — 2 Super octaves — 19 — and 22. From Treble c^ft to b^ in alt. . . 3 Unisons— 3 Octaves— 2 Twelfths — 2 Super octaves — and 19. From cHn alt to the top .... 4 Unisons— 3 Octaves— 2 Twelfths — and' 2 Super octaves. THE COMPOSITION OF THE MIXTURES. 2/1 With the full Mixture of IV ranks, it would have — • From C C to Tenor c 3 Unisons — 2 Octaves — i Twelfth — 2 Super octaves — 19 — 22 — and 26. From Tenor cj to Middle c' • ■ 3 Unisons — 2 Octaves — 2 Twelfths — 2 Super octaves — 19 — and 22. From Middle c' J upwards . . . 4 Unisons — 3 Octaves— 2 Twelfths — and 2 Super octaves. 1 124. We here see that the composition of a Mixture, consisting of a specified number of ranks, may be varied in many different ways, to adapt it to special purposes, or to cause it to suit individual tastes or feelings, and yet without creating any misproportion in any one instance. For a 5-rank Sharp Mixture, the following composition would answer well : — VI. COMPOSITION FOR A SHARP MIXTURE OF V RANKS. Kev on Manual Intervals in relation to the The corresponding sounds in " ■ Unison. Tablalure. CC to Middle b . . . 15—19 — 22—26—29 c' — g» — c'' — g= — c^ Middle c' to Treble Pjt 8 — 12 — 15 — 19—22 c' — g" — c= — g^ — C. Treble f^Jt to b'* in alt . 1—8—12—15—19 f'-J- f^J— Cg— f*}}— c=#. c' in alt to the top . . i — 5 — 8 — 12 — 15 c'— g= — c* — ^g* — c^. 1 125. In the Bass and Tenor octaves the above composition is identical with that used by Harris in the fine organ at Doncaster, lately destroyed, excepting that a 15 is substituted for the octave Tierce. The composition from Middle c"}j! to Treble f is also the same, with the exception of the substitution of a 22nd for the Tierce. The Fifth at c' in alt, introduced after the manner common in German Mixtures, should be scaled and voiced as a Dulciana, when the Double is a Bourdon. It is a noteworthy fact, that scarcely any of the old organs contain a 22nd in the Treble, even when there are as many as six ranks of Mixture. The writer has not met with it in the Treble of any of the organs by Smith, Harris, Snetzler, or England, that have come under his notice ; and he has only met with it in one of Green's, namely, that in St. Katherine's Church, Regent's Park, and there it stops at Treble c". 1 126. The omission of the 22nd from the Mixture compound in the Treble of old organs, and the occasional appearance of the misproportion in that part of those instruments, seem to have arisen from three causes : — (i) the omission of Doubles, which deprived the Treble of all depth of tone, and so prevented its successfully resisting the upward-directing influence of the octave Fifteenth ; (2) the non-return of any Mixture rank to the unison tone, which further militated against the effectual balancing of the acute rank in question ; and (3) the com- paratively few intervals left to which the broken ranks could return, and which therefore were certain to be thrown out of proportion with the unison the more they were doubled. 1 127. In the organ at Newcastle-on-Tyne, built by Renatus Harris, and also in that at Halifax, by Snetzler, an Open Diapason rank, however, as well as a Principal, is comprised in the Mixture compound, in the Treble. 1 128. In "compounding two separate Mixtures, the same attention should be paid to the preservation of the proportion in the Bass, and the regular dupli- cation of the ranks in the Treble, that has already been bestowed on the single Mixtures. 2/2 THE COMPOSITION OF THE MIXTURES. CC to Middle c' . - . , Middle c ' Jt to Treble c= Treble c^# to f^ above Treble P# to bMn alt . c' in alt to the top . , VII. COMPOSITIONS FOR a Full Mixture, III ranks, 15 — 19 — 22 8 — 12—15 I— 8—15 I— 8— IS I— 8—15 and a Sharp Mixture, III ranl-stem is usefiiL For the Treble Reeds of large organs the hea\-y pressure system is often very desirable. The tendency to weakness as the scale ascends was obser\-ed by the Dutch and German builders, nearly two centuries since, who proceeded to rectify it by ftimishing the leading Manual Stops of their organs with two Pipes to a key from Middle c. Fiddle g, or e\-en Tenor c upwards ; and also by increasing the number' of ranks in the upper part of the Mixtures, as at Haarlem, Rotterdam, Amsterdam, Hamburgh, «S:c. The repetitions which occur in the Treble of the Mixture Stops also exercise a material influence in that direction. The increasing pressure system attains the same end without such re-duphcations. At the same time, all the proportions which ha\-e already been detailed, and the duplication of all larger ranks before smaller ones must be duly observed, otherwise it is not in the power e\-en of a heavy wind to secure a well-balanced effect 1 1 39- The Comet is a ver\- usefiil Stop for a large organ to contain; and it is frequently the only Stop that contains a Tierce, as at Doncaster. The Comet was originoUy used for giving out the melody of a Chorale upon ; and hence was usually only a Treble Stop in Fnglish instruments ; but in Germany, where the Canto Fermo is finequently announced in the Tenor, d la Bach, it generally descends to Tenor c or even to Tenor CC For a large organ the Comet is also useftil in another way. Not having any " breaks "' itself, it covers up those in the other Compound-stops ver)- effectively. It is sometimes made to increase or "progress" in the number of its ranks, — from two to three, and three to four, — in the following manner : — CC . . IS — i; Tenor c . . i2 — 15—17 Middle c» . . 8—12—15—17, or it is made to consist of S — 1; — 15 — 7 from Tenor c upwards. ■ 114a In regard to scale, the Mounted Comet is larger than the Open Diapason ; the I*rincipal and Twelfth tanks being three Pipes larger, and the Fifteenth and Tierce two Pipes larger, with narrow mouths, arched lips, and \-oice of a flute-like quality of tone. 1141. Herr Frani Weber, the excellent organist of Colt^ne Cathedral, con- stantly uses the Mounted Comet as an accompaniment to the priests' voices. 1142. As the Mixtures of many of the old English builders ha\-e been so frequently referred to in the present chapter, the composition of some of them may prove interesting to many readers, and are thereftwe subjoined. SMITH. (Temple Clutrdi,) 5«sqin-ahen, III naks. Bfixtuxc^ III and II ranks. CC 17 — 19—23 :; — ^26 — ^29. Tenor cS. . . . 17-19—22 19—22. Middle c>f. . . 15—17—19 1:^—15. TrrfdeC* . . i=— 15— 17 12—15. TteUeP^ . . . S— 12— 15 i:— 15. H.\RRIS ASO BVFIELP. {Dottttuter CkHixk.) Tieice. Scsqna-aSleiai, V lanks. CC to Middle b. . . 17 19— r::— 14— 26— 29. Middle c'i to the top. i" ... S— i:— 15— 17 — 19. F F 2 2/6 THE COMPOSITION OF THE MIXTURES. SNETZLER. {Si. Mary's, Nottingham^ C C to Fiddle g . Fiddle gjf . Middle g'jt Sesqul-altera, IV ranks, i; — 17 — 19 — 22. 12 — 15 — 17 — 19. 8 — 12 — 15 — 17. GREEN. (Rochester Cathedral?) Sesqui-altera, III ranks. Mixtnrej II ranks. CC 17—19 — 22 15 — 19. Tenor c .... 17 — 19 — 22 12 — 15. Fiddle g . . . . 15 — 17 — -19 12 — 15. Middle c' . . . 12 — 15 — 17 8 — 12. GREEN. (St. Katherin^s, Regent's Park.) Sesqui-altera, III ranks. Mixture, II ranks. CC 17 19 — 22 22 24. Fiddle g . . . . 17 — ig — 22 17 — 22. Middle c> . . . 15 — 17 — 19 17 — 22. Treble c" . . . 12 — 15 — 17 iS— 17- CC . . . Gamut G . Tenor c . Tenor . . Middle c' Middle f Treble c" . ENGLAND. (Lancaster Chtirch.) Sesqui-altera, IV ranks. Mixture, II ranks. 17 — 19 — 22—26 24 — 29. 17 19 22 26 , 22 24. 17 19 22 26 • ig 22. 15 17 19 22 19 22. 8—15—17—19 15—19- 8 — 12 — 15 — 17 15 — 19. 8 — 12 15 17 12 15. The Mixture-work in the Newcastle-on-Tyne organ, made as long back as the year 1676, includes an Open Diapason rank in the Treble, and is of the following composition : — NEWCASTLE-ON-TYNE MIXTURES, BY HARRIS. Tierce. Sesqui-altera, II ranks. Mixture, III ranks CC . . . . 17 . . . . 19—22 . . 24—26 — 29. Middle c^# . 17 . . . . 19 — 22 . . 17 — 24—26. Middled' . . 17 . . . . 19—22 . . 15—17—24- Middle a' . . 17 . . 1—8 . . 15—17—24- Trebled' . . 17 1—8 . . . 12— 15— 17. THE COMPOSITION OF THE MIXTURES. 277 builder, induded two Open Diapasons, two Principals, and a Qxmi. The follow- ing is the scheme given : — * ST. PETER MANCROFT MIXTURES, BY HARRIS. Tierce. Laiigoc Sesqni-altera III lanks. iGsture, II lanks. Fmnitnie, III ranks. cc . . . . 17 • • 19 • 19 — 22 — 26 . 29-33 • 22 — 26 — ^29. ff;. . . 17 • • 19 ■ . 19—22 — ^26 . 29—33 . IS— 19— 22. Tenor c^ . 17 • • 19 • 12—15 — 19 • 22—26 . 15—19—22. Tenor fi . 17 ■ • 19 • 12—15—19 . 22 — 26 . 8—12 — 15. Middle cS 17 • • 19 • 8— 12— 15 . 19—22 . 8— 12— 15. Middle PS 17 . - 19 • 8— 12— 15 . 19 — 22 . I— 8—12. Treble c^-. 17 • . 19 . 1-5-8 . 15—19 . I— 8—12. Snetder also incorporated an Open Diapason rank in the Treble of his Mixtures at Hali&x. The composition he adopted was as follows : — HALIFAX illXTURKS, BY SJfETZLER. Sesqai-^tera, JV lanks. Fmaitnre, III lank^ cc. . . . 15— 17— 19— 22 . . . . 22 ^26 — 29- Tenor c . . 15—17—19—22 . . • • 15—19—2^- Middle c' . 8 — 12 — 15 — 17 . . . . 13—19—22. Middle g- . 8 — 12 — 15 — 17 . . . . 8— 12— 15. g= in alt . . I— 8 12—15 • • . . 8—12—15. 278 THE EXTERIOR ARRANGEMENT OF THE ORGAN. CHAPTER XXXVII. THE EXTERIOR ARRANGEMENT OF THE ORGAN. The Organ-case. 1143. THE two great desiderata in an Organ-case — the one deferring to its appearance, the other to its influence on sound — are, that it should correspond in style with the building in which it is erected, and that it should impede the egress of the tone as little as possible. 1 1 44. The most appropriate style for a church Organ-case, generally speaking, is one of the periods of the Gothic ; because in some one of those the great majority of our finest ecclesiastical edifices, both ancient and modern, are built. No authentic examples, however, of Cases in this style of early date are known to exist in England. In Germany a few still remain. One of the most beautiful is in the " Marien-Kirche " at Liibeck, at the west end of the building. It con- sists of three main compartments, flat ; the centre one being the largest, and containing the 32-feet tin Pipe. The main compartments are separated by two subordinate ones, containing smaller Pipes. All the front Pipes are of pure tin, burnished, and slightly but exquisitely diapered about the mouth ; and the Case of some dark wood, has a great quantity of carved and gilt work about it, which gives a gorgeous effect to the whole. Underneath, it is groined, and handsomely illuminated and gilded. 1 145. There was an old Organ-case existing in Tong Church, Shropshire, towards the end of the last century, ornamented with " tabernacle work." That at Radnor has already been described. The old Cases at Exeter, Shrewsbury, and Cambridge, are Italian in their detail. So also are those made by Smith and Harris, immediately after the Restoration. Literal copies of these are there- fore unsuitable for churches of pointed design ; even though the originals may stand in buildings ^erected in that style. Nevertheless, many of the specimens just referred to possess an air of great dignity, as well as considerable beauty and elegance of outline. Their various compartments are often very finely proportioned ; while their relative sizes have been adjusted to each other with consummate judgment and taste. In most of the old organs the largest Pipes of the original work, — i.e., the lower Pipes of the Open Diapason, — are almost always found in the front of the Case, in the Towers. They were originally placed there for two reasons : (i) to impart dignity to the general appearance of the instrument, and (2) to secure for them plenty of speaking room. The larger the Pipe, the greater is the gust of wind emitted from its mouth ; and conse- quently the more space must there be in the vicinity of the mouth to admit of the Pipe speaking clearly and firmly. By mounting the large Pipes in the manner already noticed, they not only had plenty of this necessary room, but, from the direction in which their mouths were turned, they could produce their sounds freely, without encroaching on the speaking room inside the case necessary to ensure the correct enunciation of the interior Pipe-work. 1 146. In some modern organs the Case has been made with carved wood- work in front, instead of Pipes, giving the instrument a " shrine-like appearance." THE EXTERIOR ARRANGEMENT OF THE ORGAN. 279 If a Case of this kind is proposed — although it is not clear what may be the merit of making an organ look like what it is not — additional space should be allowed inside for the accommodation of the dismounted Pipes ; for if one Pipe be placed too near to the back or side of a second, so that its mouth becomes shaded, the tone of the former will become muffled and flattened in pitch ; or, if the mouth of one Pipe be placed so near to that of a second, that, when both are made to speak, the current of air emitted from the one intersects that from the other, the tone will be false and tremulous. The organ-builder's greatest care is required to guard against the appearance of these casualties, even when circumstances are most favourable ; but when standing and speaking room have to be found inside for several additional and large Pipes, without the necessary extra space being allowed internally, the organ-builder's difficulties, and the chances of the tone of the organ being unequal, are unnecessarily increased. 1147. The principle of arranging large Pipes with their mouths turned outwards has in several instances been carried farther by the modern organ- builders than by their predecessors, and with equally good results. The Pedal- organ is usually planted either at the back of the instrument, or it is divided into -two portions, and a part arranged at each side of the organ, just inside the Case. When there is sufficient clear space outside the Organ-case in the vicinity of the Pedal-organ, the larger Pipes of that department are often turned round and made to speak through openings or gratings in the case made for the purpose : as at Christ Church, Newgate Street ; St. Olave's, Southwark ; St. Peter's, Cornhill ; &c. This plan is a very good one, not only because it prevents the possibility of the tone from the large Pipes being smothered and uncertain, but also because it admits of some of the other inside Pipes being planted close to them, back to back, as at St. Olave's, Southwark, whereby a great saving of room is effected. 1 148. In a few instances the Organ-case has been made with Metal Pipes at both sides, as well as in front ; as in the instrument recently destroyed at Croydon Church, built by Avery in 1794 ; and also in that at St. Katherine's Church, Regent's Park, by Green. Organs on a central screen mostly have an east and west front, not simply for ornament, but to allow the tone to travel .up and down the building. 1 149. It would greatly add .to the beautiful appearance of the organ, as well as be beneficial to the quality of some of its tones, if the front Pipes were to be made of pure tin, and the natural lustre of the material to be left unobscured ; instead of their being formed of an inferior compound, and then gilded or painted. This improvement might be the mor£ easily effected, since the sum necessary to defray the cost of gilding, &c., added to the value of the metal Pipes of lower standard, would probably be sufficient to secure substantial Pipes of the more handsome and durable material. Moreover, the bright metal Pipes, by catching and throwing back the rays of light, after the manner of a r&flector, would relieve the appearance of the organ from some of the dulness it wears in the dismal corners to which it is too frequently consigned. The Manuals and 1150. The width for a Manual that ranges from CC to f Pedals; their width; j^^ ^j. 54 keys, is 2 feet 6 inches. For the Pedal-board there :rio„ttgarTro:ich is m England, at present, no fixed width; which is a circum- other. Stance much to be regretted. On this subject Dr. Burney wrote, eighty years ago :— ".Scarcely two organs in the kingdom have their Pedals alike, either with respect to number or position ; so that every performer who comes to an organ with which he is not previously acquainted (be he ever 28o THE EXTERIOR ARRANGEMENT OF THE ORGAN. so skilful in the use of Pedals), has the whole of his business to learn again." The want of uniformity complained of by Dr. Burney, as existing in his time, remains in full force in the present day. ,1151. The natural Pedal Keys should, if possible, be a good inch in thickness ; about 20 inches in length, and from 2 to 2^ inches in depth. If they are either too narrow, too long, or too shallow, they will have a tendency to spring. Their upper surface should not be much rounded off towards the sides ; as in that case the foot would only touch the crown of the Pedal. The angles, however, would of course be bevelled off, to remove splinters, &c. The upper surface is sometimes rounded to assist the foot in slipping from one Pedal to the next ; but this is reversing the order of things. The Pedal should be constructed to retain the foot steadily and firmly. It is the organist's province to be able to change from one Pedal to its neighbour with facility, when necessary. 1 1 52. The two great points to be observed in the construction of a good Pedal-board, are, that space shall be economised as far as is practicable, in order that as complete a compass as possible may be secured ; and yet that the Pedals be not placed so closely that they can only be made of the thickness of mere sticks. 1 153- A good medium scale is obtained by planting the Pedals so that the naturals measure 2| inches from centre to centre. This is about the scale adopted by Mr. Hill, among other builders ; and it admits of the introduction of a complete compass of Pedals without throwing the upper keys so much to the right as to be out of reach of the performer. In Germany the Pedals usually measure as much as from 3I to 3J inches from centre to centre ; while in England they are as frequently placed too closely together. 1 154. The Pedals are more agreeable to play upon when the naturals are about half an inch higher at the back (under the stool) than at the other end : the heel of the foot then sooner reaches the key. The upper part of the short Pedal keys, which need not be more than five inches in length, are also the better for not being quite level. They should slightly incline upwards as they recede ; leaving the front or lowest part about an inch above the neighbouring part of the naturals. When so shaped they meet the point of the foot more accurately. A frame should run across beyond the short Pedal keys, to serve as a foot -rest ; but not at the sides, as it would be in the way of the extreme keys. 1155. Several experiments have at various times been made with the view of bringing the Pedals more conveniently under the control of the performer. In the organ at York Cathedral, erected in 1829, Mr. Hill made the Pedal- board on the radiating principle. In Germany, the Pedal-board is frequently made concave in shape — i.e., the Pedals to the extreme right and left are made to rise gradually in a curve. 1 1 56. Lately, Willis of London, and Heinrich of Cologne, have been making Pedal-boards in which it has been the object to combine the pecuUarities of the radiating with the concave principle. 1 1 57. The Manual keys should not be too short in front of the centre, otherwise the touch will be too shallow and too heavy. On the other hand, they should not be too long, otherwise the touch will be too deep, and most likely also destitute of firmness. About | of an inch is a very good and a fair average depth for the Great organ keys to fall. All the Manuals, however, seldom descend to exactly the same depth. The performer, nevertheless, soon accommodates himself, for ordinary purposes, to a rather deeper or slightly more shallow touch than the average one, or even to one that is a degree heavier THE EXTERIOR ARRANGEMENT OF THE ORGAN. 28 1 or lighter than usual. The condition of the greatest importance to him is that, whatever be the general depth and resistance, all the keys on a Manual shall be alike in both these respects. If one key requires more power than its neigh- bours to press down, or descends lower, or not so low, the playing is rendered more difficult by such vexatious inequalities. Check-springs are a prolific source of unequal resistance. 1158. A springy resistance of greater or less amount, according to circum- stances, is all that the finger or foot should have to overcome. Unequal, stiff, or sluggish touches are all defective. A little allowance, however, may fairly be made in favour of lately renovated or newly constructed organs. In new mechanism of all kinds there will "be a little friction at first, in proportion to the accuracy with which it is made ; and the mechanism of an organ offers no exception to the rule. If the key-movement works " too easy " at first, it may rattle after a few years' use. 1 1 59. When the Manual Couplers are 'drawn, the resistance offered by the chief Manual to the finger will of course be increased. The touch, however, should still preserve its elasticity. Sometimes a very disagreeable grating sensation is experienced by the finger, as though the Coupler-stickers were working through scouring-paper. 1160. With regard to the arrangement of the Manuals, the best and most generally received plan is that of placing the one belonging to the Great organ in the middle ; with that of the Swell three inches above, and that of the Choir as many inches below. Sometimes, to lessen the distance to which the upper Manuals recede behind the lower, the front of the Great organ keys is made to project over those of the Choir about an inch and a half; and those of the Swell to stand forward in the same manner and to the same distance over the Great organ keys. There are two ways of doing this : either by making the beading in front of the keys take the form of an ogee projection ; or by bevelling away the under side of the key, upwards, commencing about an inch from the front, as in the Birmingham and St. Paul's (Dome) organs. The latter plan is the best, as the hands can then be raised from one Manual _to the next without danger of striking the knuckles. 1 161. For the Pedals, thirty-one inches below the Great organ Manual is a convenient position. The centre C of the Pedals — that is, the middle one of the three bearing that name — should be planted directly underneath the middle c' of the Manuals ; and the front of the short keys should come just under the front of the Great Manual short or black keys. 1 162. In many organs the Pedals are placed too far from the Manuals, and often also too forward. The organist should be able to use either of the three Manuals or the Pedals freely, without experiencing the slightest tendency to fall from the seat. This firmness of location and command over the instrument will be secured, if (i) the Pedals are placed at twenty-eight inches from the Choir Manual, with the front of the short keys placed as already described ; (2) if the stool be arranged at a distance of twenty-two inches above the Pedals ; and (3) if the stool be placed about six inches in front of the Choir Manual. 1163. When seated at the organ, the feet should be suspended immediately in front of the short Pedals. If, when seated at a distance of twenty-two inches above the Pedals, the Manuals appear too high — ^or if, on increasing the height of the stool so as to bring the Manuals more under command, the feet are too far from the Pedals, it is a proof that the Pedals are at too great a distance from the Manuals. If, after placing the organ-stool in such a position as will allow of the free use of the Pedals, the Manuals are too far off — and if, on 282 THE EXTERIOR ARRANGEMENT OF THE ORGAN. adjusting it so that the Manuals are within convenient reach, the feet hang over the short Pedals — this shows that the Pedal-board is too forward. The Organ-stool. 1 1 64. It adds much to the comfort of playing if the top of the Organ-stool be made of a good width, as it enables the player to sit with more firmness at the instrument. For this purpose it should be made about fourteen inches in width, and should not incline downwards towards the front, as this has a tendency to make the player slip forward when actively employed. For the same reason it is better not to cover the seat with a smooth substance, as certain kinds of leather or horse-hair cloth ; but simply with either a piece of carpet, or with rough leather, with a little stuffing. The plain wood is often left for the top. In such case, it is much better for it not to be polished. 1 165. In the top of the stool one or two drawers can be conveniently intro- duced, which are always useful to hold music or books. A rail across, under the stool, from end to end, about four inches above the Pedals, and five or six inches from the front, wiU be found a great convenience for resting the feet upon ; as the frame under the composition Pedals is too far off for constant use. The Swell Pedal. n66. The Swell Pedal is not at all times conveniently placed ; it frequently being too high and too forward. About seven inches above the Pedal-board will be found a very convenient position for it. Some- times it is so arranged that when the Swell is fixed open it crosses the upper short keys of the Pedals. This, of course, is not good. It might conveniently be made to project parallel with the Composition Pedals, so as to meet the foot, instead of through the jamb ; and in such a position that when fixed down it would lie over some place where two naturals come together ; as, for instance, over the upper e and f of the Pedals. On fixing open the Swell, it would then be far less in the way of the Pedals than it frequently is when it projects from the side. 1167. When the Swell Pedal projects from the side, and the leg has to be turned out so much before the Pedal can be got at that the position of the body at |he keys becomes disturbed, it is a proof that the Pedal is too forward. If the thigh-joint as well as the foot has to be raised before reaching the Pedal, it is an indication that the latter is too high. Sometimes the organist has to throw his body backwards in order to preserve his equilibrium ; or to place his thumbs on the beading in front of the keys, to prevent his falling forward. Either inconvenience is the consequence of some misarrangement in the region of the keys. Either the Swell Pedal will prove to be too high or too forward ; or the stool or Pedals will be too low or too forward. The Music-desk. 1168. It is a matter of great convenience to have the Music-desk properly adjusted. When there are three Manuals, the desk should not be farther back than the front of the Swell keys, and it may be placed nearly as forward as the front of the Great Manual. It is a great fault if the desk is placed at the back of the Swell keys, as, from this cause, the Music is needlessly carried five or six inches farther from the organist than there is any occasion for, and nearly as much too low also ; thus rendering it necessary that he should look down upon the Music, instead oi forward at it. The Composition Pedals. 1169. The Composition movement should be of the "double-action" kind. The Pedals which operate upon them are sometimes made to project in a line with and just above the German Pedals ; at other THB EXTERIOR ARRANGEMENT OF THE ORGAN. 283 times from the sides, like so many long Swell Pedals. The former is not only the most neat, but the most convenient arrangement. It is a good plan to place the Composition Pedals immediately over where two naturals come together, as there is then no chance of the heel touching a short key when either of them is being pressed down, or they can be kept up a little higher to prevent this accident. The Composition Pedals should not remain down so as to be in the way of the short Pedal Keys. The arrangement of the 1 1 70. The Draw-stops should be SO placed that they raw- tops. ^jjj ^^^ pjjjy ^g under the convenient control of the player, but also present a handsome and symmetrical appearance. 1 171. In many of the old English organs half the Stops belonging to each department are arranged on each side of the Manuals. A great number of the German and other Continental organs also have their Stops assorted in a similar manner. The plan, however, is not by any means a good one, as it apportions the Stops into twice as many divisions as there is any occasion for, without serving any beneficial result. 1 172. A far better arrangement is the modern English one of placing all the Stops of each department together, as the contents of each division can then be so much more easily distinguished from the rest. 1 173. Besides keeping them separate, as above, the Stops of each department should further be placed where they can be combined or changed with the least difficulty to the performer. With a view to the attainment of this end, it is important to bear in inind the two following facts : (i) that, as a rule, the left hand can be more easily spared for a moment than the right ; and (2) that the Great organ Stops are more frequently brought under the control of the feet of the performer by means of Composition Pedals than those of any other department. 1 174. The right-hand side is therefore the best side on which to place the Great organ Draw-Stops, as they can be drawn in or out, in all the ordinary and most frequently required combinations, without any assistance whatever from the hand. 1 175. The Swell and Choir organ Stops are not nearly so often acted upon by Composition Pedals. Moreover, as the numerous delicate shades and varieties of tone are produced from those departments chiefly — ^leaving ihe Great organ for the broad contrasts — the left side appears the most proper one whereon to place their Draw-stops. As the bass part of the music can be continued by the Pedals, the left hand can, with a little contriving, be for a moment spared for effecting the necessary changes in the combinations, without in the least degree disturbing the progress or completeness of the music. 1 176. The Pedal organ-stops and the various Manual Couplers might be placed on the right-hand side, with a view to securing as nearly as possible an equal number of Stops on both sides of the keys, which is always desirable. But the Pedal Couplers should, whenever practicable, be ranged on the left-hand side, to facilitate the making of those quick changes from one Manual to another that are so constantly required in accompanying the musical Service, as well as in solo-playing. 1 177. If there is a large Pedal organ, it will be advisable to have some contrivance for reducing the full Pedal organ to a few 16 and 8 feet Flue Stops of soft intonation, to form a Pedal Bass to the Choir or Swell. This can either be a Composition Pedal, or, by placing all the louder Stops on a second Sound-board, and introducing a valve into the second Wind-trunk — as is 284 THE EXTERIOR ARRANGEMENT OF THE ORGAN. ordinarily done in small English organs which have only " Pedal Pipes " by way of Bass— they can then be silenced by shutting off the wind. A third plan would be to have a movement, worked by the hand or foot, to disconnect the action of the loud-stop Sound-board from the Pedal. If a "Ventil" be introduced, and it be intended to work it by the hand, the ;handle should be placed near to the Great Pedal Coupler, that both ma:y be changed together. 1 178. In arranging the places for the several Stops of any one department, it is best, first, to keep the Reed and the Flue-stops quite separate. The Reed Stops should be placed above, and the Flue Stops below. 1 1 79. Next, the members of the different classes of Stops should be arranged . according to their standard length or their size of tone ; giving to the largest the lowest positions, and the smallest the highest. According to this rule, all the Flue-stops of 16 feet on the Manual, as being usually the largest, should occur at the bottom, with those of 8 feet next ; and so on through the series in regular gradation. And the same with the Reeds. The disposition of even a large organ may soon be learnt, as well as the places where the several Draw-Stops are to be found, when the latter are arranged in a methodical and intelligible manner. As an example, the size and comparative completeness of any of the German organs described in the Appendix, may at once be ascer- tained from a perusal of the list of its contents arranged in the simple manner there given. 1 1 80. The several Draw-Stops are generally arranged in single, double, or triple vertical rows on each side of the Manuals, according to their number and the size of the organ. The Draw-stops of the organ in Cologne Cathedral are arranged in four horizontal rows ; and so are those of many other Continental organs. At Westminster Abbey, the Draw-stops are also placed in this manner. Regarding the best method of distinguishing such Draw-stops as belong to one department from the remainder, this matter must necessarily depend in some measure on individual circumstances. 118:. In small organs of two Manuals, the Great and Swell-stops are generally arranged so as to form each a separate row ; one on the right, the other on the left. An ivory or brass plate inserted above each row, bearing the name of the Clavier to which that tier belongs, is in that case all that is required to mark the requisite distinction. This plan of identifying the Draw- stops with the Clavier to which they belong is far preferable to that of crowding such announcement on every individual Stop-handle, in addition to the name. The less there is engraved on the knob besides the name and length of the Stop, the better. What is engraved not only then appears more distinct, but there is then room to cut it in a bolder and more legible type. 1 1 82. If the Draw-stops are intended to be placed in double rows, it will be found a convenient arrangement to let the Swell-stops comprise one portion of the two tiers on the left-hand side, and those of the Choir the remainder. The list of contents of each department is then brought within much more convenient range of the eye than when extended over a long tier of Draw-stops. In that case, the Swell-stops should occupy the upper position, and the Choir the lower. This arrangement also presents an analogy with the situation of the respective Manuals. 1 183. When the Draw-stops are numerous, they are frequently arranged in triple instead of double rows. This plan is a good one, as it prevents the tiers becoming inordinately long, and, therefore, keeps the upper Draw-stops more within reach. The best method of then classifying the Stops is to make those belonging to one department occupy the upper portion of the three rows, and THE EXTERIOR ARRANGEMENT OF THE ORGAN. 285 those of another, the lower. A little extra space, if possible, left where those of one Clavier leave off, and those of another begin, in addition to the engraved plate, will be found most advantageous in making the point of separation more distinct. 1 1 84. Other means are sometimes taken in addition to those already mentioned for distinguishing the Draw-stops of each department. Thus, in addition to their being arranged in tiers or in clusters, the ivory plates in the face of the Stop-handles of some of the departments are sometinies stained red, blue, green, or some other colour. If colours be used, for which there is no absolute occasion, they should be of the lightest possible tint, or they will render the inscriptions indistinct. Different substances are also occasionally used for the name plates, for increasing the distinction ; as ivory for those of one department, mother-of-pearl for a second, porcelain for a third, tortoise-shell for a fourth ; and so on. These, however, give to the general appearance of the Draw-stops a motley effect ; as the colours, if deep, give them a heavy and patchy appearance. Another plan is to have the names of one department on each side printed in black, and the other in red. This has a light and handsome effect, particularly when the character chosen is the old church text. The red-lettered labels should be above, and the black below. Every Stop should have its name engraved on the handle, in preference to being placed over or at the side of it ; as this prevents the possibility of the inscription being by mistake read as referring to any other than the right Draw-stop. The names are sometimes engraved on plates of zinc or brass, and inlaid ; but those metals soon become tarnished. Many organs have the names of the Stops printed on pieces of paper, which are pasted on, near to the handles ; but such labels are apt to become soiled or rubbed off, and at the best present but a mean appearance. 1 1 85. The head of each Stop-handle is usually tvurned out, and a plate of ivory or some other bright material inserted, bearing the requisite inscription. 1186. The inscriptions should be engraved boldly and legibly. For this reason, italics with long flourishing tails to the g's, &c., should be avoided, as not being so easily deciphered. Capital letters are the most appropriate ; and those of the Egyptian, German, Old English, or modem English character are available according to taste. Old English text for the names has a handsome appearance, and is particularly appropriate for church organs. It is better to have the names engraved in horizontal lines rather than in a circle, following the outline of the plate. It is then deciphered more easily and more quickly. 1 187. In connection with the question of distinctness of labelling, it may not be out of place to mention, that the person who plans the organ, will most probably have also to decide on the nomenclature for the Stops. When settling this by no means unimportant matter, it will be well to bear in mind the purpose for which the labelling is introduced at aU ; namely, to assist and guide the player. To carry out this object, the labels should describe in a simple and as clear a manner as possible the Stops to which they apply. And to faciUtate this end, names in English would appear to be clearly the best for EngUsh organs, whenever they are applicable. Sometimes, however, it is preferred to call the Stops after some Continential fashion. When this is done, care should be taken to apply the names, so that an organist or organ-builder from the country whence the terms are derived shall understand them. This necessary precaution has not always been attended to. 1 1 88. It is of importance that the Draw-stops should move with freedom, and noiselessly. A stiff and stunted Draw-stop action is most disagreeable. If, however, the Table of the Sound-board is covered with leather, — i.e., if the 286 THE EXTERIOR ARRANGEMENT OF THE ORGAN. Sliders work upon leather, — they will move rather stiffly at first, until the leather has become tolerably smooth, for which stiffness some allowance should be made. 1 189. From 2j to 3 inches is a good distance for the Draw-stops to move backwards and forwards. 1 190. The Draw-stops, whicl^^ are better for being of a good medium size, should not be placed too closely together. If the knobs are ij inch in diameter, with ivory plates i| inch wide, and have the inscriptions cut in letters /j of an inch high, they will have a bold and handsome appearance. THk INTERIOR ARRANGEMENT GF THE ORGAN. 287 CHAPTER XXXVIII. THE INTERIOR ARRANGEMENT OF THE ORGAN. The buading-frame. 1 191. THE building-frame that is to support the entire organ should be very strong and substantial, and should be so constructed as to resist the great weight and pressure of the sound-boards and Pipes without sinking or giving in any manner. The platform. 1192. It is not a less important and necessary precaution to see that the platform — when the organ is to stand on one — is not only fully capable of supporting the entire weight of the instrument, but also that of any assembly that may be gathered around it from time to time ; — as the members of an orchestra and chorus in a concert-room, or the choir and children in the gallery of a church. Instances are known where this preventive course has not been sufficiently taken in music-halls ; the consequence being that, while the organ is entirely free from cipherings and stickings at all other times, during concerts it is subject to both. 1 193. With regard to the general arrangement of the interior of an organ, the sound-boards and other main portions of the work would be distributed chiefly according to local circumstances. The distribution of the 1 1 94- The most usual positions assigned to the different sound-boards. sound-boards in English organs were mentioned on page 4, and need not therefore be again described here. 1 1 95. In some German organs, occupying a very broad, high and shallow site, the " 8-feet Great organ " {Haupt-manuat) is placed in the centre, with the "4-feet Choir" above {Ober-manual), and the " i6-feet Pedal" half on each side ; the largest Pipes of the " Principal " of each department, 8, 4, and 16 feet, being placed in the front of the case. 1 196. In the organ at St. Peter's Church, Cornhill, built by Hill, the large Swell is placed over the Great organ, resembling in this respect the arrange- ment just mentioned ; and when a church is very lofty, or an organ is to stand at a great elevation above the ground, the Swell may be placed in this manner, without producing any disadvantageous effect ; but rather the reverse, provided it be kept well up at the same time. The under side of the Swell sound-board then acts as a sort of reflector to the Great organ, and directs its tone into the church before it is too much spent. The old English builders frequently put a top or covering to the case of their cathedral organs for the above-mentioned purpose : as at St. Paul's Cathedral. 1 197. In other German organs where the site is about the same width as before, but lower and .deeper, the Choir organ is placed in the centre, with the Great organ, divided, flanking it on each side, and the Pedal behind. The object in placing the Great organ partly on each side, rather than in the centre, no doubt, was to prevent its force being too sensibly felt at the keys. Other plans were sometimes adopted 288 THE INTERIOR ARRANGEMENT OF THE ORGAN. by the old English builders for shielding the organist from the full strength of the instrument ; such as keeping the impost of the case high, or placing a passage- board completely across the front, between the Great organ sound-board and the front pipes, as was originally the case at St. Michael's, Cornhill. When there are three Manuals, the third Manual organ is frequently placed "in front," as it is termed in England ; but " at back," as they say in Germany, where that division is hence called Ruckpositiv (Back-choir). In very large instruments, the Pedal organ frequently occupies three separate sites, forming what are called " side Pedal Basses," and "back Pedal Basses" — an English example of which arrangement will be found in Mr. Hill's organ in St. Paul's Cathedral ; or, where the largest metal " Principals " appear in front of the case, a four-fold division of the Pedal will sometimes be met with, forming " front Pedal Basses," " back Pedal Basses," and " side Pedal Basses." Of this latter distribution, an English example occurs in the Town Hall organ at Birmingham, by Hill. 1 198. These particulars are given here, to show that an organ may be made to suit almost any site, provided only that the necessary room be allowed in some direction or other. The cause of the bad 1 1 99. English organs have frequently been found fault with, proportions of many ^^ account of their Square, solid, inelegant form, and their pro- Enghsh organs. . . . '^ ' ' ° ' , ^ , . jectmg SO far mto the buildmgs wherein they stand. But this has in almost every case arisen from the builder being, in regard to room, so much restricted in the direction of width and height. In churches which have west-end organs, this has been more particularly the case ; and for no better purpose than that of providing room for a mass of children up each side the instrument. In Continental churches, where the whole width of the west end is frequently devoted to the organ, much larger instruments project to a far less distance into the buildings than do the smaller instruments in English churches. 1200. It may be mentioned — ^as in some degree illustrating this point — that the performers in an orchestra are placed in comparatively a few long rows, from the correct supposition that such an arrangement has a more beneficial effect than if they were ranged in several shorter rows, behind one another, as though stationed on a wide staircase. For the same reason it will be conducive to the best musical result, if the organ be made broad, high, and shallow, rather than narrow and deep. 1201. In one or two instances the analogy between the interior arrangement of an organ, and the distribution of an orchestra, has been carried to a still greater extent in German organs ; for sound-boards have occasionally been made to slope upwards from front to back, like a concert-room platform, upon which the pipes have been ranged in terrace-form, and with the largest Flue-stops at the back and the smallest in front. It was in the organ at the Church of St. Maurice, at Halle, built by Schulze, that this last arrangement was for the first time practically brought to bear. Much room conducive I202. But whatever general arrangements may be Considered to the orderly arrange- ^^g^j ^^ ^^^j j ^^ Organ to a particular site, it will be of essential ment of the organ. ..^.^ ^,, , ,. service in a variety of ways, to allot as much room to the instru- ment as can conveniently be spared. 1203. One of the first things which arrests the attention of a visitor, on entering a modern German organ, whether of large or small dimensions, is the appearance of roominess which it presents : and this is speedily perceived to be accompanied by a very simple, yet orderly and systematic distribution of the several parts of which the organ is composed. THE INTERIOR ARRANGEMENT OF THE ORGAN. 289 The advantages of large 1204. The roominess is soon discovered to arise, in a great s. measure, from the ample size of the Sound-boards, which, even in instruments of ordinary dimensions, frequently measure 9, 10, and 11 feet in length ; and in large instruments, 15, 16, and even 17 feet from end to end. The orderly appearance of tlje Stops also is seen to result from the fact of the Sound-boards being sufficiently large to admit of their Pipes being placed " over their wind," whereby all compulsory recourse to the conveyancing off of Pipes is avoided. 1205. This plan — of planting all the pipes on the Sound-board — might at first sight appear to involve a great " loss of room," as the phrase goes ; but, on account of the admirable manner in which the Stops are sometimes planted, this is not the case to nearly the extent that might be imagined. The 8 and 4 feet members of the Flute-work are, in German organs, as in English, frequently of Tenor c compass ; and the way in which a Sound-board is sometimes laid out, so as to receive them, is as follows. 1206. The two Stops which form the basis of the Manual tone, corresponding to the English Open and Stopped Diapasons, of course extend to CC; and the twelve pipes which form the 8-feet octave of each are ranged in a single row. The room which they require for their accommodation, therefore, is in the direction of width rather than of depth. At Tenor c, where the pipes are little more than half size, the two 8-feet members of the Flute-work commence, and occupy the standing and speaking room now at liberty. For the sake of illustration, these may be supposed to be a Tenor c Gamba and a Tenor c Hohl-flote. To give to these two members of the Flute-work the effect of a complete range, when either may be used singly, the Hohl-flote is grooved into the Stopped Diapason in the 8-feet octave ; and the Gamba, which is usually of fuller tone than most English Stops of the same name, is grooved into the Open Diapason in the Bass octave. At about middle d'J, where the pipes of the four Stops will have become reduced to half dimensions, the single row plantation is discontinued in favour of the double row zig-zag plan, described in a former chapter ; and this arrangement is continued up to the top. In a similar way one or two additional 4-feet Flue-stops are also frequently worked in from the Tenor c groove upwards. 1207. From measurements taken of existing specimens, it was found that the average dimensions of a German Sound-board furnished with nine Stops, of which the following are the English equivalents : — Bourdon 16 feet tone Open Diapason. . . 8 feet Gamba to Tenor c . 8 feet Stopped Diapason . 8 feet tone Dulciana to Tenor c . 8 feet 6. Principal 4 feet 7. Twelfth 2| feet 8. Fifteenth 2 feet 9. Full Mixture, V ranks ; . 2 feet were 3 feet in breadth, from back to front, and 1 1 feet in length. 1208. If we may judge from their works, the old English builders attached as much importance to placing the pipes of their organs over their respective grooves as the Germans do in the present day ; for we find this system carried out in even their smallest organs ; the front pipes, and the largest pipes of the Stopped Diapason, frequently offering the only exceptions to the rule. They also followed the same plan in their larger instruments, as far as practicable ; hence it is no very unusual circumstance to find the original sound-boards by Smith and Harris, Byfield and Bridge, measuring 8, 9, and 10 feet in length. GG 290 THE INTERIOR ARRANGEMENT OF THE ORGAN. A Great organ Sound-board by the first-mentioned builder, furnished with the following ten Stops, viz. : — 1. Open Diapason 2. Stopped Diapason 3. Principal 4. Flute 5. Twelfth 6. Fifteenth 7. Sesqui-altera, III ranks 8. Mixture, II ranks 9. Cornet 10. Trumpet measured 2 feet 10 inches in width, and 9 feet in length. 1209. In the Dome organ in St. Paul's Cathedral, Mr. Hill introduced Great organ Sound-boards about 10 feet in entire length ; while, for the Pedal Basses, occupying the side wings and back, he provided others which are patterns for spaciousness and efficiency. 1 2 10. In some German Manual Sound-boards of the size indicated above, the grooves measured in the Bass octave i inch in width ; in the Tenor and Middle octaves, | of an inch ; and in the Treble octave and upper half octave, i- an inch. The pallet-holes were of one length throughout, namely, 1 1 inches ; and the grooves measured 3i inches in depth. The continuation of the pallet- holes at an unreduced length, in the 4-feet octave, was for the purpose of feeding the extra 8-feet Stops that commenced there ; and their further continuation in the Treble was to supply the large Mixture ranks, which there returned to an Open Diapason. 121 1. It may be added, that, although the Mixture included a duplication of the Open Diapason, Principal, Twelfth, and Fifteenth in the Treble, there was not ,the slightest symptom of sympathy, robbing, or unsteadiness in the speech of the pipes, when all the Stops were drawn. "Unoccupied space," I2I2. The difference between the sound-board measurements room'-"^^^"' ""' "'°^' J"^' quoted is not so great as many might have anticipated it to have been. This, however, is partly due to the Bass of the German scales being in some cases somewhat smaller than the English, concerning which more is said further on. But had it been otherwise, it can never be correctly said that "unoccupied space'- in an organ, within reason, is "lost room ;". since, next to the Pipes themselves, which are of course necessary to emit the primary sounds, free air is the most important element in the production of a resonant quality of tone. It is, indeed, true that English organ-builders have frequently been called upon to "get in" a great number of Stops into an unrea- sonably small space; and one cannot help admiring the manner in which they have frequently grappled with the difficulties which have beset them : at the same time, England is in consequence by no means destitute of organs that are nearly as crowded, and almost as destitute of resonance, as a broker's shop. It is a fact always worth the remembrance of those who would limit an organ- builder too strictly in regard to space, that one of the secrets of the good effect of many old instruments is their comparative emptiness. They have not only Pipes to produce tone, but breathing room to improve it. The AbM Vogler-s 12 13. Some notice should here be taken of Abbd Vogler's simplification system, "simplification System;" of which Seidel has given a brief account in his work on organ-building. (See Ewer's English edition, page 26.) " At the end of the eighteenth and the beginning of the nineteenth centuries," says Seidel, " George Joseph Vogler, the famous musician, composer, and organ- THE INTERIOR ARRANGEMENT OF THE ORGAN. 29 1 player (bom 1749, in Wurzburg — died 1814), tried to reform thoroughly the whole former mode of organ-building, an experiment in which he succeeded to a great degree. His system, aiming at a simplification of the whole mechanism of the organ, created great sensation at the time, and found as many admirers as opponents. All that was superfluous, inappropriate, or too costly, he endeavoured to do away with. First of all, he rendered the action simpler by arranging the keys (grooves) in their natural succession ; in consequence of which, the con- struction of the roller-board (key movement) became easier and simpler, and the touch lighter. Vogler's system was adopted in several places, and even now some organ-builders make use of it." Among- other Continental builders who construct their organs on Abbd Vogler's system, may be mentioned Schulze, of Paulinzelle, near Erfurt, who placed an instrument, so made, in the Great Exhibition of 1851 ; which organ was afterwards purchased, and erected in the Exchange Room at Northampton : while, in England, the same plan has for some years past been adopted by Kirtland & Jardine, of Manchester. Some disadvantages, as weU as advantages, attend the semitonal arrangement ; though, according to the account given to the writer by those builders in Germany and England who have had experience in making sound-boards on this principle — and of whose reports use is here freely made — the former are far outweighed by the latter. 1214. In Vogler's system, the grooves are arranged in their natural or semi- tonal succession throughout the Sound-board ; that is to say, the C C groove is placed to the extreme left, and the f^ in alt groove to the extreme right. The Pipes of all the Stops are arranged in the same order ; so that in the Open Diapason, for instance, the CC or 8-feet Pipe is placed to the left of the Claviers, and the 4-inch f^ in alt Pipe to their right ; the intermediate Pipes forming a graduated series. The end of the Sound-board to the right is there- fore left clear of all but small Pipes. 1 215. Among the disadvantages attendant on this system of groove arrange- ment, are mentioned the facts of the chief weight of the Pipe-work being thrown to one end of the sound-board and building-frame ; an increased consumption of wind taking place at that same end of the sound-board ; longer conveyances being required to the front Pipes to the right, or a special little sound-board for them, or " mute " Pipes instead of speaking Pipes. The additional weight, and greater consumption of wind at one end, however, have each their ascer- tained limits, like the greater tension of the bass strings of a pianoforte, and are provided against by a stronger building frame and larger wind-trunks, as the greater tension in a pianoforte is by stronger bracings ; while a diminutive sound-board rids the organ of long conveyances. 1216. The advantages attendant on the semitonal system of groove arrange- ment are stated to be as follows : — The Pipes, being chiefly or entirely planted on their own wind, speak more promptly and plumply, and with a firmer tone than if grooved or conveyanced. But few Pipes, if any, being removed from over their grooves, few, if any, conveyances are required ; hence a fertile source of loss of wind, hissings of escaping air, impediments to the wind from lodgment of chips, accidental damage of conveyances, and occasional repairs, are removed. The Pipes, when planted consecutively, have better speaking room. 1 2 17. Below the sound-board, the action being in a direct line from the key to the pallet, no rollers are required ; and there being no rollers, there are fewer centres, and consequently less friction. The direct-action thus secures a lighter touch, and more instantaneous response to the finger. The omission of the roller- boards clears the interior of the organ of those walls of mechanism which not only GG2 292 THE INTERIOR ARRANGEMENT OF THE ORGAN. impede the view of the instrument from front to back, but also prevent light pene- trating to its remote parts. The tone, moreover, has then more room to spread, and is not thrown back, as must be the case to some extent when two or three roller-boards are in the organ. Roller-boards being dispensed with, the remaining mechanism can be constructed or " set out " more compactly. There is also less liability to stickings in a radiating tracker movement, and less chance of its getting out of order ; or, if out of order, it is easier and sooner repaired. The movement, by reason of its greater simplicity, is less affected by changes of temperature ; and on account of its whole extent, from the key to the pallet, being under the eye, an organist can at once detect and remedy any trifling disarrangement that might arise. An organ built on Vogler's principle is more convenient to tune than one built in any other manner ; and a larger organ can be built on the simplification system without the necessity for the Pneumatic Lever Action, than on the ordinary system. The larger and more ample Sound-board will not increase the cost of the entire work, on account of the omission of the roller-board and numerous convey- ances effecting a saving in the expense. 121 8. Without waiting to discuss the validity of all the claims that are made in favour of the semitonal arrangement, or whether they are such as are likely to lead to the system in question superseding others, a few words may yet be said con- cerning certain situations in churches, in the construction of organs for which the semitonal groove arrangement seems to be peculiarly suitable. 1219. The semitonal system of groove arrangement seems to be well adapted for an organ that is to occupy some side or corner position ; from either of which points the sound would have to travel in two directions. Suppose, for example, an organ so made to be placed on the south side of a church, or in an organ chapel on that same side, with its back towards the south wall ; the back of the case would reflect the tone forward, — i.e., through and over the front, in the usual wayi and therefore across the church ; while the left side of the case would reflect it to the right, and therefore down the church. The srnall Pipes to the right would present no impediment to the sound of the large ones passing over them into the church ; while the side of the case, to the right, facing the church, by being filled with perforated panelling, or with Pipes, would facilitate the egress of the tone in that direction, at the same time that it would form an additional adornment to the instrument itself. Or, supposing an organ so constructed to be stationed at the •east end of the north aisle, or in a north chapel, with its keys towards the west, the sound would travel through the front, down the aisle, in the usual way, and through the right side, across the chancel and church. 1220. For a divided west-end organ, also, the semitonal groove arrangement appears to be very suitable. Passage-boards advan- I22I. It is very advisable that an organ should be well lhS°one.'" ""^ '^^^^ furnished with wide passage-boards. These will enable one to move about the instrument, either for purposes of tuning or for examination, without unintentionally disturbing any of the Pipes, or of injuring the mechanism. Moreover, they are indirectly of beneficial service to .the tone of the organ, by being instrumental in securing a free current of air round the various masses of Pipes on the sound-boards. The Pipes should be so 1222. The Pipes should be so arranged on the Sound-boards oneTare a'cceL'ible™"" *^^* ^^^ ^^^ ^^^ ^^ ^^^^ '^^ access for the purpose of cleaning, tuning, and regulating. If large and small Pipes be planted together in such a manner that the former present a barrier in the way of the tuner THE INTERIOR ARRANGEMENT OF THE ORGAN. 293 reaching the latter, a frequent and " unnecessary touching or taking Out of the Pipes" will have to be resorted to, which, as Seidel truly observes, is injurious ; as Pipes are soon bruised or bent. " Besides," he continues, " if a Pipe, after having been taken out, is not replaced exactly in its former position, it will sound too flat or too high, too strong or too weak." 1223. With regard to the construction of the Sound-boards, nearly all that was necessary has been said in a former chapter. The leathering of the table, which is so much dwelt upon in many foreign works on organ-building, is almost universally considered by English organ-builders to be superfluous, if the table, sliders, and upper boards are accurately adjusted to one another. Double grooves in the 1224. If there are many Stops on a Manual to be supplied, boards°advlsable °"" ^^ '^ better to. have two distinct grooves to each key in the Bass octave, than one larger groove and one great pallet ; and for this reason, — the large Pipes rapidly exhaust the wind from the groove, diminishing the pressure or density of the air therein ; therefore, when drawn, they have the effect of flattening the pitch of the Mixtures, destroying their brightness, and of making the Reeds speak slow. By introducing two grooves, the Unison and Double Diapasons, and Principal, can be placed on one groove, and the Twelfth, Fifteenth, Mixtures, and Reeds, on the other. The rollers would then, of course, be provided with two pallet-arms instead of one only ; or, if squares were used, their second arm should be furnished with a small cross-bar, to each end of which a pull-down would be attached. John England, who first introduced double grooves into English organs, used to perforate the sound-board bar that separated the two. Or two pallets, one at each end of the groove, might be employed. The Roller-boards. 1225. The rollers should be so disposed that the tapped wires, buttons, hooks, &c., that communicate with them can be easily got at for purposes of regulation, renewal, &c., when occasion may require. Wooden arms are more silent in their action than iron, for which reason they are to be preferred ; and some builders also bush the studs which support the rollers, i.e., line their perforations with cloth, or make the centre-pins work in leather buttons, to quiet the noise consequent on their motion. The Bellows. 1226. The Bellows should be made of such dimensions that they will easily yield, and continue to give an abundant supply of wind, when all the Manuals are coupled together, with every Stop drawn, and the fullest chords are played on the Manuals and Pedal. The first thing Sebastian Bach used to do, when requested to examine an organ, was to draw out all the Stops, and play on the full organ. He used to say, he must first know whether the instrument had good lungs. (Forkel's Life of Bach.) A copious supply of wind is more particularly necessary, in the first instance, if the organ is intended to receive subsequent additions. There should be no unsteadiness perceivable in the tone of the organ at the moment when the feeders commence and complete their work ; neither ought any clacking to be heard when the valves fall over the suckers in the feeders and the bottom-board ; nor should there be any sucking or gasping noise heard when the feeders are being replenished ; but which will be the case if the suckers are too few or too small. The feeders and blowing-action should also work with but little noise. Many organs have the Pedal as well as the Manual organs supplied from the same bellows. When this is the case, the tone of the Manual organs should remain perfectly firm and unaffected when any disjunct or staccato passage is being played on the Pedals. 294 THE INTERIOR ARRANGEMENT OF THE ORGAN. 1227. The reservoir of the bellows should of course have inverted ribs, counterbalances, and a waste pallet, which latter will cause the least noise if it be made to discharge the superfluous air into the feeders. The shape of the bellows is a matter of no importance : their proportions must necessarily be influenced in a great measure by local circumstances. 1228. As regards the situation for the bellows, the lower part of the organ near to the ground is the place usually assigned to them in modern English instruments. In German organs, they are more frequently put outside the case ; as they were indeed in many old English instruments. Where the necessary additional room can be spared, the latter arrangement is the most advantageous, as it allows so much more space for the convenient distribution of the mechanism, as well as admitting of more ready means of access to its several parts for purposes of regulation, repair, &c. ; besides which, the free space then left is beneficial to the resonance of the organ. At Westminster Abbey, the bellows are in two chambers, under the organ, in the Choir screen ; at the Temple Church they are in a bellows room below ; at St. Martin's-in- the-Fields, and at St. Philip's, Waterloo Place, they are placed in the belfry behind the organ. In many large modern organs, the Feeders and Reservoirs are made quite distinct, and the former placed in some convenient situation outside the organ, where they are blown by one of Joy's hydraulic machines ; while the latter are placed close to the Sound-boards. This is the arrangement at King's College Chapel, Cambridge. 1229. If the bellows are to produce different pressures of wind — to do which they will require to be furnished with upper reservoirs — much additional height will be required for bellows' room. Under these circumstances, and if they are to be placed under the Sounds-boards, the latter must be well elevated ; or the bellows might be kept out of the organ altogether. The wind-tranks, 1230. The Wind-trunks should be large enough to convey an ample supply to the Wind-chests ; otherwise it will be of little use the bellows yielding a good quantity. Concussion bellows should also be applied, if found necessary ; but if the Wind-trunks are capacious, and are not very long, such appliances will probably be less required. If not absolutely necessary, they are almost better omitted than introduced. The writer is acquainted with an instance of a Concussion bellows being attached to a new organ, in obedience to one of the conditions of the contract ; and of its disturbing the wind, which, before its introduction, was perfectly steady. It is a question whether Concussion bellows are not occasionally made too large. When it is seen how small a bellows, in the shape of a Tremulant, will disturb the wind, it seems that one four or five times the size can scarcely be necessary to correct the far less accidental disturbance that would be likely to occur in a well-winded organ. The Swell-box. 1231. The Swell-box should not be less than 2 inches in thickness ; and it would be the better for being 2j, particularly if it be a large one. . The edges of the shutters should be faced with leather, cloth, or felt, to make them bed closely and shut in the tone. Walker lines the interior of his Swell-boxes with very stout brown paper, about ^ of an inch thick, to further subdue the tone when the shutters are closed. The scale for the Pipe- 1232. The general dimensions of an organ, containing a given list of stops, are influenced by no one thing more than by the Scale adopted for the Bass Pipes. Or, to put the fact in another THE INTERIOR ARRANGEMENT OF THE ORGAN. 295. shape, no single circumstance affects the question as to the number of Stops which may be satisfactorily placed in a given space, more than the wide or narrow measure selected for the large Pipes. Continental organs of moderate dimensions ordinarily contain from 4 to 6 Pedal Stops ; while those of the first class frequently have from 15 to i8. (See all the Foreign Specifications, in the Appendix.) To any one who might be led to calculate the standing-room of such instruments by the amount of space necessary to accommodate a single English Stop of the scale to which many sets of "Pedal Pipes" have been made, it would seem that such organs must occupy a site almost sufficient for a small church. Such, however, is not the case. It was stated in the first Chapter of this Division, that, in Germany, most of the Pedal Stops are propely viewed as simply " Basses " to some of the Manual Stops. This being the case, their scales exhibit but a very slight advance on those of the Manuals ; one Pipe only frequently being the extent of the difference. The i6-feet Open Basses of Continental organs, moreover, are frequently made of wood, as in English. Of the three fine instruments by Silber- mann, at Strasbourg, two contain " Principal Basses" of this material (see Foreign Specifications) ; and of these organs the latter has two Open Wood Pedal Stops of 16 feet. Yet the largest of these only measures 9 inches by 11. In some very large German organs, having about 16 Stops on the Pedal, and including two l6-feet Open Wood Stops, independently of the Violone, the scale of one is sometimes advanced, and the Stop hence called " Major-Bass," i.e., Greai-BdiSS ; but even the CCC Pipe of this Stop seldom exceeds 10 inches in width by 12 in depth. In two instances only could the writer trace the existence of Stops, of greater calibre in foreign organs. The " Contra Violone " at Cologne Cathedral (Foreign Specifications), measures 12 inches across the mouth; and a Stop approaching the Scale of English Pedal Pipes occurs in the St. Eustace organ at Paris. (Foreign Specifications.) 1233. In English organs, even of ordinary size, the CCC Pedal Pipe not unfrequently measures 18 inches in width and 20 inches in depth : some examples are as much as 2 feet in depth. 1234. Then, of the Continental scales of longer wooden Pipes, — in the organ at St. Paul's, Frankfort (Foreign Specifications), built by the famous Walker, of Ludwigsburg, which has two Pedal Stops of 32 feet, one measures 11 inches across the mouth ; the other, 15I inches. The CCC C Wood Pipe in the Cathedral organ at Bremen (Foreign Specifications), and in St. Mary's Church, Wismar (Foreign Specifications), both by Schulze, measure exactly 12 inches each across the mouth. Comparing these dimensions with the English scale given above, it is seen that the i6-feet Pedal Pipe, as it exists in many of our ordinary-sized organs, exceeds in bulk the 32-feet Pipe of Cathedral and other first class instruments of the Continent. 1235. The vast disparity of breadth in proportion to length between English and foreign organ Pipes naturally suggests these three questions — (i) How have Pipes of such huge bulk come into use? (2) What may be their effect? and (3) Is that effect such as will justify the allotment of so much space, not easily spared, to their accommodation? 1236. The first Open Wood Pedal Pipes made in England were those added by Avery to the organ in Westminster Abbey. They were " Unisons ;" and, from that circumstance being designed simply to reinforce the Manual Diapasons in the Bass, no doubt proved sufficient for that purpose. What may have been the scale of those Pipes, the writer has not been able to ascertain ; but, sub- sequently, the measure for the G G Unison Pedal Pipe became, and for several years continued to be, ordinarily, 12 inches for the depth ; that is to say, the loj 296 THE INTERIOR ARRANGEMENT OF THE ORGAN.' feet Pipe was equal in bulk to the i6-feet Major Bass Pipe of Continental organs. When Pedal Pipes came to be altered in pitch from Unisons to Doubles, a single set, of the scale and power before in use, was incapable of asserting its independence. 1237. As, in former days, the compass of the Manuals was extended down- wards, as a primitive method of obtaining from it deeper tones, so the calibre of the " Pedal Pipes " was now augmented, gradually, from little to more, in the hope of obtaining from them the effect of a proper Pedal Bass, until they at length assumed the dimensions already quoted. The huge scale, therefore, originated from a correct feeling, namely, a consciousness of the necessity for a Pedal Bass, proportioned in power to the Manual departments of the organ, but accompanied at the same time by a misconception as to the proper method of carrying that feeling into effect. A " Bass " to the entire organ was attempted to be forced from a single rank of Pipes, and with astonishing success, had one only, and that of an unvarying kind, been required from the Pedal. The effect of such a Pedal Stop was certainly most powerful and commanding, but not amalgamating. It formed no suitable Bass to any one Stop in the organ. As a Pedal continu- ation to the Manual Diapason, it was without the true, serious, calm, deliberate, and mixing characteristics of that Stop. It was also too powerful and predomi- nating for the numerous softer effects in constant requisition in all organs, and only appeared to be in proportion when used in conjunction with the loud organ : but the employment of the full organ being the exception, rather than the rule, the heavy sound of the Great Stop constituted, in the great majority of cases, a very unsuitable Bass. Then, with regard to standing room, the large Scale Pedal Pipes in some cases occupied as much room as would have accommodated three i6-feet Pedal Stops made to a more strictly correct measure ; and it must be obvious that a Pedal organ possessing an Open Diapason, Stopped Diapason, and Trombone, would have formed a far more efficient and tractable Bass to an instrument. 1238. Experiments subsequently made, together with a closer acquaintance with the Continental principles of the art, conduced to make evident the nature and extent of the original misconception to which reference has already been made ; and to bring into clear view the true means by which it was to be rectified and superseded. These included a reduction of the measure previously adopted for Pedal Pipes, and an increase in the number of independent Pedal Stops. Among the first to revise their Pedal Bass scales were Hill and Robson. Mr. Hill, who had built a, greater number of large organs than any other man in England, and had therefore given the large Pedal Pipe scale the most extended trial, thought it not inconsistent with his high position and character as a true artist, to scrutinize his former work, and, a few years since, to materially modify the hitherto received proportions for large wood Pipes. Added to this, he insisted on the importance of securing several Stops instead of one ; an honour- able course, which he has not ceased to follow steadfastly and consistently up to the present time. 1239. Reverting to the Scales of Continental Stops before given, some of them will be viewed as being extreniely small. The quantity of tone, however, pro- duced from the largest of them is really most astonishing. Being copiously winded, they speak with a promptness and fulness that is highly satisfactory. A very careful trial and comparison of the smaller-scaled Open Wood Stops of Continental organs with the huge scale Pedal Pipes of English instruments, however, leads to the firm impression that the most useful scale for musical purposes lies between the two. And that such a scale is equal to the production TIIE INTERIOR ARRANGEMENT OF THE ORGAN. 297 of the best effects, is exemplified in the excellent .32-feet Open Pipes of the Westminster Abbey organ, made by Mr. Hill, the sound of which is sufficient to fill the Minster, yet does not overpower even a single voice, which is detected the moment it is added to that of the other Stops by the richness which it imparts ; yet does not obtrude itself, but, on the contrary, blends in the happiest manner with the sound of the rest of the organ. The scale of the i6-feet Pipe of this Stop is 10 inches by 11 J, which is a slight advance on Silbermann's Strasburg scale already quoted ; and of the 32-feet Pipe, 19 inches' by 22 inches, which is a httle in advance of the Frankfort scale. For a Unison Pedal Open, the German Major Bass scale already given, namely, 10 inches by 12 for the i6-feet Pipe, has been adopted by Robson, in his organ in Trinity Church, Sloane Street, where, for a moderate-sized organ, it answers as well as could possibly be desired. At Westminster Abbey, where the Great organ is extended down to C C C, to serve as a substitute for an independent Pedal, the 16-feet Pipe of the Pedal Open Diapason measures 13J inches by 16 inches. This, although far below the old Pedal Pipe measure, yet forms an admirable and ample "Major Bass" scale to the rest of the organ. 1240. Then, with regard to large metal Pipes, great. variation has likewise at different periods been made in their scale, also in English instruments. The organ in St. Paul's Cathedral has two Open Diapasons, part of the original work of Father Smith, on the Great Manual. These have long enjoyed a high reputation for the fulness, richness, and equality of their tone. The article in the Musical Gazette, so often quoted, says of them, "They have always been esteemed the finest Schmidt ever made ; and are regular and uniform in the quality of tone throughout." The largest of the two 8-feet or C C pipes of those Stops measures somewhat less than 6 inches in diameter. The original FFF Pipe at the Temple was 7 inches in diameter ; and the largest of the two original CCC or 16-feet Pipes, at St. Paul's, is a little under 10 inches across. Toiyards the latter find of the last century, Green effected a considerable increase on the measurement above given. This was before the introduction of Pedal Pipes (which either originated with Avery, or about his time) ; and no doubt was intended by Green to impart additional weight to the Bass of his organs. The CC Pipe he increased in diameter from 6 to 8 inches; his GG to 11, and his FFF from 7 inches to 12 ; that is, to 2 inches beyond Smith's scale for the 16-feet Pipe. Avery and England, who succeeded Green, availing themselves of the advantage which a set of small Pedal Pipes presented, reduced the scale again for the Bass of the Metal Diapasons. 1241. In Specifications for modem organs, even those for small churches, it is sometimes stipulated that the CC Metal Pipe shall measure 8 inches in diameter ; or, in other words, shall be wider than Smith's large cathedral scale for the FFF Pipe. As a matter that materially affects the question of room, it is worthy consideration whether the advantages of so greatly an enlarged scale are commensurate with the increased quantity of space required to accommodate Pipes of such a measure. Metal Pipes of so great a scale no doubt produce a somewhat heavier, thick, and more ponderous tone than others of less bulk ; but not so close, firm, and clean a sound. There is always sufficient difficulty in obtaining an even tone from a Stop that increases in scale gradually froni the lowest Pipe up to the top one. It was, in fact, this difficulty which led Muller of Amsterdam, and Batz of Utrecht, to apply duplicate Pipes to the Trebles of their organs ; and Cavaill^ to adopt a heavier wind in the upper part of the Manual compass to overcome it. But if the scale be enlarged from the Tenor downwards also, and a more powerful tone really be produced in that direction, 298 THE INTERIOR ARRANGEMENT OF THE ORGAN. it seems clear that the tendency to an inequality in the general effect must be increased. It is well-known that, for richness, fulness, and power, the Bass of Smith's Diapasons have never been surpassed. If they ever failed, as they occasionally did, it was in the upper part. Moreover, it is by no means a matter of course that an enlargement of scale will result in the production of a tone of an improved quality, as the following extract will show. The Christian Remembrancer iox October, 1833, page 624, speaking of the Temple organ, says, " It is somewhat remarkable that Schmidt should be able to produce so ponderous a tone in the lower notes of the Open Diapason, out of so small a scale Pipe ; the F F F measuring only seven inches in diameter, whereas the same Pipes in Green's organ at Greenwich Hospital measures twelve inches, and does not give so fine a note. The fact is, when the scale is increased, the Pipes then no longer remain members of the " Principal-work," but, from that enlargement, merge into the Flute-work ; and at the same time also cease to retain that clear and pure character of tone which is so closely associated with the idea of a true Diapason, and which then is exchanged for a heavier and less silvery tone. This refers to the large Pipes. As the " Diapason-measure " is exceeded, higher up in the musical scale, the Cornet-scale is approached. For instance, if a Pedal Principal were to be made to a much-increased measure, so that its middle c' Pipe (2 feet) were to be advanced from about 2 inches to nearly i\ inches in diameter, it would produce a tone, powerful and broad, indeed, but utterly unlike that of a member of the Diapason- work. 1242. It has already been mentioned that the largest of the two i6-feet Pipes at St. Paul's Cathedral does not measure quite 10 inches in diameter ; neither do those made by Cavailld, in his magnificent new organs at the Madeleine and St. Vincent de Paul, at Paris. And of upwards of twenty examples in German organs which the writer measured, not one exceeded 10 inches across ; while the smallest was 93- inches only. The corresponding Pipe in modern English work has occasionally been made as much as 14 inches across ; that is, within an inch of the 32-feet Pipe at Haarlem, which measures but 15 inches over. There seems, however, to be no essential advantage arising from the use of such large scales ; while the waste of room which they involve is very great. 1243. The subject of the scale of large Open Wood and Metal Pipes has been entered into thus fully, because those who have to decide on the comparative merits of different Specifications are sometimes apt to attach undue value to those which promise "good bumping scales," and think lightly of others which do not ; — to consider the necessity for great scaled Pipes as an unquestionable fact, and their advantages as being beyond doubt. 1244. Stopped Wood Pipes present a no less variation in regard to scale than do those of the Open kind. The ordinary English measure for the C C C Bourdon or Double Stopped Diapason Pipe, i6-feet tone, is 7J inches in width, by 9 inches in depth. Occasionally this scale has been increased to 12 inches in depth ; but it has seldom been much lessened in England. The Swiss scale for Stopped Pipes is somewhat larger than the first of the above-mentioned English measures — i.e., it is about 9J inches by 11 for the CCC Pipe. In some modern German organs, the scale of the large Stopped Pipes has been much reduced, and that without involving any loss of tone, so that a great saving of room has been effected. The unreduced quantity of tone from the narrower Pipe is secured by allowing a more copious supply of wind to enter the foot, instead of shutting part of it off by plugging ; making a wider wind- way, and by cutting the mouth high. In this way a perfectly firm, plump, and THE INTERIOR ARRANGEMENT OF THE ORGAN. 299 pure tone is obtained from a C C C Pipe, measuring 6J inches by 4|. A Bourdon of the above scale occurs on the Great Manual of the German oi^an in the Exchange Room at Northampton, and produces a remarkably full tone. The smaller scaled Pipes {>resent the additional advantage of being more easily planted over their own wind on the Soimd-board It should be mentioned that the Pipes of a Stop made to the German scale just referred to, sometimes decrease in size or bulk more gradually than is common with English scales, that is to say, the scale is not reduced to half measure until it has reached the Pipe that soimds the interval of an eUveiUh from the Pipe whence the calculation commences. The following therefore presents an outline of the scale in question : — GREAT MANUAL BOURDON SCALE. Pipe. Depth. TOdth. Diameter of Foot-hole. ccc. . . . 6^ inches . 4f inches . 14 inch. GG . . . . 4f inches . 3^ inches . . i^ inch. CC . . . . 3f inches . 2f| inches . 1-^ inch. FF . . . . 3^ inches . 2y*^ inches . 14 inch. Tenor c . . . 2^ inches . . 2^ inches . 44 inch. Middle b flat . i|^ inches . i-^ inches . 1 inch. 1245. The height of mouth, for a 3-inch wind, is, on the average, about equal to half the width. 1246. Another class of covered Stops, producing a delicate tone, and called, in Germany, LiebUch Gedackt (Lovdy-toned Stopped Diapason), is made to a smaller scale again than the Bourdon. It occurs in many foreign instruments ; and is also frequently introduced by Schulze to form the Unison and Double Stopped Diapasons of his Choir or Swell oigaiLS. Its scale decreases in the same ratio as that of the Bourdon already noticed. UEBLICH GEDACKT SCALE, FOR CHOIR OR SWELL COVERED STOPS. Pipe. Depth. Width. Diameter of Foot-hole. CCC . . . 5 inches . 3f inches . 41 of an inch. GG . . . 35 inches . . 2ii inches . . 41 of an inch. CC . . . 3 inches - . 2^ inches . f of an inch. FF . . . 7,\ inches . i-H uich 4i of an inch. Tenor c . . l\ inch . i^ inch . . -^ of an inch. Middle b flat »m l\ inch J? 1 ^e *i- - T *_ ^ of an inch. r il.^ n /^ 1247. The peculiar value of the lieblich Gedackt scale for the Swell Covered Stops consists more particularly in the comparatively small amount of standing and speaking room required for the accommodation of Pipes made to that measure. The CCC Pipe is scarcely any wider or deeper than the C C Pipe of some English scales, that is to say, the lowest Pipe of a Double Stopped Diapason made to the Lieblich Gedackt scale does not caQ for more standing room than the lowest Pipe of some Unison Stopped Diapasons made to the English scale. It consequently admits of the entire Stop being placed inside the Swell-box, whereby its whole range derives the advantage and benefit of the crescendo and diminuendo ; whereas, on account of the size of the Bass Pipes of a Bourdon made to the usual En^ish scale, the lowest octave of the Stop has generally to be placed outside the box, even in the largest Swells. 300 THE INTERIOR ARRANGEMENT OF THE ORGAN. Examples of Lieblich Gedackts, as Choir organ Stops, of i6 and 8 feet tone, occur on the upper Manual of the organ at the Exchange, Northampton ; and of 1 6, 8, and 4 feet tone at the Temple. 1248. It will now be seen why a German organ should not cover the great space that might at first have been imagined. The lowest Open^ Stopped, and Pedal Pipes of an ordinary G G organ frequently equal in bulk the l6-feet Pipes of S. German organ. 1249. There is one thing in connection with the question of large and small scales that is well worth mentioning in this place. It does not answer to plant large scale Bourdons semitonally. This fact was proved by an organ-builder in the following manner. The C C C Pipe was put in its place, voiced and tuned ; then the C C C # was completed in a similar manner, when it was found that the C C C Pipe had become uncertain and windy in its speech. The DDD was next added, and having in its turn been tuned and voiced, the C C C jf was tried, and that was found to be spoiled by the DDD, as the C C C had been by the CCCJ. Four more Pipes, up to FFF#, were added, one by one, and every successive Pipe destroyed the speech of the one below it. There was not a single exception ; the only good sound was from the F F F Jf Pipe which completed the series. It was shown by this experiment, (i) that the speech of a Stopped Pipe is not affected by the note its semitone below, but by the semitone above; and (2) that the vibration at the mouth of a large scale Stopped Pipe has an influence upon the Pipe its semitone below, that does not appear in small scale Stopped Pipes ; and it is argued from this, that the. semitonal arrangement and the large scale English Stopped-work could not be satisfactorily combined. If this be true, it is curious that, in the system of semitonal arrangement, the scale should be required to be small, and for two very opposite reasons (at least, having no immediate relation) ; ist, that they may be planted without loss of room ; and 2nd, that an acoustical phenomenon or law requires them to be so, if planted semitonally ; and of course it would be absurd to set out a Sound-board semitonally to simplify the action, and then by conveyances, groove-boards, or such like means, to plant the Pipes otherwise. The materials for the 1250. The different metals, woods, and compounds used ipe-wor . jj^ jj^g construction of organ Pipes were enumerated in a previous chapter. In the specification for which the organ-builder's estimate is afterwards to be obtained, it ought to be distinctly specified what materials are desired to be used in the formation of the Pipe-work ; which Stops, if any, are to be made of pure tin, which of metal, and which of wood : also, if some are designed to be made partly of tin or metal, and the remainder of wood ; on what note the metal Pipes are to be discontinued and the wood ones to commence ; and lastly, the proportions of tin and lead to be employed in the composition of the metal. One of the particulars on which the ultimate cost of an organ rightly depends is the standard of the metal that is to be used,.' and the gross weight of it to be embodied in the instrument ; and an organ- builder who proposes to employ tin or the best metal, in good quantity, must necessarily require a higher sum for his work than he would demand, were a less valuable metal and a smaller quantity of it understood to be all that was desired. An estimate, therefore, that would appear to be a high one, were not these circumstances to be taken into consideration, will often prove to be both just and reasonable when it is more closely examined. But English organ- builders are by no means agreed on certain questions relating to metal Pipes ; THE INTERIOR ARRANGEMENT OF THE ORGAN. 301 some considering that " substance '' in material is of more importance than quality, while others view quality as of more consequence than substance. Preparatory to offering any observations on these points, it may be observed that the bodies of metal Pipes should vibrate, but not tremble j that is to say, they should vibrate from the natural elasticity of the metal or compound of which they are made, but not tremble from thinness of material or weakness of texture. Of the two materials which form the chief ingredients in organ Pipe metal, tin is light, firm, and elastic ; and lead, heavy, weak, and com- paratively inelastic. 1 25 1. Strictly speaking, it is the periodical motion of the column of air that is within a Pipe, rather than the Pipe which encloses it, that is the source of the tone. The substance and quality of the w^Us of the Pipe, however, have a great deal to do with the strength and character of the sound produced ;" and in this way, if the material of which a Pipe is made be thin in substance, it will be weaker, more pliant, and consequently less impatient to return to its state of repose. The Pipe therefore will not bear much blowing, as, in that case, its sides would not be strong enough to resist or counterbalance the power of the wind ; and would tremble, and produce a blurring sound. Being thus unable to resist any violent excitation of the column of air within, a thin Pipe can only be slightly blown, and hence will produce only a light tone. If thin material, however, be pure tin, or good spotted metal, it will on that account be firmer ; and the sharp and rapid vibration of a Pipe made from such sheets will cause the tone to be of a more refined and silvery quality. The Pipes of a Gamba are the. better for being thin and of fine metal. 1252. A Pipe made of thick metal will bear much more blowing, without its vibratory motion being exaggerated into a trembling ; consequently it will be capable of producing a much fuller tone than a thin Pipe of the same scale. For instance, the stronger the organ-wind, or the greater the quantity of it entering a Pipe through a larger foot-hole, the more powerfully will the column of air within the Pipe be excited, and consequently the greater will be its friction against the sides of the Pipe. If the strength and firmness of thC' Pipe have been correspondingly increased, it will successfully resist the influence of the stronger current ; the whole resulting in the production of a clearer and better tone. If, added to its substance, the metal of the Pipe be compounded chiefly of tin, this will cause it to be firmer stiU, and therefore more resisting at first ; but if fully excited by the more copious blowing which it will bear, it will prove more elastic, and more impatient to return to its state of rest ; and, from the great strength and power of its vibrations, will produce a sound remarkable for clearness as well as for a ringing character. A heavy Pipe is therefore good for a Diapason. 1253. It has been customary to attribute the distinction in the tone of the organs of different builders to the voicing and winding of the Pipes, which is of course true to a great extent ; but the substance and quality of the metal are by no means unimportant agents in the matter. Father Smith used metal of fine quality, and of great substance, usually, for his front pipes. His inside Pipes were of a metal of less high standard, but were very thick and heavy. Green employed good spotted metal, but of less thickness ; and Smith could no more have obtained Green's light, playful, and musical tone from his rthick Pipes, than could Green have produced Smith's powerful and ringing tone from his thin pipes. Green was aware of this, particularly in regard to Bass Pipes — hence his great enlargement of the scale ; though, from the thinness of their material, they would not bear so much blowing. 302 THE INTERIOR ARRANGEMENT OF THE ORGAN. 1254. But, whatever difference of opinion may exist as to whether and to what extent the tone is influenced by the metal or compound used, there can be no doubt of the greater durability of Pipes formed of tin, or chiefly so, over every other composition that has been commonly employed for the purpose. The metal used by Harris and Smith, for the chief part of the Pipe- work of their organs, contained a great proportion of tin among its ingredients ; and the present condition of the original Pipes of many of the instruments constructed by those makers, fully confirms the correctness of the opinion as to the lasting character of organ Pipes made, in the first instance, of metal of good quality and thick in substance. Harris's organ, at St. Sepulchre's, was built in 1667; Smith's, at the Temple, in 1685; and that at St. Paul's Cathedral, by the last-mentioned builder, in 1695. The original metal Pipes of these organs are still so sound, after a lapse of 187, 169, and 159 years, respectively, that with care they will last another century at least. The comparative durability of metal compounds, of various kinds, was well illustrated in an organ which passed not long since into the hands of an organ-builder. The organ had been made rather more than a century ; and while the original Pipes, of spotted metal, were found to be quite sound, the feet of others of subsequent introduction, formed of inferior metal, had been so attacked by the strong acid in the wood of which the upper-boards were made, that the apex of the feet of several of them was completely eaten away. 1255. Other evidences of the great durability of substantial Pipes of tin, or good metal, are afforded by the great age of several Continental organs, the dates of the erection of which are authenticated. The organ in the Cathedral at Constance, in Switzerland, was built in 1518 ; that in the Cathedral of Freiburg, in Breisgau, in 1520; that in the Cathedral at Antwerp, in 1645; and that in the Cathedral at Lucerne, in Switzerland, in the year 165 1. The particulars of numerous other old organs are contained in the Appendix ; but, from the approximate age only having been ascertained, they cannot be quoted here. 1256. Moreover, the writer put the question distinctly to a German organ- builder, how long he considered an organ ought to last ; and he gave it as his deliberate opinion that, if well constructed, out of the best and most substantial materials, and taken the best care of, it ought to continue good for 400 years. An organ lasting for so protracted a period will no doubt appear strange to many ; but the undoubted age of numerous Continental instruments, together with the good state of preservation the Pipes of many of them are in, fully justify the above calculation ; while the fact of certain of the Stops of old organs being in some cases retained in their successors, as at Cologne and Lifege, further supports it. 1257. That Pipe- work made of metal of good quality and substance retains its fulness, brilliance, and " ring," for a very lengthened period, is a fact fully borne out by the effect of numerous old English organs. Age also may have exercised some influence in imparting to the tone that peculiar richness, purity, and healthy clearness for which many old instruments are so remarkable ; although, as there are good, bad, and indifferent old instruments, and in some cases by the same maker, it cannot always have had so much to do with the production of the peculiar mellowness that some imagine. 1258. And if time really effects so much for an organ, how important must it be to secure the use of the most durable metal for its Pipe-work ; otherwise, when the mellowing hand of time ought to be bringing the instrument to per- fection, the Pipe-work will have seen its best days, and be becoming useless when it ought to be enhancing in value. THE INTERIOR ARRANGEMENT OF THE ORGAN. 303 1259. While, In some instances, tlie scale has been increased for the large metal Pipes, it has been decreased for the small ones forming the "chorus." When the scale of the harmonic series of Stops is " kept up," and the Pipes are well blown, a tone is produced that is remarkable for fulness, breadth, and power. When, on the contrary, their measure is reduced more rapidly, the small Stops are less full and more penetrating in tone. In some German organs, both codes of scales are adopted ; that is to say, a rather large scale is followed for the harmonic series of Stops, including the Jirsf Mixture, and a smaller for the second Compound-stop ; the 2-feet Pipe (c") of the latter being usually of the same diameter as the e' or f* Pipe of the Diapason, — i.e., of Geigen Principal scale. The second Stop is then sometimes called " Scharf," or " Cymbal," either of which names would suggest the idea of a ringing, sharp-toned Stop. The third Compound-stop is usually a Comet, so that on many German Great Manuals will be found, first, a Mixture of nearly full Principal scale, a second rather below, and a third one above that measure. 1260. Wood Pipe-work is introduced to a greater proportionate extent in modern than it was in old organs, as it effects a judicious saving in the expense. Many of the largest Pipes in the Pedal organ are almost invariably made of this material ; so also is a great portion of the Flute-work of recent invention or introduction into this country. The Stopped Diapason and Flute-stops on every Manual of modern organs, too, are frequently made of wood ; so are the Bass Pipes of the Open Diapason ; while, in old instruments, the Treble of the former and the Bass of the latter were more commonly made of metal. When long wood Pipes are made to a small scale, they are capable of producing a very close imitation of the " metal tone," and in that case form a most efficient substitute for good metal Pipes, in the Bass, when the latter are not attainable. In some foreign organs, a wood Bass of this kind is united to a metal Treble so successfully, that it is scarcely, possible to trace on what note the one material is discontinued and the other commenced. The price of the organ. 1 26 1. We have now arrived at the last, but by no means the least important question for consideration — namely, the ^rice of the organ. This matter necessarily rests, to some extent, with the builder chosen, but remains to a much greater degree in the hands of the purchasers. 1262. From what has been explained in the preceding sections, it must be obvious that there is a durable, complete, but cosily way of building an organ ; and an unsubstantial, incomplete, and c^eap way of making it. It is also equally evident that organ-building may be viewed as a calling of high art, or treated merely as a matter of business ; and it will be exercised in either the former or the latter spirit, according to circumstances. 1263. Under the most extreme circumstances, the organ-builder must exist by the exercise of his calling ; but at the same time it is only consistent with the proper feeling of ambition that actuates every genuine artist, that he would prefer aiso rearing specimens of his art to which he might point with pride, as well as his successors for generations after him. But this second condition must obviously depend on the means placed at his disposal. 1264. On being applied to to make proposals for the construction and erection of an organ, an organ-builder may draw up a Specification for an instrument of given contents, and, intending to use certain materials, and to devote much attention to various matters of detail and finish which cannot be specified in an estimate without extending to the length of a pamphlet, place his charge at say, ;£iooo. He may, however, have good reason to know that that figure 304 THE INTERIOR ARRANGEMENT OF THE ORGAN. will ensure him the loss of the "order;" accordingly, without altering one of the •written conditions of his contract, or foregoing one penny of his own fair profit, but simply by reducing the standard or substance, or both, of his metal, and paying less regard to the minute excellences of his work, he can, "to meet circumstances," at once lower his estimate from £,1000 to ^850. It is in this sense that " the price of the organ " is said to remain so much in the hands of the purchasers. But when the organ is completed, will it rank as highly, as a •work of art, as it was originally intended by its designer it should do ? Will it reflect more than temporary credit on its builder? A few years pass, and the organ itself prob'ably solves these problems. And as though to reduce its existence to the shortest span, the crowded organ has perhaps been consigned to a site bounded by cold or damp walls, where the leather-work has quickly rotted, the brass-work corroded, the iron-work rusted, the glue soddened, and the accurate adjustment of the several parts of the wood-work, by swelling, been disturbed. Crooked or bruised metal Pipes, cracked wooden Pipes, running Sound-boards, twisted Rollers, double frictional resistance opposed to the fingers at the keys, and numerous other such fatalities, too frequently indicate what are and must ever be among the most probable distinctivenesses of the " cheap organ." Nor is the builder exactly to be held responsible for all this, if he gave timely advice and warning. 1265. So far it has been shown by how easy a course the price of an organ of a given size may be materially reduced, to accommodate the estimate to particular circumstances. But the process may be reversed, — i.e. the size of an organ may undergo great apparent increase, when " a grand organ " is desired for the price of one of ordinary dimensions. 1266. An organ with, say, fifty Stops will cost either about £1000 or nearly £2000, according to circumstances. If its Specification be drawn up in a spirit consistent with the magnitude of the work, as implied by the number of its Stops — if the Stops chosen are introduced mostly in a " complete " form, and if a just proportion be observed in the distribution of the Stops between the Manuals and Pedal— the cost of such an instrument will certainly approach the higher of the two rough estimates above given. But then it will also be a genuine specimen of the German system of organ-building, carried out in its amplitude and integrity. Among the fundamental laws of that system are these : if a' great Manual be furnished with sixteen Stops, those should include at least two Double Stops, one of which must be a Double Open Diapason throughout. Or, to follow the German fonn of expression more closely, the Great organ should be a " i6-feet Manual." Then all the Manuaels — by which is meant the organs as well as the keys — should be of equal, that is C C range : and the Pedal moreover should, as a minimum proportion, have at least one-third as many Stops as the Great Manual. 1267. These and other governing rules of the science, however, can only be recognised, or at least followed, when " the price " will admit of their being so. But it too frequently happens that the approximate price for the organ has already been fixed, and the hoped-for number of Stops also considered ; in which case, all that is left for an organ-builder to do, who desires to secure the order, is to prepare a design that will as little as possible run counter to these preformed expectations. He sees clearly that a plan for an instrument on the genuine German principle will exclude itself by its appended estimate ; that there is every probability of the prize falling into the hands of he who can prepare the most "promising" Specification; therefore ideas about "art "must subserve to those relating to " business." THE INTERIOR, ARRANGEMENT OF THE ORGAN. 305 1268. Nor can organ-builders fairly be held accountable for adopting the obvious alternative thus imposed upon them, and which amounts to this in effect, if not in words : he who will prepare the Specification that seems to promise the most extensive instrument for the stated terms — who, in fact, can the most successfully make what would form a smaller organ look like a larger, upon paper — will stand the best chance of securing "the order." And the ingenuity sometimes displayed in estimates drawn up to meet such expectations almost calls for admiration. First, instead of the Specification stating that the pro- posed instrument shall be built on the German system, which would be embodying a great deal ; all it will promise, if it be prudently drawn up, is that it shall be made to the German compass, which is at the same time the old English compass of two centuries ago, and implies but little. Next, several of the Stops are planned to draw in halves; every such divided Stop thus appearing as twos or they are introduced in an incomplete form, to meet other incomplete Stops.* In this manner a great step is made towards securing the necessary array of " Stops ;" many persons judging of the excellence of an organ by the number of its handles, rather than by the excellence and completeness of what those handles govern. The Couplers, even, to swell the number, are sometimes enumerated as " Stops." Then the important distinction between "standard size" and "size of tone" is overlooked ; and the two portions of the Stopped Diapason, which together form in reality but one Stop of 8-feet tone, in consequence bear the aspect of two Stops of 8 feet. The Bourdon, also, if divided, appears as two Stops of 16 feet. In this manner the Stops in question, and by consequence the department to which they belong, are left open to a flattering estimate of their real dimensions.^ The one Sesqui-altera of V ranks, again, which is to be found in all the most important organs of Germany, as well as those of Bridge, Byfield, Harris, and Snetzler, has to be made to draw as two or even three Stops. Then the Swell organ — which is essentially of English invention and development — is more highly and justly appreciated in this country than in any other in Europe — is a department in the construction of which an organ-builder takes peculiar pride and interest — this must be cut short at Tenor c ; which denudation deprives the Swell of its finest octave, though at the same time it affects a saving of nearly ;!f 100 in the cost of thaf department alone, in the instance of a design for a large Swell, and must therefore be resorted to as one means of keeping down the price of the instrument. The Swell Manual indeed perhaps runs " throughout," though that is of little value without its proper Pipes. Numerous small, inexpensive, and incomplete Stops, again, find admission, particularly in the Choir organ, which assist in making up the required number at no great outlay ; while many large and costly ones are excluded, to bring the instrument within the narrow bounds prescribed by the * As a matter of fact, it should be mentioned that three of the modern organs that are the most free from half and incomplete Stops, are those in the Church of St. Mary at Hill ; St. Walburgh's Catholic Church, Preston ; and the Dome organ, in St. Paul's Cathedral ; all by Hill. The former has but four such Stops among a series of thirty; the second, not one Stop of broken range among thirty Stops ; and the latter, two only among sixty. \ It has already been explained that it is not the tone of the deepest sounding Covered Stop, but the "standard length" of the largest Stop of the Open Diapason species, that fixes the size of a Manual or Pedal organ. Among other instruments, of which the Great organ department is a i6-feet Manual, in the strict sense of the term, must be classed those at St. Paul's, by Hill; and at Buxton Road and Highfield Chapels, Huddersfield, by Robson and Walker. II II 306 THE INTERIOR ARRANGEMENT OF THE ORGAN. stipulated terms. In this manner the admirable rule which lies at the very founda- tion of the German and French systems of organ-building— that the Pedal shall have, at the least, one-third as many Stops as the Great Manual — and which is specially intended to check all excess in small or incomplete Stops, as well as the slightmg of large and more important ones, is treated as though it had no existence. By the above and other such means, a Specification for an organ of almost any number of Stops— z>., handles— may be provided, to suit almost any sum that may be named. But it cannot be supposed that any organ-builder who has a real love for his art can prefer building an instrument according to so unhealthy a system, however readily he may consent to do so. Yet, despite the discouraging influences under which it has been sometimes carried on, organ-building has nevertheless progressed marvellously within the last fifteen years, particularly in respect to those mechanical details which ensure quietness in the action generally, and which relate to lightness and promptness in the touch of large instruments, as well as in the selection and variety of the Stops ; but in regard to the completeness of the compass of the Stops, and the excellence of the metal used in, their conformation, great " progress " might still be made by going back to the customs of a century or more since. But these latter returns, whenever they may take place, must be preceded by a corresponding return to something akin to the fair and liberal terms paid to the artists of former times. What these might have been may be gathered from the following extracts, taken quite at random, from a list of many which were ready at hand. It is recorded that Father Smith had looo guineas for the organ (about 20 Stops) at the Temple Church, and 500 more for the case ; for the St. Paul's Cathedral organ (about 28 Stops), ;^2000 ; and for that in Durham Cathedral (17 Stops), /700 and the old organ. For the Westminster Abbey organ (21 Stops), Schrider had ^1000; and Green, for the organ at Greenwich Hospital (26 Stops), ;£iooo, exclusive of the case. Harris had for the St. Patrick's Cathedral organ, Dublin (13 Stops), ^505. Then, for a single Stop, Byfield received ^50 for the Trumpet in the Cathedral organ at Chichester. It is indeed true that most of the Stops in the organs above mentioned were " whole " Stops, and not only so, but were even beyond the full necessary C C range : still, after making an ample reduction for the costly extra notes below, a sum remains that is far beyond what any English organ-builder is accustomed to command in the present day for a similar amount of work. We need not wonder, then, at the completeness, so far as they went, goodness of material, excellence of finish, beauty of tone, and durability of old instruments made under such favourable auspices. 1269. For the organ in the Church of St. Vincent de Paul (40 Sounding- stops), at Paris, Cavailld received ;^20oo ; and for that at the Madelaine (48 Sounding-stops), ;£25oo. The above matters relating to the price, excellence, and completeness of an organ, liave been entered into thus fully and unre- servedly in this place, first, because emanating as they do from one who is wholly unconnected with the organ-building business, and who therefore can in no way be interested in the issue, beyond what is shared by all who admire excellence, irrespective of size, they may perhaps be permitted to exercise some influence with those who have to detect the actual merits of competing esti- mates ; and secondly, because they really involve the permanent interest of the purchaser, the credit of the builder, and the progress of the art, in equal degrees. It need only be added, that a builder of high reputation will naturally expect, and will be entitled to receive, higher remuneration for his work than one of less eminence. PLANS FOR ORGANS OF VARIOUS SIZES. 307 CHAPTER XXXIX. PLANS FOR ORGANS OF VARIOUS SIZES. 1270. Some plans or Specifications for organs of various sizes will now be given, which will illustrate the several rules that have been explained in detail in preceding chapters of this book ; and will also serve to show by what easy and successive steps an instrument may be gradually developed from a small Chancel or School-room organ into a large Cathedral or Town Hall organ, without any of the primary laws of the science being overturned or modified in any way. In their preparation, the schemes of the best English and Foreign organs of old as well as of recent times, have been consulted, and their best features embodied, so far as has been found practicable, or seemed to be in accordance with the requirements of a modern English organ. As, however, nearly every organ-builder and organist has his predilection in favour of parti- cular Stops ; some of the details of the following Specifications would of course be modified to adapt them to particular tastes. POSITIF ORGANS. 1 27 1. Before entering upon these several matters, a few words may be said on a kindred subject. The question has frequently been raised as to the most economic mode of using the funds and space — both usually too limited — that may be available for organs for small village and mission churches, and where the use of the instrument will only be needed as an accompaniment to simple vocal harmony. For an organ built for the sole purpose indicated, and under the close restrictions mentioned, as great a proportion as possible of the small funds should be expended on pipes, and as little as possible on mechanism; as much on the most efficient attainable production of those notes specially required for the guidance and support of the voices, and as little as possible on anything and everything beyond. The first question, then, that presents itself is that as to the compass that would be sufficient for such an instrument. If we refer back some centuries to the time when the organ could have been used for no other purpose in the church than as an accompaniment to the voices, we find its range agreeing very nearly if not exactly with that of the human voice ; and that compass is fully represented by the ancient great stave of eleven lines with the notes immediately below and above — ai^- TT^^^ ^^^ E3 1272. For an organ for the purpose indicated, a compass of three octaves H H 2 308 PLANS FOR ORGANS OF VARIOUS SIZES. and a tone — FF to g' in alt, 39 notes — would be sufficient. With regard to the Stops, it should be mentioned that a single Stop, and that in unison with the voices, never can keep the voices in tune long together. Singers find a difficulty in hearing a Stop that is in unison with their voices ; but readily detect one that sounds in the octave above them. The smallest organ therefore should have two Stops, an Unison and an Octave. For a small delicate- toned instrument there might be I. 1. Lieblich Gedact. 2. Dulcet, or Octave Dulciana. For a two-stop organ of fuller tone, the following would be suitable : — II. 1. Stopped Diapason. 2. Principal, Gemshorn, or Spitzflote. For an organ of three Stops : — III. 1. Stopped Diapason. 2. Open Diapason to Middle c'. 3. Principal. 1273. Father Smith, in numerous small organs, made the Open Diapason to range simply from middle c' upwards ; and as that note marked the full average range downwards, of the treble voice, there was a certain completeness and distinctness of adaptability about the little Stop. It is therefore proposed above. IV. For a four-stop organ the following Registers would be quite satisfactory : — 1. Lieblich Bourdon. 2. Open Diapason. 3. Stopped Diapason. 4. Principal. 1274. As the Bourdon appears in these plans for Positif organs for the first time in the foregoing, a few words may be said in reference to that Stop. Deep-sounding bodies generate large and ample sound-waves ; and large sound- waves exercise an impressive effect on the feelings of auditors within their influence. In drawing up plans for small organs, advantage should be taken of this fact to introduce those deep-sounding bodies as soon as practicable, that they may exercise on those engaged in acts of devotion, the wholesome influence just adverted to. - 1275. If the Bourdon be made to the small scale, and voiced to the sweet tone implied by the adjunct " Lieblich," it will be found to enrich and deepfen the general tone, without obscuring or disputing the predominance of the unison pitch. The compass of the above organ is supposed to be the same as before ; but as the Pipes to the keys in the upward direction would be small and inexpensive, and yet would be most useful in a variety of ways, the range might be continued another octave, as being everything short of a necessity. The first and most obvious use of PLANS FOR ORGANS OF VARIOUS SIZES. 309 the upper octave of keys would consist in its being available for playing the melody " in octaves" when the voices might be showing a tendency to get flat, and of its thus offering an ever-ready means of checking such tendency without the player having to remove a hand from the Manual to draw the octave Stop. 1276. The extra octaves of keys would, in conjunction with the Bourdon, admit of a very pretty combination, resembling that produced by the Stopped Diapason and Flute on ordinary organs. 1277. A desire is sometimes evinced to have introduced, into organs even of the very small kind under consideration, the movement called by the Spanish organ-builders of the last century " Terzo Mano," and by Mr. Holditch, who introduced into England, " Diocton." It is a question whether it be advisable to introduce any mechanical appliance whatever into so small an organ. If, however, its insertion be proposed, some care will be required as to the selection of the Stops. The effect of an " octave coupler," it may be as well to explain, is to repeat all the sounding- stops at half size and add them in that new form to the Stops in their actual size. There is a great risk, therefore, of the 4-feet tone being made to exceed the 8-feet tone by a movement of the above kind ; and of the general tone becoming top-heavy. If an octave coupler be desired, the Stops in their half size as well as their full should be written down, and the size and proportion of the whole then tested. No scheme of 4 Stops will bear this trial better than the following : — V. i: Bourdon . . (16). 2. Open Diapason (8). 3. Dulciana . . (8). 4. Flute (4). " Reproduced " as above, the scheme would stand thus : — • VI. 1. Bourdon 16. 2. Open Diapason 8. *3. Stopped Diapason 8. 4, Dulciana 8. * 5. Principal 4. 6. Flute 4. *7. Dulcet 4. * 8. Piccolo 2. That is to say, like one stop of 16 feet, three of 8 feet, three of 4 feet and one of 2 feet. For an organ capable of sustaining some hundreds of voices, the following five Stops would be good : — VII. 1. Bourdon. 2. Open Diapason. 3. Stopped Diapason. 4. Principal. 5. Mixture, II ranks, — 12 and 15. These organs might well be distinguished as Positif Organs, as that is not only 3IO PLANS FOR ORGANS OF VARIOUS SIZES the old English name for small instruments ; but is one that has not hitherto been appropriated in modern days. CHANCEL ORGANS. 1278. Another kind of small organ is appropriately called the Chancel organ. This consists of at least one Manual of full compass, and a good complement of Pedals ; and two Stops at the least, one of 8 feet and one of 4. For a delicate toned organ of this kind the following Stops would answer well ; — VIIL Manual compass C C to g=, 56 notes. Pedal C C to d', 27 notes. 1. Lieblich Gedact 8 feet tone. 2. Dulcet 4 feet. For a somewhat fuller tone : — IX. Compass as before. 1. Stopped Diapason 8 feet tone. 2. Gemshorn 4 feet. For a stronger tone, the following three Stops : — X. r. Stopped Diapason 8 feet tone. 2. Open Diapason to Middle c' . . . 8 feet. 3. Principal . 4 feet. For an organ of six sounding Stops the following would answer well : — , XI. Manual Organ. 1. Open Diapason 8 feet. 2. Stopped Diapason 8 feet tone. 3. Dulciana to Tenor c, grooved into No. 2 below 8 feet. 4. Principal 4 feet. 5. Mixture, II ranks 12 and 15. Pedal Organ. 6. Bourdon, CCC to Tenor d, 27 notes 16 feet tone. 1279. In drawing up plans for organs, however small, advantage ought to be taken of the experience and successful experiments of the early builders and their successors, and to propose, as soon as practicable, not only the tone to CC, but below them as far as F F F, to obtain a greater or less number of which the makers of past times did not hesitate to depart from what they knew to be the proper compass, rather than lose those tones altogether. Without those tones somewhere, all the simple church music, written in the scales of B flat, A, G, and F, forming a considerable portion of the whole, would be PLANS FOR ORGANS OF VARIOUS SIZES. 3 II deprived of its deep-toned tonic, as well as many of its grave-sounding pro- gressions. In the above plan for a Chancel organ, the Manual presents the range not only indispensable for an accompaniment organ, — like the Positifs, already proposed, — but also the compass necessary for the unfettered study and practice of the Manual parts of the greatest works ever written for the instru- ment ; while the Pedals present the not only deep tones necessary to afford a. satisfactory interpretation of any of the bass progressions of vocal church music, but likewise the still freer parts of essentially church organ music. This subject cannot be followed any further in this place. Probably it may be treated of more fully in a separate form of publication. CHURCH ORGANS. 1280. The next subject to be touched upon is the smallest kind of church organs, from which point the subject may be continued forward uninterruptedly. XII. For a small organ of II Manuals and Pedal, and 10 Sounding Stops : — 1. Open Diapason ... 8 feet. 2. Stopped Diapason . . 8 feet tone. 3. Dulciana to Tenor c. Great Organ. grooved into No. 2 below 8 feet. 4. Principal 5." Violin Diapason, or Spitzflote, to Tenor c, grooved into No. 6 below ...... 8 feet. 6. Rohr-gedact .... 8 feet tone. Swell Organ. 7. Violino, or Gemshorn . 4 feet. 8. Mixture, II ranks, 12 and 15 2f feet. 9. Oboe 8 feet. Pedal Organ. 10. Stopped Bass 16 feet tone. Bass Flute, 8 feet tone by means of octave coupler. Accessory Stops, Movements, Sr'c. 1. Swell to Great. I 3. Great to Pedal. 2. Swell to Pedal. I 4. Octave Coupler, Pedal. 1281. An "octave coupler," to produce the effect of a "Bass Flute," is pro- posed for the Pedal. A Stop of this kind is very useful even when the extra octave of Pipes, to complete its upward compass, is not attainable, as is sup- posed to be the case in the present instance. The 8-feet " helper " quickly defines the deep tones of the 16 feet octave, and has the advantage of doing this, according to the present plan without either of the Manuals being coupled to the Pedal for the purpose. The Manuals are thus left free to be used with their own separate and special soft combinations whenever required. The higher tones of the 16 feet range are quite distinct, and not far removed in pitch from the Manual tones ; hence the omission of the 8-feet sound is not felt to be material. 312 PLANS FOR ORGANS OF VARIOUS SIZES. Swell Organ. 7- Violin Diapason, Open Diapason, or Spitz- flbte, to Tenor c . 8 feet. 8. Lieblich Gedact . . 8 feet tone 9- Violino, Principal, or Gemshorn .... 4 feet. 10. Mixture, II ranks . . •2.1 feet. II. Trumpet,Horn, or Cor- nopean 8 feet. XIII. SPECIFICATION FOR AN ORGAN OF TWELVE SOUNDING STOPS, TWO MANUALS, AND PEDAL. Great Organ. 1. Open Diapason ... 8 feet. 2. Stopped Diapason > . . 8 feet tone. 3. Dulciana, to Tenor c, grooved into No. 2 below 8 feet. 4. Principal 4 feet. 5. Flute, Stopped, Open, or Harmonic .... 4 feet. 6. Mixture, II ranks, 12 and 15 2|. feet. Pedal Organ. 12. Stopped Bass 16 feet tone. Bass Flute, by means of octave coupler. 1282. A difficulty that frequently attends the planning of a small English organ of two Manuals, on the modern principle, is the satisfactory treatment of the Bass or 8-feet octave of the second Manual or Swell, owing to the size of the Stops that are justly considered to be indispensable for even the most limited departments of that kind to possess. In the instance of the second Manual or Choir organ of the instruments of the last century, no such difficulty existed, on account of the Stops generally selected for that department being comparatively small ones — as Stopped Diapason, 8-feet tone (4-feet literal length) ; Principal, 4-feet, and so on ; but now that the Swell invariably takes the precedence of the Choir organ, and an Open Metal Flue Stop of 8-feet, and at least one Reed Stop of the same size are required for even the smallest specimen of that division of an organ, the case is very different. 1283. By way of illustrating the extent of this alteration and increase in the size of the Stops, the following experiment might be tried on a Tenor c Swell, containing the following six Stops ; — 1. Bourdon 16 feet tone. 2. Open Diapason . . 8 feet. 3. Stopped Diapason . 8 feet tone. 4. Principal . . . . 5. Mixture, II ranks 6. Hautboy . . . . 4 feet 2f and 2 feet. 8 feet. First, press down the Tenor c key, then draw the Bourdon, when a sound like that from a C C Stopped Diapason will be heard. The Open Diapason, when added, will sound like a Principal ; the Stopped Diapason like a Flute ; the Principal like a Fifteenth ; the Twelfth and Fifteenth like a 1 1 -rank Mixture ; and the Hautboy like a Clarion. Thus it will be exemplified that the Tenor c Pipes of those six Swell Stops are as large as the C C Pipes of the following six Choir Stops : — 1. Stopped Diapason . 8 feet tone. 2. Principal 4 feet. 3. Flute 4 feet tone. 4. Fifteenth . . . 5. Mixture, II ranks 6. Clarionet . . . 2 feet. II ranks. 8 feet tone. PLANS FOR ORGANS OF VARIOUS SIZES. 313 That is to say, the Swell Stops of a modern organ are ordinarily twice the size of the Choir Stops of old organs. This will at once give an idea of the great amount of extra standing-room a Swell must require beyond what is necessary for a Choir organ of the same number of Stops, even supposing the necessary additional funds to secure the more costly Stops in a complete form to be forthcoming ; added to which, there is the price of the expensive " large wooden room " or box, to hold them, to be taken into account. A Swell, therefore, with all its Stops of complete compass could scarcely be expected in an organ for so small a church as the above would be calculated ; yet, on the other hand, it is very disadvantageous to the effect ' of the music, as well as unsatisfactory to the player, when the range of the second Manual organ is far short of what it should be. 1284. To overcome this difficulty, the Bass octave of the Stopped Diapason and Principal in the Great organ has sometimes been " borrowed ; " that is to say, they have been made to act on the corresponding octave of the Swell Manual, without the remaining Great organ Stops sounding. Something analogous to this in prin- ciple used to be effected by Harris, Bridge, and other builders, who, in some of their organs, borrowed the two lower octaves of their " Choir organ " from the Great, as at St. Andrew Undershaft, by means of double grooves, one set for each Manual, and two sliders to each borrowed Stop, of which also one was for each Manual. Conveyances or grooves extended from the upper-boards over the one slider to the Bass Pipes over the other ; and small leather valves were placed over each set of sound-board holes to prevent any of the wind that came up from one department of the organ passing down into the other division. The borrowing, however, has been effected in various ways ; as, for instance, by partitioning off a small portion of the single sound-board grooves, and providing pallets and sliders as before. All such contrivances are designed to arrive at the same end ; though a borrowed Bass is far better than the plan of making the Swell keys below Tenor c act on the entire Great organ, which is a very primitive device. Another plan has been to introduce a small " Choir Bass" to act on the Bass octave of the second Manual to meet the Swell. This is a better arrangement still, as the Stopped Diapson Bass and Principal, of which it is usually composed, can be sealed and voiced with some reference to the strength of the Swell Stops. Still this is not entirely satisfactory, as of course it cannot be made to match the Swell Stops equally well, whether the Swell-box be open or closed. Of the several methods that have been devised, none appear to be open to so little objection as the following. .1285. The Open Diapason might, to save room, be discontinued at the 4-feet c Pipe, as in the ordinary Tenor c Swell ; but the Stopped Diapason could be carried down to C C, the longest Pipe of which would even then only be of the same 4-feet length although its sound would be of 8-feet pitch. The Principal might also be carried right down ; the lowest Pipe of which Octave Stop would even then be no longer than the Open Diapason Pipe of the Octave above, that is, 4 feet. About the Mixture, smaller again, yet so pretty in its effect, there would be no difficulty. Lastly, the Reed could be mitred down without any detriment to its tone, but rather the contrary, and so be reduced to the 4-feet height. In this way the 8-feet octave of Manual tones could be secured to the Swell without increasing the height of the SweU-box at all ; by adding to its breadth to some extent, and to its depth to a less degree ; while its sounds would be rendered susceptible of being increased or diminished with the rest of the Swell, which power of course cannot be secured by any of the other plans. The lowest septave of the Principal might be made to draw on the Open Diapason slide, in conjunction with the Bass of the Stopped Diapason, 314 PLANS FOR ORGANS OF VARIOUS SIZES. to which it would act as a helper. In that case the Principal as a separate Stop, would not sound below the Tenor c key ; but as it is never used as a separate Stop without the Diapason, this would practically be no disadvantage. The 8-feet septave of the Stopped Diapason, as a Bass, to the Open, always sounds somewhat dull and muffled without some such "helper." 1286. A mistake sometimes finds its way on to the labels of the Pedal Couplers, which it is worth while to point out. It is generally understood that, of the two Claviers named on the label of a Coupler, the first is that of the row of keys coupled, and the second that of the one to which it is united. Thus, " Swell to Great " is understood to mean that the former is coupled to the latter, which is the case ; but with the Pedal Coupler the names frequently get reversed, and, although the mechanism attaches the Great organ to the Pedal, yet the label announces that it unites the " Pedal to Great." XIV. SPECIFICATION FOR AN ORGAN WITH SEVENTEEN SOUNDING STOPS, TWO MANUALS, AND PEDAL. Great Organ, 9 Stops. 1. Bourdon 16 feet tone. 2. Open Diapason . . 8 feet. 3. Dulciana to Tenor c. 8 feet. 4. Stopped Diapason . 8 feet tone. 5. Principal .... 4 feet. 6. Flute 4 feet tone. 7. Twelfth 2|feet. 8. Fifteenth ..... 2 feet. 9. Mixture, III, IV, or V ranks 10. Open Diapason . 11. Stopped Diapason 12. Principal . . . Swell 8 feet tone, 8 feet. 4 feet. 6 Stops. 13. Mixture, II ranks 14. Hautboy . . . 15. Horn .... 2f and 2 feet. 8 feet. 8 feet. 16. 17- Open Bass . Stopped Bass Pedal Organ, 2 16 feet. I a. 16 feet tone. b. Stops. Octave Bass (borrowed by. 8 feet. T-.1 . -n K means of a> „ ^ Flute Bass . ( coupler, ) 8 feet tone. Accessory Stops, Movements, St'c. 1. Swell to Great. 2. Great to Pedal. • 3. Pedal Octave. Compass- Great. CC to g^ in altissimo, 56 notes. Swell. C C to g' in altissimo, 56 notes. Pedal. C C C to Tenor f, 30 notes. 4, 5, 6 7, 8. Five double-action Composition Pedals, to act on the Stops of the Great organ in the following manner : — 4, to draw out the Dulciana, and reduce the full organ to the same. 5 , to draw out the Diapasons, and reduce the full organ to the same. 6, to draw out to the Fifteenth, and reduce the full organ to the same. 7, to draw out the full organ. 8, to compound a Choir organ, by drawing out the Stopped Diapason, Dulci- ana, Principal, and Flute, and reducing the full organ to the same. 1287. The last Composition Pedal mentioned in the above scheme, although but seldom introduced, would prove of the greatest possible use in all small organs which have no separate Choir organ. It was tried for the first time (at the writer's PLANS FOR ORGANS OF VARIOUS SIZES. 315 suggestion) in the organ built by Walker, for Trinity Church, Vauxhall Bridge, in 1852. As a Pedal of the kind does not belong to the series for increasing the strength of the organ-tone by gradations from piano to forte, and for reducing it back again, but is designed to answer a distinct and special purpose, it had better be placed quite apart from the "rest, say, to the extreme left, opposite to where the Swell Pedal is usually situated. The Bourdon is proposed to be acted on only by the Composition Pedal that is to draw out the full organ ; as its use is not governed by any laws analogous to those which regulate the employment of the other Stops, but is sometimes required in soft combinations, while at others it is not desired for much louder ones. For these reasons it will be better for it to be controlled chiefly by the hand. 1288. In many small English organs, a Bourdon of i6-feet tone is placed on the second Manual, while all Stops of the same pitch are omitted from the first. This is not in accordance with the Continental custom, as will be perceived on referring to any of the Specifications of small organs contained in the Appendix. 1289. Two independent Pedal Stops are included in the Specification last given. Both those Stops are proposed to be of i6-feet ; Flue Stops of that size or size of tone being the most important ones for the Pedal to have first, they forming the " Open and Stopped Basses " to the Diapasons of the Manual. Of scarcely less importance are the 8-feet Pedal Stops, which, however, are generally unattainable in an organ of the size to which our Specification has at present attained. A Pedal Octave Coupler is therefore proposed, as before. 1290. At the same time, a plan for compounding a second, independent Stop out of a first, has been quite successfully tried by Schulze, Jardine, Wadsworth, Robson, and others. It is as follows : — the C C C and C C grooves are placed side by side ; the C C C sharp and C C sharp grooves the same ; and so on throughout the sound-board ; an extra octave being added at the end to complete the 8-feet range. Each Pedal roller is then provided with two lowering arms, one communicating with the C C C pallet, the other operating on a second pallet in the C C groove. On the table are twice the usual number of sliders, say four instead of two ; that is to say, in addition to those for the two actual Stops, the same number is introduced for the borrowed octaves, and those for the i6-feet Stop and the borrowed octave are in each case placed side by side. The C C C and C C Pipes also stand side by side on the sound-board, to save conveyancing or grooving ; and all the other Pipes are arranged in the same manner. By these means the independence of the 8-feet range is so completely established that it is scarcely possible to discover that there are less than twice as many actual Stops as really exist. XV. SPECIFICATION FOR AN ORGAN WITH TWENTY SOUNDING STOPS, TWO MANUALS, AND PEDAL. Great Organ, 10 Stops. I. Bourdon .... 16 feet tone. 6. Stopped Flute . . 4 feet tone 2 Open Diapason . 8 feet. 7- Twelfth .... 2f feet. 3- Dulciana, or Gamba 8. Fifteenth .... 2 feet. to Tenor c . . 8 feet. 9- Mixture, III, IV, or 4- Stopped Diapason 8 feet tone. V ranks .... 2 feet. S- Principal . . . 4 feet. 10. Trumpet .... 8 feet. 3i6 PLANS FOR ORGANS OF VARIOUS SIZES. Swell Organ, 9 Stops. n. Lieblich Bourdon 12. Open Diapason . 13. Stopped Diapason 14. Keraulophon . . 19. Open Bass . 20. Stopped Bass 16 feet tone. IS- Principal .... 4 feet 8 feet. 16. Mixture, III ranks . 2 feet 8 feet tone. 17- Ha:utboy .... 8 feet 8 feet. 18. Horn 8 feet Pedal Organ, 2 Stops. 16 feet. I a. Octave Bass (borrowed) 8 feet 16 feet tone. I b. Bass Flute (as before,) 8 feet tone. Accessory Stops, Movements, &^c. 1. Coupler Swell to Great. 2. Swell Octave. 3. Coupler Great to Pedal. 4. Pedal Octave. 5. 6, 7, 8, 9. Composition Pedals as before. Compass. Great. C C to g^ in altissimo, 56 notes. Swell. C C to g° in altissimo, 56 notes. Pedal. C C C to Tenor f, 30 notes, with extra octave of organ, to complete the octave range. 1291. In Germany, a satisfactory Specification for a lo-Stop Great organ always includes one Flue Stop of i6-feet tone, three or four of 8-feet, two of 4-feet, and a Compound Stop of from III to VI. ranks. This skeleton scheme cannot be improved upon, and there is the less occasion for even making the attempt, since there is so much room for indulging individual taste, in making the selection of Stops wherewith to fill it up. 1292. It will be seen that the "Double" in the Great organ is proposed to be Stopped throughout (Bourdon), and not open in the Tenor and Treble, as it is sometimes made in England. The Continental rule is, that when there is but one Stop of i6-feet pitch on a Manual, that should be a Covered Stop (see Specifications in Appendix) ; and to this rule very few exceptions, indeed, exist. A Bourdon or kindred Stop, is first introduced because it is more prompt in its speech than a Double Open Diapason ; because it deepens the organ-tone so admirably, without rendering the sub-octave sound so weighty and sonorous as to confuse it with the unison pitch in soft combi- nations ; and because it is the less expensive Stop, and also requires less standing and speaking room. For these several reasons, its adoption has been recommended above. Sometimes a Quintaton, 16 feet (Fifth-sounding Covered Stop, 16 feet size of tone) is found proposed in Foreign Specifications. A Stop of the kind is not designed to give its actual tone purely, but to produce its Twelfth, of 5f feet, as strongly as its ground-tone. The original design of such a Stop is to obtain the effect of two from one rank of Pipes, on which account the Stop in question is, in Germany, termed a "simple mixed Stop." It of course is never intended to be used by itself. 1293. The Flute on the Great Manual of the organ at Hampton Court, by Father Smith, is really a Quintaton of 4-feet ground-tone. It is formed of metal Pipes, with metal caps without chimneys. 1294. A Swell Octave Coupler is proposed above ; that is, one to unite the Swell to itself in that interval. A movement of this kind is very useful for solo playing in the Middle and Tenor octaves, as either Reed can then have its 4-feet effect brought into conjunction with its 8-feet. Moreover, where the Swell is coupled to the Pedal, a very excellent effect, by additional distinctness, is imparted to the latter by it. Lewis has introduced this very successfully into some of his recent instruments. PLANS FOR ORGANS OF VARIOUS SIZES. 317 XVI. SPECIFICATION FOR AN ORGAN OF TWENTY-EIGHT SOUNDING STOPS, THREE MANUALS, AND PEDAL. Great Organ, 10 Stops. I. Bourdon 16 feet tone. 2. Open Diapason . . 8 feet. 3. Spitzflote, or Gamba . 8 feet. 4. Stopped Diapason, Metal Treble, or a Clarabella ... 8 feet. 5. Principal .... 4 feet. 6. Stopped Flute, or Flute Harmonic . 7. Twelfth .... 8. Fifteenth .... 9. Mixture, III, IV, or V ranks .... 10. Trumpet .... 4 feet tone. 2f feet. 2 feet. 2 feet. 8 feet. Swell Organ, 9 Stops. 11. Lieblich Bourdon 12. Open Diapason . 13. Rhor Gedact . . 14. Principal . . . IS- Fifteenth . . . 16 feet tone. 8 feet. 8 feet tone. 4 feet. 2 feet. 16. Mixture, III and IV ranks 2 feet. 17. Hautboy .... 8 feet. 18. Horn 8 feet. 19. Clarion 4 feet. Choir Organ, 5 Stops. 20. Dulciana .... 8 feet. 21. Lieblich Gedact . . 8 feet tone. 22. Principal, or a Taper Stop 4 feet. 23. Flute 4 feet tone. 24. Clarionet, to Tenor c, . 8 feet. 25. Open Bass . 26. Stopped Bass Pedal Organ, 4 Stops. 16 feet. I 27. Principal Bass . . 8 feet. 16 feet tone. 28. Posaune,wooden tubes 16 feet. Accessory Stops, Movements, Ssfc. 1. Swell to Great. 2. Great to Pedal. 3. Choir to Pedal. Compass. Great. C C to g' in altissimo, 56 notes. Swell. CC to g' in altissimo, 56 notes. Choir. CC to g'' in altissimo, 56 notes. Pedal. C C C to Tenor f, 30 notes. 4, 5, 6, 7. Four double-action Composition Pedals to act as follows ; — 4, to draw out Diapasons (2, 3, and 4), and reduce full organ to the same. 5, to draw out to Fifteenth, and reduce full organ to the same. 6, to d.raw out full organ without Reed, and draw in Trumpet. 7, to draw out full organ. 1295. The effect of a second Open Diapason has generally been to increase the quantity of smooth unison-tone. Most English organs of the size represented in the preceding Specification used to contain the repetition in question ; whereas very few of the Continental instruments include any such duplication of the equivalent stop, — i.e., of the " Principal, Prestant, or octave of 8 feet." The organs at Rotterdam, Freiburg, and Tours, offer exceptions to the rule, which, however, are all much larger instruments (see Foreign Specifications). It might therefore be supposed that the foreign organs do not contain any Stop cor- 3l8 PLANS FOR ORGANS OF VARIOUS SIZES. responding with the English " second Open ; " which inference, however, would only be correct so far as the name is concerned, for they very generally do possess a second Unison Open Metal Flue Stop of rather strong tone. It is true, indeed, that they usually present but one " Principal, or most important Stop of 8 feet," which, forming the basis from which the length and scale of the whole series of Harmonic corroborating Stops are calculated, thus consti- tutes the Diapason thereto ; but then they have, in lieu of a second Stop of that same name and size, some member of the Flute-work, which is selected accord- ing to the character of tone it is desired the "second Open" shall produce 1296. The point of difference, therefore, in this particular, between the English and the Continental system, is this — that whereas in this country the second open Stop is almost always labelled " Open Diapason," although its tone may differ much, and advantageously so, from the full and sonorous chararcter of that of the first Stop of the same name ; in Germany, the several varieties of tone are, on the contrary, produced from as many different kinds of Stops, each of which has something peculiar in its form to distinguish it to the organ-builder ; some- thing special in its tone to distinguish it to the auditor ; and something distinct in its name to distinguish it to the organist. Thus, in some German organs, we find a " second Open," slightly conical in form, producing a rather lighter tone than the first, of a slightly flutey quality, and bearing the inscrip- tion " Spitzflote 8 feet!' In others, we find the second 8-feet open Stop more conical than the last-mentioned, producing a clear, piping, and chirping quality of tone, and labelled " Gemshorn 8 feet." Other organs contain a second Open Stop, that is more or less reedy in tone, and smaller in scale, bearing the name Gamba, Salicional, Geigen Principal, &c., as the case may be. Any Specification in the Appendix may be referred to for an illustration of these particulars. 1297. The origin of the introduction of a second Open Diapason into the English organ is possibly connected in some way with the custom, prevalent in the seventeenth century, of erecting the organ on the choir screen, which rendered a " double front " necessary, demanding two sets of cylindrical Pipes wherewith to adorn them. And it is worthy of observation, that although Father' Smith frequently introduced " two Opens," he generally voiced the smallest one so that it produced a tone partaking in some degree of the peculiar flutey quality of the German Spiizfldte. The custom of introducing two Open Diapasons has prevailed very generally in England, from the time of Smith and Harris down to our own. The fault generally was that they did not possess sufficient individuality of tone, nor, consequently, the amount they might have done when combined. 1298. The particular in which the English system is felt to be insufficient, is, in its not possessing any nomenclature whereby the Stops producing the several characters of tone can be distinguished and specially referred to. That the adoption of something of the kind would prove advantageous, there can scarcely be a second opinion. All must have experienced the convenience of being able, for instance, to distinguish a Dulciana from an Open Diapason by a name instead of a description, and a Keraulophon from both by the same simple means. Perhaps " smooth Open " and " clear Open " would be suffi- ciently definite for the purpose. 1299. The second Open Diapason is sometimes indeed labelled "small Open;" but this addition only refers to the scale of the Stop, and not to the quality of its sound, which may vary considerably in different examples. More- over, one builder's " small " Open will not unfrequently nearly equal in size PLANS FOR ORGANS OF VARIOUS SIZES. 319 the "large" Open of another. What the performer requires most especially, is a key to the tone-character of the Stop ; and if some special term could be applied to every Stop, the sound of which differed from that of the actual " Diapason," such a series of names would doubtless prove most acceptable. Under this impression, the second unison open Stop on the Great Manual of the last Specification is marked " Spitzflote 8 feet ;" for which, however, some other 8-feet Stop could be substituted, or even the hitherto usual EngUsh Stop and terminology, if preferred. 1300. In selecting the particular kind of Stopped Diapason and Flute for the Great and Choir Manuals, a better opportunity is afforded for the exercise of individual choice, than is the case with almost any other class of Stops in an organ. It was a frequent custom with the younger Harris to make the Treble of his Choir Stopped Diapason and Flute of metal, as in the late Doncaster organ ; while the younger Smith as often made his both of wood throughout, as at Finedon. The elder Smith, on the contrary, frequently made the two Stops of a different kind of material ; so that if the Stopped Diapason was of wood, the Flute would be of metal ; and when the Stopped Diapason was of metal, the Flute was of wood. In a few cases, he made the one Stopped and the other Open, as in the Durham Cathedral organ, where, to a Stopped Diapason of wood on the Great and Choir organs, a Hohlflote of octave pitch was placed in each instance. 1 30 1. The "crossing" of the Stopped Diapason and Flute, in regard to their material, after the manner adopted by the elder Smith, has long been a prevalent practice, though by no means an invariable one, with the German organ-builders. It was followed by SUbermann in his fine instruments at Dresden, in the Choir organs of each of which it will be seen, on referring to their Specifications in the Appendix, that to a " Gedact of 8-feet tone " he introduced a "Rohrflote of 4-feet tone." It wiU be noticed, also, that to the " Gedact of 8-feet tone " in the Choir, he in each case disposed a " Rohrflote of 4-feet tone " in the Great organ. 1302. By making one of the covered Stops on the same Manual of wood, and the other of metal, greater individuality of character in the tone is obtained from each than is usually secured . by the voicing alone ; and by making two Stops of similar nature on two different Manuals — ^as, for instance, the Stopped Diapasons on the Great and Choir organs — of different materials, a nice, mild contrast is caused to exist even between Stops which (in England, at any rate) usually bear the same name. >Iuch variety is also to be obtained by crossing the Clarabella of 8 feet and the Flute Harmonic of 4 feet ; also by the use of the Rohrflotes, Gedacts, and the numerous Flutes that have been invented or introduced within the last few years. 1303. The plan of making the Covered Stops of 8 and 4 feet tone " cross," has been adopted by Mr. Hill for the Choir organ of his noble instrument at St Paul's ; it has also been followed by Mr. Walker for some years past 1304. It is the nature of all good Stops of Flute quality of tone, whether they be stopped or open, metal or wood, to impart to the metal tone of those members of the Diapason-work with which they sound in unison, a certain fulness and mellowness of effect not attainable without them : and this mollifying influence is exercised to the most beneficial extent when the Flute sound is fully proportioned to that of the metal, yet without being so strong as to prevent its mixing perfectly with, and merging, as it were, in the metal tone. For an organ that is to be lightly and sweetly voiced, somewhat after the Green model, for instance, a Stopped Diapason and Stopped Flute would answer 320 PLANS FOR ORGANS OF VARIOUS SIZES. best ; as a Clarabella and Flute Harmonic would in that case be likely to produce rather a "hooting" effect through the light foundation and chorus- work. Instead of simply imparting body and breadth to the Open Diapason and Principal, they would tend to obscure the predominence and " glisten " of the metal quality by their nearer equality of strength, and would thus serve only to thicken and deaden the tone. But if the Diapason and Harmonic series of Stops are to be boldly and fully voiced, a Clarabella and Flute Harmonic might be advantageously introduced ; for the reasons that, while they would be covered by the peal of the ringing Mixtures, they would in their turn assist in supporting them by the broader effect which they would impart to the unison and octave sounds. 1305. The Clarabella is generally of excellent quality in the upper octave and a half of its compass, being clear and smooth, yet powerful ; but in the middle octave its tone is sometimes thick and woody, probably on account of the largeness of its scale, and its not being blown sufficiently. In the German equivalent for the above-named English Stop — the Hohl-flute — the Pipes increase in bulk far more gradually downwards, yet the most perfect evenness of quality is preserved. 1306. A singular mistake is sometimes made in the labelling of the Swell Octave Coupler, which it is necessary to notice. The coupler in question is frequently marked super-octaMS, which means not " the octave above," but " above the octave," and therefore indicates that it operates in the 2-feet pitch, whereas it in reality acts in the single octave or 4-feet pitch. This error is the more confusing where the terms octave or super-octave are applied to any of-, the 4 or 2 feet organ Stops. XVII. SPECIFICATION FOR AN ORGAN OF TVi^ENTY-FOUR SOUNDING STOPS, TWO MANUALS, AND PEDAL. Great Organ, 12 Stops. 1. Bourdon 1 5 feet tone. 2. Open Diapason . . 8 feet. 3. Dulciana .... 8 feet. 4. Stopped Diapason or Clarabella ... 8 feet tone. 5. Principal .... 4 feet. 6. Harmonic Flute . . 4 feet tone.. 7. Twelfth .... 8. Fifteenth . . . 9. Harmonic Piccolo 10. Mixture, V ranks . 1 1 . Trumpet .... 12. Clarionet . . . 2f feet. 2 feet. 2 feet. 2 feet. 8 feet. 8 feet tone. For No. 9 a Gamba might be substituted. Swell Organ, 10 Stops. n. Bourdon. . . . 16 feet tone 14. Open Diapason . Rohr Gedact . . 8 feet. 8 feet tone 16. Gamba to Tenor c 8 feet. 17- 18. Principal . . . Fifteenth . . . 4 feet. 2 feet. 19. Mixture, III and IV ranks 2 feet. 20. Hautboy .... 8 feet. 21. Horn 8 feet. 22. Clarion 4 feet. For No. 18 a Flute might be substituted. PLANS FOR ORGANS OF VARIOUS SIZES. 321 Pedal Organ, 4 Stofis. 23. Open Bass, wood . 16 feet. 24. Stopped Bass,' wood 16 feet tone. 25. Principal Bass, metal 8 feet. 26. Posaune, wooden tubes 16 feet. Accessory Stops, Movements, dr'c. 1. Swell to Great. 2. Great to Pedal. 3. Swell to Pedal. 4. Swell Octave. 5. Swell Sub-octave. Compass. Great. CC to g' in altissimo, 56 notes. Swell. CC to g' in altissimo, 56 notes. Pedal. CCC to Tenor f . . 30 notes. 6, 7, 8, 9. Four Composition Pedals, as before. 1307. The Piccolo, which now appears in the Great Organ Specifications for the first time, completes the Flute or wood organ, consisting of the Bourdon, Stopped Diapason, Flute, and Piccolo — a series of Stops of the greatest service for purposes of accompaniment and for solo playing. 1308. The Octave and Sub-octave Couplers are sometimes made to attach the " Swell to Great ;" at others they unite the Swell to itself in the octave above and below. In the latter case, the octave sound, each way, can be concentrated on a single Swell key, provided the octave be within the standard compass of the Manual. The Octave and Sub-octave Swell Couplers are then freely available, without the independence of the Great organ being 0/ necessity lost for the time being. If either the Octave or the Sub-octave effects, or both, were required in conjunction with the Great, they ai-e then obtainable by drawing the usual Coupler Swell to Great ; when, of course, every key united to the Swell unison would also descend, on that key being drawn down by the corresponding key of the Great Organ. The only effect lost is that of attaching the Swell to the Great in the Octave and Sub-octave, without the Swell unison. 1309. Several excellent Pedal effects are placed at the organist's command, when the Swell unites to itself- For instance, the Swell — with the " Swell Octave " drawn — on being coupled to the Pedal, would, by means of the Clarion, produce the effect of a 2-feet Reed, and thus impart to the Pedal entry of a subject a great amount of point and brightness : or, with the Sub-octave di-awn, which would attach the CC Swell key to the second c of the Pedals, and consequently bring the i6-feet CCC Bourdon tone on to the same CC Pedal, the effect of a light Pedal Stop of 32-feet tone would be obtained through the octave and a half of the Pedal range from that key upwards. 1310. Octave and Sub-octave Couplers occur in most of the Italian organs, whether of ancient or recent date. It would be interesting to know positively the exact period of the introduction of such useful movements. The Unison Coupler would naturally be the first kind thought of; and from the prominent way in which that description of Accessory Stop is mentioned in the old account of the Lucerne organ (Foreign Specifications), it is not improbable that a Clavier Coupler was, at the period of the construction of that instru- ment, 1561, then either a new feature, or a gi-eat novelty in the science. I I 322 PLANS FOR ORGANS OF VARIOUS SIZES. SPECIFICATION FOR AN 1. Bourdon i6 feet tone. 2. Smooth Open Dia- pason 8 feet. 3. Clear Open Diapason 8 feet. 4. Stopped Diapason, Clarabella, or Hohl- flote 5. Principal .... 6. Stopped Flute or Flute Harmonic XVIII. ORGAN OF THIRTY-SIX MANUALS, AND PEDAL. Great Organ, 13 Stops. SOUNDING STOPS, THREE 8 feet tone. 4 feet. 4 feet tone. Twtlfth 8. Fifteenth .... 9. Piccolo 10. Full Mixture, III ranks 11. Sharp Mixture, III, IV, or V ranks; . . or 2 feet. 12. Trumpet 8 feet. 13. Clarion 4 feet. 2 feet. 2 feet. 2 feet. 14, IS. 16. 17. 18. For No. 10 a Gamba might be substituted. Swell Organ, 10 Stops. 19' Bourdon 16 feet tone. Open Diapason . . 8 feet. 20. Stopped Diapason, 21. metal treble ... 8 feet tone. 22. Bell Gamba ... 8 feet. 23. Principal 4 feet. Choir Organ, 7 Fifteenth .... 2 feet. Mixture, IV ranks . i\ foot. Hautboy 8 feet. Horn 8 feet. Clarion 4 feet. 24. Open Diapason . . 8 feet. 25. Stopped Diapasoij, wood 8 feet tone. 26. Dulciana 8 feet. 31. Open Bass, wood . 32. Stopped Bass, wood 33. Great Quint, Bass wood, stopped . . 1. Open Bass. . 2. Stopped Bass. 3. Quint Bass 4. Principal Bass Open Bass . Principal Bass Fifteenth Bass 30- a — Pedal Organ, 16 feet 34, 16 feet tone. 35. io|- feet tone. b — Pedal, 16 feet. 16 feet tone, loj feet tone. 8 feet. c — Pedal, 16 feet. 8 feet. 4 feet. Stops. 27. Spitzflote .... 28. Metal Flute .... 29. Gemshorn .... Clarionet, to tenor c . 6 Stops. Principal bass, metal Flute Bass, wood . 36. Posaune, wooden tubes 6 Stops. 5. Mixture, II ranks, 12 and 15. ... 6. Posaune .... 6 Stops. 4. Posaune .... 5. Trumpet .... 4 feet. 4 feet tone. 2 feet. 8 feet tone. 8 feet. 8 feet tone. 16 feet. S^ feet. 16 feet. 16 feet. 8 feet. 6. Clarion 4 feet. Accessory Stops, Movements, &c. Coupler Swell to Great. 6. Swell to Pedal. 2. Swell Octave. 3. Swell Sub-octave. Choir to Great. 4- 5. Great to Pedal. 7. Choir to Pedal. 8, 9, lo, n. Four Composition Pedals to Great. 12,13. Two Composition Pedals to Swell. Compass. Great, C C to g= in altissimo, 56 notes. I Choir, the same. Swell, the same. | Pedal C C C to Tenor f, 30 notes. PLANS FOR ORGANS OF VARIOUS SIZES. 323 131 1. Three distinct plans are given for a Pedal of 6 Stops in the foregoing Specification. The first contains a Great Quint Bass, of lof feet tone ; which Stop, though but little used in England, is capable of great effect. Many German and Flemish organs produce a mild, yet distinct, 32-feet tone from a Pedal organ, which, nevertheless, contains no Stop of that pitch. The sounds which would be supposed to proceed from such a Stop are in reality only an " acoustical illusion," resulting from the introduction of a Stop of the above kind ; every third vibration of which coinciding with every second vibration of the i6-feet Stops, and with every fourth vibration of the 8-feet Stops, together, so reinforce the periodical vibrations which occur thirty-two times in a second, that they produce the effect above mentioned. Where room and expense are objects, and no Sub-Bourdon is therefore obtainable, the above plan of obtaining the deepest musical tones, by making the phenomenon of sub-harmonic sounds subservient to practical use, might advantageously be adopted, particularly as the additional Stop necessary to produce them is of no greater length than the Pedal Twelfth. 1 312. The second plan for a 6-Stop Pedal organ is a favourite English scheme ; while the third is almost a literal reproduction of one held in high esteem by Silbermann and other German builders. (See Specifications in Appendix.) The first of the three schemes appears, on the whole, to be the best adapted for the accompaniment of the English Church Service ; whether choral or congrega- tional ; while the second unquestionably would form the best chorus organ. In many continental churches, the Canto Fermo, or melody of the old Church Chant, thundered forth in unison by a large choir of priests, is made the Bass in the accompaniment, the harmony appearing as a kind of superstructure ; the effect of which arrangement of the parts is frequently most commanding. For this kind of use the third Specification, with its three octaves of Reeds — 16, 8, and 4 feet — would be the best ; it being equal to the production of most impressive eflfects when employed in this manner 1313. The consideration of the above three Pedal Specifications offers a striking illustration of the immeasurable supericttity of the system of organ-building which treats the Pedal as an independent department of an organ, over that which recognises the extension of the Manuals down below CC as a substitute for it. In the former case, several plans, consisting of the same number of Stops, but very dissimilar in their selection, each possessing merits of its own, and each specially adapted to answer a distinct end, can be prepared, and from these a final selection be made, according to special requirements ; whereas in the latter this is not possible, for the very existence of the Pedal as an independent and important division of an organ is then scarcely recognised. XIX. SPECIFICATION FOR AN ORGAN OF FIFTY SOUNDING STOPS, THREE MANUALS, AND PEDAL Great Organ, 17 Stops. 1. Double Open Dia- pason 16 feet 2. Bourdon 16 feet tone. 3. Open Diapason . . 8 feet. 4. Spitzflote . . . 8 feet. 5. Stopped Diapason, metal Treble . . 8 feet tone. 6. Quint S^feet 7. Principal 4 feet. 8. Gemshom .... 4 feet. 9. Stopped Flute — wood 4 feet tone 10. Twelfth 2f feet. 11. Fifteenth 2 feet. 12. Piccolo 2 feet. 13. FuU Mixture, III ranks 2 feet. 14. Sharp Mixture, V ranks . . . . 14 foot. 15. Double Trumpet . . 16 feet. 16. Posaune 8 feet. 17. Clarion 4 feet. II 2 324 l8. 19. 20. 21. 22. 23- PLANS FOR ORGANS OF VARIOUS SIZES. Swell Organ, 12 Stops. Bourdon . . . Open Diapason . Stopped Diapason Gamba to Tenor c Principal . . Flute .... 16 feet tone. 8 feet. 8 feet tone. 8 feet. 4 feet. 4 feet. 24. Twelfth. . . . 25. Fifteenth . . . 26. Mixture, IV ranks 27. Hautboy . . . 28. Horn .... 29. Clarion .... 2f feet. 2 feet, i^ feet. 8 feet. 8 feet. 4 feet. Choir Organ, 10 Stops. 30. Lieblich Bordun . . 31. Spitzflote .... 32. Lieblich Gedact . . 33. Dulciana — to tenor c 34. Keraulophon — to tenor c . . . . 16 feet tone. 8 feet. 8 feet tone. 8 feet. 8 feet. 35. Gemshorn .... 4 feet. 36. Lieblich Flote . . 4 feet tone. 37. Flute Harmonic . . 4 feet. 38. Mixture, II ranks . 2| feet. 39. Corno de Bassetto — throughout ... 8 feet tone. Pedal Organ, 11 Stops. 40. Sub-Bass, Stopped 32 feet tone. 41. Open Bass, wood . i5 feet. *42. Violone 16 feet. 43. Stopped Bass, wood 16 feet tone. 44. Quint Bass, stopped io§- feet tone. 4J. Principal Bass, metal 8 feet. 46. Flute Bass, wood . 47. Twelfth and Fif- teenth Bass . . . 48. Trombone . . . Trumpet 8 feet tone. 5i feet. 16 feet. 8 feet. 50. Clarion 4 feet. Accessory Stops, 1. Coupler Swell to Great. 2. Coupler Choir to Great. 3. Swell Octave. 4. Swell Sub-octave. 5. Great to Pedal. 6. Swell to Pedal. 7. Choir to Pedal. Movements, &'c. 8. Pedal Ventil. 9. Tremulant to Swell. 10, II, 12, 13. Four Composition Pedals to the Great organ. 14, 15. Two Composition Pedals to the Swell organ. Compass. Great, C C to g' in altissimo, 56 notes. Choir, the same. Swell, C C to g' in altissimo, 56 notes. Pedal, CCC to Tenor f, 30 notes. As a Solo organ to the above, the following four Stops would form a good addition ; to be operated upon by a fourth Manual : — 1. Diapason Harmonic 8 feet. 2. Flute Harmonic . 4 feet. 3- Tuba 8 feet. 4. Tuba Clarion . . 4 feet. There should in that case be two extra Couplers, namely, one to unite " Solo to Great," and a second to attach " Solo to Pedal." PLANS FOR ORGANS OF VARIOUS SIZES. 325 1314. A German Great Manual organ, containing t6 Stops, is usually furnished with two or three Stops of 16 feet, a Quint, and two Metal Open Flue Stops of 4 feet. All these excellent features are embodied in the plan for the Great organ department of the preceding Specification. The Great organ has, in fact, now become strictly a " i6-feet" organ. Two Principals, like two Open Diapasons, have frequently been introduced into large English organs, as in the fine instruments at St. Sepulchre's, Snow Hill ; Temple Church ; Christ Church, Spitalfields ; Hereford Cathedral, &c.; and when there is much Mixture-work above, a second Stop of the kind, or nearly allied to it, is a most advisable one for an organ to have, as it strengthens the medium tone of the instrument materially. As, however, German organ-builders seldom "repeat themselves," the second 4-feet Open Metal Stop in their Specifications is never a repetition of the Principal, but frequently a member of the taper Flute-work, as a Gemshom or a Spitzflote of 4 feet. Sometimes the Stop in question is an Octave to the 8-feet Stop, occupying the position corresponding to our second Open Diapason ; sometimes, however, the Spitzflote and Gemshom " cross " after the manner of the Stopped Diapason and Flute as already detailed, — i.e., if the 8-feet Stop be a Gemshom, the 4-feet vifiU be a Spitzflote. The latter plan is the most highly esteemed in Germany, and is therefore suggested above. 1315. But the above Great organ Specification contains 17 Stops. This number has been preferred, since it allows of the incorporation of the Piccolo of 2 feet, which Stop is less highly esteemed in Germany than in England or France ; and therefore does not usually appear on the i6-Stop Great Manuals of the former country. 1316. As the fuU-compass Swell presents a second complete Manual organ composed of cylindrical Stops, a few Stops of tapering outline might be proposed for the Choir organ, for the purpose of obtaining greater individuality of tone, if preferred. Thus a Spitzflote of 8 feet, and a Gemshom of 4 feet, have been sug- gested in lieu of the usual Open Diapason and Principal. In some German organs the taper Flute-work of the Choir is made to " cross " that of the Great organ, after the manner of the Covered-work. Thus, if the Great has a Spitzflote of 8 feet and a Gemshom of 4 feet, the Choir would have a Gemshom of 8 feet and a Spitzflote of 4 feet ; so that there are many ways of varying a Specification with good effect. A Stop of 8 feet of string tone, as a Gamba, Salicional, Viol d' Amour, &c., might be proposed for the Choir organ if preferred. 1317. It is a rule with German organ-builders that when a Pedal organ contains lo Stops, it should include a Stop of 32 feet size of tone. Sometimes a Stop of that pitch occurs even in a Pedal of 7 or 8 Stops. A Mixture, however, is seldom included in a lo-Stop German Pedal. 1318.- Most German Pedals of 4 Stops and upwards contain a "Violone of 16 feet." This is a particularly fine Stop ; and one of which several good specimens by HiU, have been made. It is an Open Stop, usually of wood, and of small scale, the block of the 16-feet CCC generally measuring only 5^ inches by 7 inches. It forms the "Pedal Bass" to the Gamba and other string-toned Manual Stops. Its intonation is very crisp and pungent, and is in close imitation of the bowing on a large string instrument ; hence its name Violone (Double Bass). 13 19. In the organ at Cologne Cathedral, the 16 Violone Pipe measures as much as 12 inches across the mouth, and is, from its great scale, called " Contra Violone." When heard from the choir of the Cathedral, its tone is very like a fine Pedal Diapason combined with a soft 16-feet Reed of equal quality and accurate intonation. 326 PLANS FOR ORGANS OF VARIOUS SIZES. XX. SPECIFICATION FOR AN ORGAN OF NINETY STOPS, FOUR MANUALS, AND PEDAL. Great Organ, 11 Stops. I. Sub Bourdon, to the II. Principal . . . . 4 feet. Tenor c key . . 32 feet tone. 12. Flute 4 feet. 2. Double Open Dia 13. Twelfth 2f feet. pason .... 16 feet. 14. Fifteenth 2 feet. 3- Bourdon . . . 16 feet tone. 15. Piccolo 2 feet. 4- Open Diapason . 8 feet. 16. Full Mixture, III ranks > 2 feet. 5- Open Diapason . 8 feet. 17. Sharp Mixture, V ranks 2 feet. 6. Gamba .... 8 feet. 18. Cornet, II, III, and 7- Stopped Diapason, IV ranks. metal .... 8 feet tone. 19. Double Trumpet . . 16 feet. 8. Clarabella, to Tenor c 8 feet. 20. Posaune 8 feet. 9- Quint .... Si feet. 2 1 . Trumpet 8 feet. 10. Principal . . . 4 feet. Swell Orga 22. Clarion 7. Quint 2| feet. 8. Siflet 2 feet. 9. Mixtur, VI ranks. 10. Scherp, VII ranks. 11. Fagot 16 feet. 12. Trompet 8 feet. Choir, 14 Stops. 13. Prestant 8 feet. 14. Holpyp 8 feet. 15. Quintadena 8feettone. 16. Octaaf 8 feet. 17. Fluit 4 feet. 18. Quint-fluit 2I feet. 19. Octaaf 2 feet. 20. Fluit 2 feet. 21. Siflet I foot. 22. Sesquialtera, II ranks 2I feet. 23. Mixtur, III ranks. 24. Scherp, VI ranks. 25. Quartane, IV ranks. 26. Cornet, V ranks. Echo, 10 Stops. 27. Prestant 8 feet. 38. Quintadena 8 feet tone. 29. Baarpyp 8 feet. 30. Gamba 8 feet. 31. Octaaf 4 feet. 32. Fluit 4 feet. 33. Octaaf 2 feet. 34. Sesquialtera 2! feet. 35. Trompet 8 feet. 36. Vox Humana 8 feet. 336 APPENDIX. Pedal, 8 Sto^is. 37. Prestant 16 feet. 38. Bourdon 16 feet tone. 39. Octaaf 8 feet. 40. Roerquint 5Jfeettone. 41. Octaaf 4 feet. 42. Buzian 16 feet. 43. Trompet 8 feet. 44. Trompet 4 feet. Accessory Stops, Movements, Gr'c. 1. Coupler, Echo to Great. 2. Coupler, Choir to Great. 3. Coupler, Great to Pedal. 4. Tremulant Echo. J. Tremulant Choir. 6, 7, 8, 9. Four Wind-trunk Valves. Manuals, CC to d^ in alt. 51 notes. Compass. I Pedal, C C C to tenor d, 27 notes. 6. Nymengen. The organ in the Church of St. Stephen, at Nymengen, in Holland, was built in 1766, by Kdnig, of Cologne. It is a much larger as well as more complete instrument than any which Konig built for his own city. It contains altogether 53 Stops, 3 Manuals, and Pedal ; the latter comprising 12 Stops. The following is the Specification of the above-named instrument, which is one of the best in Holland, particularly in regard to its Solo Stops : — Great, 13 Stops. Prestant 16 feet. Octaaf 8 feet. Gemshorn 8 feet. Roer-gedact 8 feettone. Quint gedact 5J feet tone. Octaaf 4 feet. Roerflote 4 feettone. 8. Tertiaan 3j feet. 9. Super-octaaf. 2 feet. 10. Mixtur, VI ranks. 11. Fourniture, III ranks. {TrompeteDiscant? .- r ^ TrompeteBass \ '« ^^^'' 13. Trompete 8 feet. Choir, 14 Stops. 14. Bourdon 16 feet tone. 15. Prestant 8 feet. 16. Flauto Traverse 8 feet. 17. Klein Bourdon 8feettone. 18.' Octaaf 4 feet. 19. Flaut a becq 4 feet. 20. Quint 2§ feet. 21. Klein octave 2 feet. 22. Flageolet i foot. 23. Mixtur, VI ranks. 24. Carillon, II ranks. 25. Trompete 8 feet. 26. Bassoon 8 feet. 27. Vox Humana 8 feet tone. Echo, 14 Stops. 28. Quintadeen 16 feettone. Koppel 8 feet. Viola di Gamba 8 feet. Weide Gedact 8 feettone. Octaaf 4 feet. Nazard and composita, 11 ranks 23 feet. Super-octave 2 feet. 29. SC- 33- 34- Pedal, ] 42. Principal 16 feet. 43. Violon 16 feet. 44. Sub-bass 16 feet tone. 45. Quint-bass io| feettone. 46. Octaaf 8 feet. 47. Roer-bass 8 feet tone 35. Quint Flute ij feet. 36. Mixtur, V ranks. 37. Cornet, V ranks. 38. Echo, II ranks 8&4feet. 39. Hautbois 8 feet, 40. Vox Humana 8 feettone. 41. Vox Angelica Bass 4 feet. ! Stops. 48. Quint 5i feet. 49. Octaaf ... 4 feet. 50. Bombarde 16 feet. 51. Trompete 8 feet. 52. Clairon 4 feet, 53. Cornet-bass 2 feet. AN ACCOUNT OF FOREIGN ORGANS. 337 Accessory Stops, Movements, &'c. 1 . Great to Pedal. z. Choir to Great. 3. Echo to Great. 4. Tremulant to Choir. 5, 6, 7, 8. Four Wind-trunk Valves. Compass. Manuals, CC to f^ in alt, 54 notes. | Pedal, CCC to tenor d, 27 notes. 7. GOUDA. The organ in the Church of St. John the Baptist, at Gouda, was built by Moreau, of Rotterdam, in 1736. One of the chief features in this instrument is its Vox Humana Stop, which is particularly fine ; but the tone of the whole organ is most excellent. It has 3 Manuals and Pedal, and 51 Stops, the names and distribution of which are as follow :^- Great, 13 Stops. 1. Prestant 16 feet. 2. Prestant 8 feet. 3. Holpyp 8 feet. 4. Quint 5i feet. 5. Octaaf 4 feet. 6. Roorfluit 4 feet tone. 7. Open-fluit 4 feet. 13' Octaaf 2 feet. Mixture, IV and VI ranks. Cornet, V ranks. Trompet 16 feet. Trompet 8 feet. Schalmey 8 feet tone. 14. Bourdon 16 feet tone. 15. Prestant 8 feet. 16. Holpyp 8 feet. 17. Fluit-traverso 8 feet. 18. Octaaf 4 feet. 19. Fluit-douce 4 feet. 20. Quint 2I feet. 21. Octaaf 2 feet. Choir, 15 Stops. 22. Woud-fluit z feet. 23. Mixtur, VI ranks. Scherp, VI ranks. Cornet, VI ranks. {Carillon discant. III ranks. Carillon bass, ... II ranks. Trompet 8 feet. Dulcian 8 feet. 24. 26. 27. 28. Echo, 12 Stops. 29. Prestant 8 feet. 30. Salicional 8 feet. 3 1 . Echo Holpyp 8 feet. 32. Quintadeen 8 feet tone. 33. Octaaf 4 feet. 34. Echo Fluit 4 feet. 35. Octaaf 2 feet. 36. Nachthoorn 2 feet. 37. Sesquialtera, II ranks 2I feet. 38. Flageolet i foot. 39. Echo Trompet 8 feet. 40. Vox Humana 8 feet tone. Pedal, II Stops. 41. Prestant 16 feet. 42. Sub-bass 16 feet tone. 43. Prestant 8 feet. 44. Wyd-gedact 8 feet tone. 45. Roor-quint 5ifeettone. 46. Octaaf 4 feet. 47. Holfluit 2feet. 48. Buzian 16 feet. 49. Trompet 8 feet. 50. Clarion 4 feet. 51. Cornetin 2 feet. Accessory Stops, Movements, &^c. 1. Great to Pedal. 2. Choir to Great. 3. Echo to Great. 4. Tremulant Echo. 5, 6, 7, 8. Four Wind-trunk Valves. K K 338 APPENDIX. Compass. Manuals, CC to d^ \n alt, Ji notes. | CCC to tenor c, 25 notes. 8. The Hague. The organ in the Lutheran Church at the Hague is a very good instrument, possessing 3 Manuals and Pedal, arid 39 Stops, the names and distribution of which latter are as follows : — Great, 14 Stops. Bourdon i6feettone. Prestant 8 feet. Roorfluit 8 feet tone. Quintadon 8 feet tone. Octaaf 4 feet. Nachthoorn 4 feet. Quint i| feet. Choir, ij. Prestant 8 feet. 16. Holpyp 8 feet. 17. Octaaf ■. 4 feet. 18. Fluit 4 feet. 19. Octaaf 2 feet. 8. Octaaf 2 feet. 9. Woudefluit 2 feet. 10. Mixtuur, VI ranks. 11. Cornet,. ..V ranks. 12. Fagot 16 feet. 13. Trompet 8 feet. 14. Trompet 4 feet. 9 Stops. 20. Sesquialtera, II ranks 2| feet. 23. Flageolet i foot. Mixtuur, III ranks 2 feet. Dulciana 8 feet. Echo, 8 Stops. 24. Prestant 8 feet. 25. Baarpyp 8 feet. 26. Quintadon 8 feet tone. 27. Salicional 4 feet. 28. Roorfluit 4ieettone. 29. Fluit 2 feet. 30. Schalmey 8 feet tone. 31. Vox Humana 8feettone. 32. Prestant 16 feet. 33. Bourdon 16 feet tone. 34. Prestant 8 feet. 35. Roor-quint 5Heettone. Pedal. 36. Octaaf 4 feet. 37. Trompet 16 feet. 38. Trompet 8 feet. 39. Trompet 4 feet. Accessory Stops, Movements, Gt'c. 1. Choir to Great. 2. Echo to Great. 3. Great to Pedal. CC to c3 in alt, 49 notes. 4. Tremulant Echo. J. Tremulant Choir. 6, 7, 8, 9. Four Wind-trunk Valves. Compass. I Pedal C C C to tenor 0,25 notes. 9. Delft. The organ in the New Church at Delft was built by Batz, of Utrecht, and is altogether a very fine organ, especially the Reed Stops. It has 3 Manuals and Pedal, and 43 Stops, of which latter the following is a list :— Great, 13 Stops. 1. Prestant 16 feet. 2. Bourdon '. 16 feet tone. 3. Octaaf 8 feet. 4. Roorflote 8 feet tone. 5. Octaaf 4 feet. 6. Gemshoorn 4 feet. 7- Quint 22 feet. 8. Octaaf 2 feet. 9. Mixtuur, IV, VI, and VIII ranks. 10. Cornet, V ranks. 11. Fagot .., 16 feet. 12. Trompet 8 feet. 13. Trompet 4 feet. AN ACCOUNT OF FOREIGN ORGANS. 339 14. Prestant 8 feet. 15. Holpyp 8 feet. 16. Quintadon 8feettone. 17. Octaaf 4 feet. 18. Roorfluit 4feettone. 19. Quint 2| feet. Choir, II Stofs. 20. Octaaf I feet. 21. Mixture, III, IV, and VI ranks. 22. Cornet, IV ranks. 23. Trompet 8 feet. 24. Dulcian 8 feet. Echo, 9 Stops. 25. Prestant 8 feet. 26. Holpyp 8 feet. 27. Viol de Gamba 8 feet. 28. Quintadena 8feettone. 29. Open-fluit 4 feet. 30. Salicional 4 feet. 31. Woudefluit 2 feet. 32. Trompet 8 feet. 33. Vox Humana 8 feet tone. Pedal, 10 Stops. 34. Prestant 16 feet. 35. Sub-bass 16 feet tone. 36. Octaaf 8 feet. 37. Fluit-bass 8 feet. 38. Roor-quint 5lfeettone. 39. Octaaf 4 feet. 40. Bazuin 16 feet. 41. Trompet 8 feet. 42. Trompet 4 feet. 43. Cinq 2 feet. Accessory Stops, Movements, &^c. 1 . Echo to Great. 2. Choir to Great. 3. Great to Pedal. 4. Tremulant. 5, 6, 7, 8. Four Wind-trunk Valves. Compass. Manuals, CC to fa in alt, 54 notes, | Pedals, CCC to tenor e, 29 notes. 10. Utrecht. The organ in the principal Protestant Church at Utrecht is a very fine one, and is remarkable for having two Pipes to each key from Middle c upwards, throughout all the Stops of the Great organ. It was built by Batz, of Utrecht, in 1826, and contains 51 Stops, 3 Manuals, and Pedal. The following is a list of its contents : — Great, 13 Stops. 1. Prestant 16 feet. 2. Bourdon, Metal Treble, Wood Bass 16 feet tone. 3. Octaaf 8 feet. 4. Roerfluit 8 feet tone. 5. Octaaf 4 feet. 6. Gemshorn 4 feet. Quint 2| feet. Octaaf 2 feet. Gemshorn 2 feet. Sesquialtera, IV ranks. 11. Mixture, VII ranks. 12. Fagott 16 feet. 13. Trompet 8 feet. 7- 8. 9- 10. 14. >5- 16. 17- 18. 19- 20. Choir, 13 Stops. Prestant, 2 pipes all through 8 feet. Holpyp 8 feet. euintadena 8 feet, ctaaf 4 feet. Roerfluit 4feettone. Quint 2I feet. Octaaf 2 feet. 2 feet. 21. Fluit 22. Mixture, V ranks. 23. Scharf,... VIII ranks. 24. Cornet,... V ranks. 25. Trompet 8 feet. 26. Dulcian 8 feet. K 340 APPENDIX. Echo, 13 Stops. »7- 28. 29. 30. 31- 33- 40. 41. 42. 44. 45- Prestant 8 feet. Bourdon 8feettone. Gamba 8 feet. Flute traversie to tenor c 8 feet. Barpyf 8 feet. Octaaf 4 feet. Flute, open, large 4 feet. 34. Quint-Fluit 2| feet. 35. Woud-Fluit 2 feet. 36. Flageolet i foot. 37. Trompet 8 feet. 38. Voix Humaine 8 feet. 39. Carillon, II ranks. Pedal, 11 stops. Prestant, metal, in front 16 feet. Sub-bass, wood i6feettone. Octaaf, metal 8 feet. Fluit-bass 8 feettone. Roer-quint 5J feet. Octaaf, of metal 4 feet. 46. Mixture, VI ranks 2j feet. 47. Bazuin, CCC, 10 inch 16 feet. 48. Trombone 8 feet. 49. Trompet 4 feet. 50. Cinq 2 feet. 51. Clarion i foot. Accessory Stops, Movements, Sr'C. 1. Positif to Great. 2. Echo to Great. 3. Great to Pedals. 4. Tremulant Positif. 5, 6, 7, 8. Four Wind-trunk Valves. Compass. Manuals, C C to f 3 in alt, 54 notes. | Pedal, CCC to Tenor d, 27 notes. II. Triebel. The organ in Sounding Stops, Stops : — Great, 1. Bourdon, 10 loth metal in the treble j the bass of wood 1 6 feet tone, 2. Prmcipal, 14 loth tin, po- lished, and in front 8 feet. 3. Salicional, 14 loth English tin 8 feet, 4. Hohlflote, 10 loth metal to tenor c ; the 8 -feet octave of wood 8 feet. the State Church at Triebel, in the Netherlands, has 22 2 Manuals, and Pedal. The following is a list of the 10 Stops. 5. Octave, 12 loth English ■* tin 4 feet. 6. Fullflote, 10 loth metal 4 feet. 7. Quinte, 12 loth tin 2| feet. 8. Super-octave, 12 loth tin ... 2 feet. g. Mixture, IV ranks 2 feet. o. Trompete 8 feet. 11. Viol di Gamba, 1 4 loth English tin 8 feet. 12. Flaut d'amour 8 feet. 13. Principal, 14 loth English tin, in front 4feet. 14. Nasard, iz loth English tin 2| feet, Choir, 8 Stops. I J. Wald-flote, 10 loth English tin 2 feet. 1 6. Flageolet, 1 2 loth English tin 2 feet. 17. Cornet, 12 loth English tin, III ranks f Oboe, 1 2 loth English tin ■) „, ■ \ Fagot, 1 2 loth English tin J * •^^'• 19. Principal, 14 loth Eng. tin, in front; the five lowest Pipes of Pine, and Stopped 16 feet. Pedal, 4 Stops. 20. Sub-bass, wood 16 feettone. 21. Octav.wood ; 8 feet. 22. Posaune 16 feet. 1. Choir to Great. 2. Great to Pedal. Accessory Stops, Movements, &^c. 3, 4, 5. Three Wind-trunk Valves. Three Bellows, 10 feet long. Six Sound-boards. * Compass. Manuals, CC to fa in alt, 54 notes. | Pedal, CCC to Tenor d, 27 notes. AN ACCOUNT OF FOREIGN ORGANS. 341 12. St. Denis. The organ in the Abbey Church of St. Denis, near Paris— the Westminster Abbey of France — is a particularly fine instrument. It was made by MM. Cavailld-CoU, organ-builders of Paris, and was opened on the 21st of September, 1841. It contains 69 Sounding Stops, among which are 12 for the Pedal; and there are 3 Manuals. The " Clavier de Bombardes " is not furnished with a separate Manual, as at the Madelaine, but communicates with the Great organ keys. Among the most remarkable features in this organ is the adjustment of the wind. Not only are the Reed Stops placed on a heavier wind than those of the Flue species, but the upper octaves of all the Stops are in common supplied with a stronger blast than the lower ; upon the principle that wind instrument players exercise a greater pressure of the muscles upon the lungs when producing the acute sounds. There are also several Stops of a novel kind, called by Cavailld " Harmonique," which sound the octave above the note that the length of the Pipe would indicate. This was the first organ that had Barker's Pneumatic Lever attachment for lightening the touch. The Combination Pedals, 8 in number, are of novel and convenient construction. The following is a list of its Stops : — Clavier du Grand Orgui, 20 Stops. 1. Montre, throughout; of spotted metal to CCC; last octave of wood 32 feet 2. Montre 16 feet 3. Bourdon 16 feet tone 4. Montre 8 feet 5. Bourdon 8 feet tone 6. Violo 8 feet 7. Flute|traversiere Har- monique 8 feet 8. Prestant 4 feet 9. Flute Octaviante Har- monique 4 feet 10. Nasard 2I feet 11. Doublette 2 feet Pipes. 54 54 54 54 54 54 54 54 54 54 54 Pipes. .. 216 .. 2l6 12. Grosse Furniture, IV ranks - 13. Grosse Cymbale, IV ranks 14. Petit Fourniture, IV ranks 216 15. Petit Cymbale, IV ranks 216 16. Premiere Trompette Harmonique 8 feet 54 17. Deuxieme Trompette Harmonique 8 feet 54 18. Basson et cor anglais 8 feet 54 19. Cornet a pavilion ... 8 feet 54 20. Clarion Octaviante 4 feet 54 Clavier des Bombardes, 12 Stops. 21. Bourdon 16 feet tone 22. Flute 8 feet 23. Bourdon 8 feet tone 24. Prestant 4 feet 25. Quint 2| feet 26. Doublette 2 feet 54 54 54 54 54 54 27. Cornet, VII ranks 210 28. Bombarde 16 feet 29. Trompette de Bom- barde 8 feet 30. Trompette Har- monique 8 feet 32. Clarion Octaviant ... 4 feet 54 54 54 31. Clarion Harmonique 4 feet 54 54 Clavier de Recit.-echo expressif, 8 Stops. 33. Bourdon 8 feet tone ... 54 34. Flute Harmonique... 8 feet 54 3J. Flute Octaviant Har- monique 4 feet 54 36. Quint 2s feet 54 37. Octavin Harmonique 2 feet 54 38. Trompette Harmo- nique 8 feet 39. Voix Humaine, Har- monique 8 feet 40. Clarion Harmo- nique 4 feet 54 54 54 342 APPENDIX. Clavier du Positif, 17 Stops. 41 4^ 43 44 Bourdon 16 feet tone Salicional 8 feet Flute Harmonique 8 feet Bourdon 8 feet tone 45. Prestant 4 feet 46. Flute 4feet 47. Flute Octaviante ... 4 feet 48. Quint zi feet 49. Doublette 2 feet ...... 50. Flageolet Harmo- nique z feet Pipes. • 54 • 54 ■ 54 ■• 54 ■• 54 •■ 54 .. 54 • • 54 •• 54 54 Pipes. 51. Tierce i| feet 54 jz. Cymbale, IV ranks zi6 53. Fourniture, IV ranks 216 54. Trompette Harmo- nique 8 feet 54 55. Clarion Octaviant ... 4 feet 54 56. Cor d'harmonie et Hautbois 8 feet 54 57. Cromorne 8 feet 54 Clavier de Pedales, 12 Stops. 58. Flute Ouverte 31 feet... 59. Flute Ouverte... (24 ft.) . 60. Basse-contre ... (24 ft.) . 61. Flute Ouverte... (iz ft.) . 6z. Grosse-quint ... (8 ft.) . 63. Flute Ouverte... (6 ft.) . 64. Bombarde (H ^0 ■ 32 feet... 25 16 feet... 25 16 feet... 25 8 feet... 25 5* feet 25 4 feet... 25 16 feet... 25 6j. Premiere Trom- pette (izft.)... 8 feet... 25 66. Deuxieme Trom- pette (12 ft.)... 8 feet... 2J 67. Basson (12ft)... 8 feet... 25 68. Premiere Clairon (6 ft.) ... 4 feet... 25 69. DeuxiemeClairon (6 ft.) ... 4 feet... 25 Combination Pedals, S^c. 1. Recit. (Swell) to Great. 2. Bombardes to Great Manual. 3. Swell Stops. 4. Positif to Great. 5. The Treble of Positif Reed and Harmonic Stops to Foundation Stops. The Bass of Positif Reed and Harmonic Stops to Foundation Stops. Manuals, Basses to Pedal. Sub-octave Manual. Tremulant Swell, Compass. Manuals, CC to f3 in altissimo, 54 notes. | Pedal, F F F to tenor f, 25 notes. Barker's Pneumatic lever was first used in this organ. I2A. St. Vincent de Paul, Paris. The organ in the Church of St. Vincent de Paul, at Paris, was built by Cavaill^- Coll, and is quite on an equality with the same builder's admirable instrument at the Madelaine, both in regard to refinement of tone and perfectness of finish in the mechanism. It stands at the west end of the church, and is divided, so as not to obstruct the light through the west window. The Stops are 40 in number, of which the following is a list : — Great Organ, 14 Stops. Montre 16 feet. Bourdon iSfeettone. Montre 8 feet. Gamba 8 feet. Bourdon 8 feet tone. Prestant 4 feet. Flute 4 feet. 8. Quinte z| feet. 9. Doublette z feet. 10. Fourniture, V ranks. 1 1 . Cymballe, III ranks. iz. Trompette 8 feet. 13. Cornet a pavilion 8 feet. 14. Clarion 4 feet. AN ACCOUNT OF FOREIGN ORGANS. 343 1 J. Bourdon i6 feet tone. 1 6. Flute Harmonique 8 feet. 17. Salicional 8 feet tone. 18. Bourdon 8 feet tone. 19. Prestant 4 feet. Choir Organ, 10 Stops. 20. Flute Octaviante 4 feet. 21. Doublette 2 feet. 22. Octavin Harmonique 2 feet. 23. Trompette 8 feet. 24. Cromorne 8 feet tone 25. Flute Harmonique 8 feet. 26. Bourdon 8 feet tone 27. Prestant 4 feet. 28. Flute Douce 4 feet. Swell Organ, 8 Stops, 29. Voix Celeste 30. Trompette Harmonique 31. Cor Anglais 32. Voix Humaine 8 feet. 8 feet. 8 feet. 8 feet tone. 33. Grand Bourdon 32feettone. 34. Montre 16 feet tone. 35. Contre-Basse 16 feet. 36. Flute Ouverte 8 feet. Pedal Organ, 8 Stops. 37. Bombarde 16 feet, 38. Basse-contre 16 feet. 39. Trompette 8 feet. 40. Clarion 4 feet. Accessory Stops, Movements, &^c. I to 8. Manual and Pedal Couplers. 1 23. Pneumatic lever attachment. 9 to 22. Fourteen Composition Pedals. ] Compass. Manuals, CC to f^ in alt, 54 notes. | Pedal, CCC to tenor c, 25 notes. 13. The Mad ELAINE, Paris. The fine instrument in the Church of the Madelaine, at Paris, was built by the eminent artists who constructed the St. Denis organ, MM. Cavaill^-CoU. It was completed in 1846, and was opened in the church on the 29th of October of that year, with a performance of vocal and instrumental sacred music. The organ has 4 Manuals and Pedal, and 48 Stops, distributed in the following manner : — Clavier du Grand Orgue, 12 Stops. Montre 16 Violon-Basse 16 Montre 8 Bourdon 8 Salicional 8 Flute Harmonique 8 pieds. 7. Prestant 4 pieds. 8. Quinte 2J „" 9. Doublette 2 „ 10. Plein Jeu, X ranks. 11. Trompette 8 „ 12. Cor Anglais 8 „ Clavier de Bombardes, 10 Stops. 13. Sous-Basse 16 pieds. 14. Basse 8 „ 15. Flute Harmonique 8 „ 16. Flute traversiere 8 „ 17. Flute Octaviante 4 „ 18. Octavin 2 pieds. 19. Bombarde 16 „ 20. Trompette Harmonique 8 „ 21. Deuxieme Trompette 8 „ 22. Clarion 4 „ Clavier du Positif, 10 Stops. 23. 24. 25. 26. 27. Montre 8 pieds. Viol di Gamba 8 „ Flute douce 8 „ Voix-celestes 8 „ Prestant 4 ,. 28. Dulciana 4pieds. 29. Octavin 2 „ 30. Trompette 8 „ 31. Basson et Hautbois 8 „ 32. Clairon 4 „ 344 APPENDIX. Clavier de Rdcit. Expressif, 8 Stops. 33. Flute Harmonique 8 pieds. 34. Bourdon 8 „ 35. Muzette 8 „ 36. Flute Octaviante 4 .. 37. Octavin 2 pieds, 38. Voix Humaine 8 „ 39. Trompette Harmonique ... 8 „ 40. Clairon Harmonique ....... 4 ,. Clavier de PSdales, 8 Stops. 41. Quintaton 31 pieds. 42. Contre-Basse 16 „ 43. Basse Centre 16 „ 44. Violoncelle 8 „ 45. Grosse Flute 8 pieds. 46. Bombarde ^^ »» 47. Trompette 8 „ 48. Clairon 4 » Combination Pedals, ^c. 1. Positif to Great. 2. Great to Pedal. 3. Bombarde to Positif. 4. Pedal to Great. 5. Great Organ Sub-octave. 6. Bombarde Sub-octave. 7. Pedal octave above. 8. Tremulant to Choir and Swell. 9. Great Reeds. 10. Bombarde Reeds. 1 1 . Choir Reeds. 12. Swell Reeds. 13. Pedal Reeds. Compass. Manuals, CC to f' in alt, 54 notes. | Pedal, CCC to tenor d, 27 notes. 14. St. Eustache, Paris. The magnificent new organ in the Church of St. Eustache was built by Ducroquet, of Paris, and was opened in May, 1854. It contains 68 Sounding Stops, 4 Manuals, and a Pedal of 18 Stops. The following is a list of its contents : — Great Organ, 16 Stops. 9. Doublette 2 feet. 1. Montre 16 feet. 2. Gross Flute 8 feet. 3. Flute 8 feet. 4. Flute a pavilion 8 feet. 5. Bourdon 8 feet tone. 6. Prestant 4 feet. 7. Flute 4feet. 8. Nazard 3 feet. 10. Fourniture, V ranlis. 11. Cymballe, IV ranks. 12. Cornet, ... V ranks. 13. Euphone 16 feet. 14. Trompette 8 feet. 15. Trompette 8 feet. 16. Clairon 4 feet. Clavier des Bombardes. Gamba 16 feet. Bourdon 16 feet tone, Gamba 8 feet. Salicional 8 feet. 'T- IS. 19. 20. 21. Bourdon 8 feet tone. 23. 24. 25. 26. 10 Stops. Gamba 4 feet. Salicional 4 feet. Bombarde 16 feet Trompette 8 feet. Clairon 4 feet. Positif, 14 Stops. 27. Montre 8 feet. 28. Bourdon 8 feet tone. 29. Flute Harmonique to Tenor c 8 feet. 30. Keraulophone 8 feet. 31. Salicional 4 feet. 32. Flute Ouverte 4 feet. 33. Plein Jeu, V ranks. 34. Cor Anglais 16 feet. 35. Trompette 8 feet. 36. Hautbois to Tenor f 8 feet. 37. Hautbois (free Reed to) Tenor f 8 feet. 38. Cromorne 8 feet tone, 39. Basson 8 feet. 40. Clairon 4 feet. AN ACCOUNT OF FOREIGN ORGANS. 345 Recit. Expressif, lo Stops. 41. Bourdon 16 feet tone. 42. Flute Harmonique 8 feet. 43. Bourdon 8 feet tone. 44 Flute Harmonique 4 feet. 45. Trompette 16 feet. 46. Trompette 8 feet. 47. Hautbois 8 feet. 48. Euphone 8 feet. 49. Voix Humaine 8 feet tone. 50. Clairon 4feet, SI- s»- S3- S4- ss- 56. 57- 58. 59- Pedale, 18 Stops. Flute, montre 32 feet. Flute, wood 16 feet. Contre-Basse 16 feet. Bourdon 16 feet tone. Flute 8 feet. Salicional 8 feet. Violoncello 8 feet. Flute 8 feet. Flute Ouverte 4 feet. €0. Salicional 4 feet. 61. Bombarde 32 feet. 62- Bombarde 16 feet. 63. Basson 16 feet. 64. Trompette 8 feet. 65. Trompette 8 feet. 66. Basson 8 feet. 67. Clairon 4 feet. 68. Basson 4 feet. 15. St. Sulpice, Paris. The organ in this church was rebuilt by Aristide Cavaill^-CoU, and inaugurated 29th April, 1862. Grande Chceur d'ut d, Sol, 56 Notes. 8. 2 E Trompette 8 feet. 9. Clairon 4 feet. 10. Clairon Doublette 2 feet. 11. Bassoon 8 feet. 1. Salicional 8 feet. 2. Octave 4 feet. 3. Gross Fourniture, IV ranks. 4. Gross Cymbale, VI ranks. 5. Plein Jen,.... IV ranks. 6. Cornet, V ranks, 7. ler Trompette 8 feet. 13' Bassoon 16 feet. Bombarde i6teet. Grand Orgue, d'ut d Sol, 56 Notes. 1. Principal-harm 32-16 feet. 2. Montre 16 feet. 3. Bourdon 16 feet. 4. Flute Conique 16 feet. 5. Flute Harmonique 8 feet. 6. Flute traversiere 8 feet. 7. Montre 8 feet. Bombarde d'ut 1. Soubasse 16 feet. 2. Flilte Conique 16 feet. Principal 8 feet. Flute Harmonique 8 feet. Bourdon 8 feet. Gamba 8 feet. Violoncelle 8 feet. Keraulophone 8 feet. Flute Octaviante 4 feet. Prestant 4 feet. 8. Bourdon 8 feet. 9. Diapason 8 feet. 10. Flute a pavilion 8 feet. 11. Prestant 4 feet. 12. Grosse Quinte 5§ feet. 13. Doublette 2 feet. d. Sol, 56 Notes. 11. Grosse Quinte 5^ feet. 12. Grosse Tierce 34 feet. 13. Quinte 2S feet. 14. Octave 4 feet. 15. Octavin 2 feet. 16. Cornet, V ranks. 17. Tompette 8 feet. 18. Clairon 4 feet. 19. Baryton 8 feet. 20. Bombarde 16 feet. Positif d'ut d, Sol, 56 Notes. Violon Basse ... Quintaton Quintaton Flute traversiere Salicional Viola de Gambe Unda Maris Flute Octaviante Flute Douce Dulciana 1 6 feet. 1 6 feet. 8 feet. 8 feet. 8 feet. 8 feet. 8 feet. 4 feet. 4 feet. 4 feet. 11. Quinte 2I feet. 12. Doublette 2 feet. 13. Plein Jeu Harm, III-VI ranks. 14. Tierce i| feet. ij. Larigot ij feet. 16. Piccolo I feet. 17. Trompette 8 feet. 18. Clarinette 8 feet. 19. Clarion 4 feet. 20. Euphone 16 feet. 346 APPENDIX. Recti. Exp. (fuid Sol, 56 Notes. 1. Quintaton 2. Bourdon 3. Violoncelle 4. Prestant 5. Doublette 6. Fourniture, IV ranks. 7. Cymbale, V ranks. 8. Basson et-Hautbois .... 9. Voix Humaine... 10. Cromorne 11. Cor Anglais 12. Voix Celeste 1 6 feet. 8 feet. 8 feet. 4 feet. 2 feet. 8 feet. 8 feet. 8 feet. 16 feet. 8 feet. Jeux de Comhinahan. 13. Flute Harmonique 14. Flute Octaviante 15. Dulciana 16. Nazard 17. Octavin 18. Cornet, V ranks. 19. Trompette 20. Trompette-harm 21. Bombarde 22. Clairon 8 feet. 4 feet. 4 feet. 2| feet. 2 feet. 8 feet. 8 feet. 1 6 feet. 4 feet. Clavier de Pedale {pu Pedalier d'uf A Fa, 30 Notes). 1. Principal Basse 32 feet. 2. Contre-Basse 16 feet. 3. Soubasse 16 feet. 4. Fliite 8 feet. 5. Violoncelle 8 feet. 6. Fliite 4 feet. Clairon 4 feet. 8. Ophicleide 8 feet. 9. Trompette 8 feet. 10. Bassoon 16 feet, 11. Bombarde 16 feet. 12. Contre Bombarde 32 feet. Pedales de Combtnaison. I. Orgue. II. Anches Bombardes. 2. Tirasse Grand Choeur. 12. Anches Positif. 3. Tirasse Grand Orgue. 13. Anches Recit. 4. Anches P^dalle. 14. Copula Grand Choeur. 5. Octaves Grand Chceur. 15. Copula Grand Orgue. 6. Octaves Grand Orgue. 1 6. Copula Bombardes. , 7. Octaves Bombardes. 17. Copula Positif. 8. Octaves Positif. 18. Copula Recit. 9. Octaves Recit. 19. Tremblant. 10. Anches Grande Orgue. 20. Expression. Registeres de Combtnaison. I. Combinaison Pedal G. 6. Combinaison Pedal G 2. Combinaison Grand Orgue G. 7. Grand Orgue D. 3. Bombardes G. 8. Bombarde D. 4. Combinaison Positif G. 9. Positif D. 5. Combinaison Recit. G. 10. Recit. D. Registeres Accessoires. 1. Sonnette du Haut G. I 3. Sonnette du Haut D. 2. Sonnette du Bas G. | 4. Sonnette du Bas D. Total — 100 Stops, 118 Registers, 20 Composition Pedals, 6706 Pipes. 16. Amiens. The organ in the Cathedral at Amiens, which has a i6-feet front, was completed in the year 1429, and was built at the expense of Alphonse de Myrhe, one of the chamberlains of King Charles the Sixth. It still retains its interesting antique appearance, and stands at the west end of the nave, with the west entrance below, and a handsome circular window, filled with stained glass, above. The Amiens Cathedral organ has 3 Manuals and Pedal, and 40 Stops ; of which latter the following is a list : — Great Organ, 16 Stops. 1. Montre 16 feet. 2. Bourdon 16 feet tone. 3. Montre , 8 feet. 4. Bourdon 8 feet tone. 5- Flute 8 feet. 6. Prestant 4 feet. 7. Nazard 2t feet. 8. Doublette 2 feet. 9. Tierce i| foot. 10. Furniture. 11. Cornett. 12. Bombarde i6feet. 13. Trompette 8 feet. 14. Trompette 8 feet. 15. Clarion 4 feet. 16. Vox Humaine 8 feet. AN ACCOUNT OF FOREIGN ORGANS. 347 Choir Organ, ii Stops. 17. Montre 8 feet. 18. Bourdon 8 feet tone. 19. Flute 8 feet. 20. Prestant 4 feet. 21. Nazard 23 feet. 22. Doublette 2 feet. 23. Tierce if foot. 24. Plein Jeu. 25. Cornett. 26. Trompette 8 feet. 27. Cromorne 8 feet tone. Recit. 6 Stops, z8. Bourdon 8 feet tone. 29. Flute 8 feet. 30. Prestant 4 feet. 31. Cornett. 32. Trompette 8 feet. 33. Hautbois 8 feet. Pedal Organ, 7 Stops. 34. Flute 16 feet. 35. Bourdon 16 feet tone. 36. Flute 8 feet. 37. Flute 8 feet. 38. Bombarde 16 feet. 39. Trom'pette 8 feet. 40. Clarion 4 feet. 17. Amiens. The organ in the Church of St. Remy, at Amiens, was built by the monks of St. Basil, and finished by them in the year 1842, at a cost of £icoo. It has 34 Sounding Stops, 3 Manuals, and Pedal. The following is an enumera- tion of the Stops : — Great Organ, 14 Stops. 1. Bourdon 16 feet tone. 2. Montre 8 feet. 3. Bourdon 8 feet tone. 4. Prestant 4 feet. 5. Dulciana 4 feet. 6. Flute .- 4 feet. 7. Nazard 2| feet. 8. Doublette 2 feet. 9. Fourniture. 10. Cornet. 11. Trompette 8 feet. 12. Trompette 8 feet. 13. Voix Humaine 8 feet tone. 14. Clairon 4 feet. Choir Organ, 10 Stops. Bourdon 8 feet tone. Prestant 4 feet. Flute 4 feet. Nazard 2| feet. Doublette 2 feet. 20. Quarte de Nazard 2 feet 21. Fourniture. 22. Cornet. 23. Cremona, through 8 feet tone. 24. Clairon 4 feet. 25. Bourdon 8 feet tone. 26. Prestant 4 feet. 27. Flute 4feet. Swell Organ, 6 Stops. z8. Nazard 2I feet. 29. Hautbois 8 feet. 30. Trompette 8 feet. Pedal 31. Flute 16 feet. 32. Flute 8 feet. , 4 Stops. 33. Bombarde 16 feet. 34. Trompette... 8 feet. Compass. Great CC to f^ in alt,. 54 notes. Choir CC to fs in alt, 54 notes. Swell, tenor c to f^ in alt, 42 notes. Pedal, FFF to tenor F, 25 notes. 18. Tours. There were two Cathedrals at Tours. That dedicated to St. Martin was destroyed. The large organ here described was destroyed in the Revolution ; but its specification is worth preservation. The instrument was built by J. B. U. 348 APPENDIX. Le Fevre, of Rouen ; was of immense power, and had 4 Manuals, and 60 Sounding Stops, supplied by 13 Bellows. The stops were distributed in the following manner : Great Organ, 23 Stops. I. Grosse Principal to FFFF 32 feet. z. Sub-Bourdon 31 feet tone. Prestant 16 feet. Bourdon 16 feet tone. Montre 8 feet. Prestant 8 feet. Principal 8 feet. Bourdon 8 feet tone. Quint 6 feet. Octave 4 feet. Octave 4 feet. Tierce 3i feet. 13. Quint 3 feet. 14. JDoublette z feet. 15. Tierce i|^ foot. 16. Quint 1 4 foot. 17. Mixture, XV ranks. 18. Cornett, V ranks. 19. First Trompette 8 feet. 20. Second Trompette 8 feet. 21. Third Trompette 8 feet. 22. First Clarion 4 feet. 23. Second Clarion 4 feet. Choir Organ, 16 Stops. 24. Bourdon 16 feet tone. 25. Principal 8 feet. 26. Prestant 8 feet. 27. Bourdon 8 feet tone. 28. Octave_ 4 feet. 29. Quint 3 feet. 30. Octave 2 feet. 31. Doublette 2 feet. Bombarde, 40. Bourdon 8 feet tone. 41. Octave 4 feet. 42. Cornett, V ranks 32. Tierce i|- foot. 33. Quint i| foot. 34. Mixture, IX ranks. 35. Cornett, V ranks. 36. Trompette 8 feet. 37. Clarion 4 feet, 38. Cremorne 8 feet. 39. Vox Humana 8 feet. 6 Stops. 43. Bombarde 16 feet. 44. Trompette 8 feet. 45. Clarion 4 feet. Fourth Manual. A general Echo to the Great organ. Pedal, 15 Stops. 46. Grosse Principal 16 feet. 47. Octave 8 feet. 48. Prestant 8 feet. 49. Quint 6 feet. 50. Octave 4 feet. 51. Flute 4feet. 52. Tierce 3i feet. 53. Quint 3 feet. 54. Octave 2 £•>*;. 55. Tierce if r-et. 56. Bombarde 32 ieet. 57. Trompette 16 feet. 58. Trompette 8 feet. 59. Clarion 4 feet. 60. Clarion 2 feet. 19. Rouen. The organ in the magnificent Church of St. Ouen, at Rouen, was built in the year, 1630. It has recently been renovated by MM. Cavailld-CoU. It had 5 Manuals ; a Pedal organ of 2 octaves in compass ; 12 pairs of Bellows ; and 49 Sounding Stops, distributed as follow : Great, 13 Stops {^Fourth Manual). 1. Montre (throughout, in metal.) 16 feet. 2. Bourdon (throughout) i6feet. 3. Montre 8 feet. 4. Bourdon 8 feet. 5. Prestant 4 feet. 6. Quint 23 feet. 7- Q"art 2 feet. 8. Tierce if foot. 9. Fourniture. 10. Cymbale. 11. Bassus de Trompette 8 feet. 12. Voix Humaine 8 feet. 13. Clarion 4 feet. AN ACCOUNT OF FOREIGN ORGANS. 349 Choir, 14 Stops {Lower Manual). 14. Prestant 8 feet. 15. Bourdon 8 feet. 16. Prestant 4 feet. 17. Flute ; 4feet. 18. Nazard 2I feet. 19. Doublette 2 feet. 20. Tierce i4 foot. 21. Cornett. 22. Galonbel. 23. Plein Jeu. 24. Cromorne 8 feet. 25. Bassoon at Hautbois 8 feet. 26. Trompette 8 feet. 27. Clarion 4 feet. 28. Flute .. 29. Cornett. Echo, 4 Stops {Upper Manual). 8 feet. I 30. Trompette 8 feet. I 31. Clarion 4 feet. Recti. 6 Stops {Second Manual). 32. Bourdon, Recit 8 feet. 33. Flute, Recit 4 feet. 34. Cornett, Recit. 3J. Hautbois, Recit 8 feet. 36. Trompette, Recit 8 feet. 37. Clarion, Recit 4feet. Bombarde, 4 Stops {Third Manual). 38. Bombarde 16 feet. I 40. Clarion 39. Trompette 8 feet. | 41. Cornett. 4 feet. Pedal, 8 Stops. 42. Prestant 16 feet. 43. Gamba 16 feet. 44. Prestant 8 feet. 45- Quint SI feet. 46. Prestant 4 feet. 47. Bombarde 16 feet. 48. Trompette 8 feet. 49. Clarion 4 feet. 20. Abbeville. The organ in the Cathedral at Abbeville is placed over the west entrance, where it has a majestic appearance. The case of the Great organ has five towers, with the smallest one in the centre ; the Choir organ has three towers, with the largest one in the centre. The i6-feet montre stands in front, .and is of polished tin. The organ is an old one, and originally belonged to the Church of St. George, which building was completely demolished in the Revolution of 1793- The organ escaped sharing the same fate through the care of Honord Blondin, the nephew of whom is the present organist. The instrument was enlarged and thoroughly repaired by M. Charles Lefevre, of Abbeville, about ten years since, and now contains 42 Stops, distributed as follows : — Great, 18 Stops. 1. Montre (throughout) 16 feet. 2. Bourdon (throughout) 16 feet tone. 3. Montre .' 8 feet. 4. Bourdon 8 feet tone. 5. Flute 8 feet. 6. Prestant 4 feet. 7. Flute 4 feet. 8. Flute Tacet 4 feet. 9. Nazard 23 feet. 10. Doublette 2 feet. 11. Flute 2 feet, 12. Fourniture. 13. Grand Cornett. 14. Trompette 8 feet. 15. Troinpette 8 feet. 16. Clarion 4 feet. 17. Cromorne (throughout) 8 feet. 18. Voix Humaine 8 feet. Choir, 12 Stops. 19. Bourdon 8 feet tone. 20. Montre 4 feet. \ 21. Flute §, Cheminfe 4 feet. 22. Nazard 2I feet. 23. Super Octave 2 feet. 24. Doublette 2 feet. 25. Petit Nazard i| foot. 26. Fifre i foot. 27. Fourniture. 28. Hautbois tacet 8 feet. 29. Clarion 4 feet. 30. Cromorne (throughout) ... 8 feet. 3SO APPENDIX. Swell, 6 Stops. 31. Dulciana 8 feet. 32. Flute 4 feet. 33. Nazard 2| feet. 34. Flute 2 feet. 35. Hautbois 8 feet. 36. Trompette 8 feet. Pedal, 6 Stops. yi- Fluto AUemande 16 feet. 38. Fluto 8 feet. 39. Fluto 4 feet. 40. Musette. 41. Bombarde, wood 16 teet. 42. Trompette, metal 8 feet. There are four Manuals : the lower one for the Choir organ, the second for the Great ; the third for the Pedal organ, which is of the same compass as the other organs ; and the fourth for the Swell. The compass of the Great, Choir, and Pedal is from CC to f in alt. The Swell, to Tenor f ; the Pedal-board is from CCC to Tenor f, two octaves and a half. The Manuals are coupled together by being drawn out about half an inch. 21. BEAUVAIS. The organ in the Cathedral at Beauvais has 5 Manuals and Pedal, 64 Sounding Stops, of which the following is a list : — Grand JDrgue {Great), 19 Stops. II. Quarte de Nasard 2 feet. and 1. Montre 16 feet. 2. Bourdon 16 feet tone. 3. Montre 8 feet. 4. Flute 8 feet. 5. Gamba 8 feet. 6. Bourdon 8 feet tone. 7. Grosse Nasard Ji feet. 8. Prestant 4 feet. g. Grosse Tierce 3i feet. 10. Nasard 2I feet. 13. Grosse Fourniture. 14. Fourniture. 15. Cymbale. 16. Great Cornet. 1 7. Premiere Trompette 8 feet. 18. Deuxi^me Trompette 8 feet. I'g. Clairon 4 feet. Fositif {Choir), 14 Stops. 20. Montre 8 feet. 21. Bourdon 8 feet tone. 22. Flute 8 feet. 23. Prestant 4 feet. 24. Nasard 2S feet. 25. Doublette 2 feet. 26. Tierce if toot. 27. Fourniture, III ranks. 28. Cymbale, ...II ranks. 29. Cornet, V ranks. 30. Trompette 8 feet, 31. Clairon 4 feet. 32. Cromorne 8 feet tone. 33. Basson 8 feet. Bombarde, 4 Stops. 34. Bombarde .-. 16 feet. | 36. Clairon 35. Trompette 8 feet. 37. Grand Cornet. 4 feet. Recti. Echo, 14 Stops. 38. Salicional 8 feet. 39. Bourdon 8 feet tpne. 40. Flute 8 feet. 41. Flute Harmonique 8 feet. 42. Principal.: 4 feet. 43. Flute douce 4 feet. 44. Quinte 2| feet. 45. Doublette 2 feet. 46. Quintadene 2 feet. 47. Tierce if foot. 48. Trompette 8 feet. 49. Cor Anglais 8 feet. 50. Hautbois 8 feet. 51. Voix Humaine 8 feet tone. AN ACCOUNT OF FOREIGN ORGANS. 3SI 52. ConocUte. | Swell, 3 Stops. 53. Euphone. Pedal, 10 Stops. I 54. Terpomele. 55. Flute ouverte 16 feet. 56. Contre-basse 16 feet. 57. Bourdon 16 feet tone. 58. Flute 8 feet. 59. Quinte , 5J feet. 60. Flute 4feet. 61. Bombarde 24 feet. 62. Trompette 12 feet. 63. Clairon 6 feet. 64. Dermogloste, Manuals, CC to f^ in alt, 54 notes. Compass. I Pedal, FFF to tenor f, 25 notes. 22. Antwerp. The organ in the Cathedral at Antwerp was built by De la Haye, of Antwerp, in 1645, and repaired by Folder, of Brussels, in 1834. It has 44 Stops, 3 Manuals, and Pedal. The following is a list of its contents : — Great Organ, 18 Stops. I. 2. 3- 4- 5- 6. 7- 8. 9- lo. Montre 16 feet. Bourdon 16 feet tone. Montre 8 feet. Bourdon 8 feet tone. Flute traversiere 8 feet. Gross Nazard 5J feet. Prestant 4 feet. Flute 4 feet. Nazard 2i feet. Doublette 2 feet. 11. Tierce 12. Fourniture. 13. Cimbal. 14. Cornett. f Bombarde discant ^' \ Bombarde basse \ ■ foot. 16 feet. '«-{?™m^::Sbi:^r} «^- 17. Clairon 4 feet. 18. Voix Humaine 8 feet tone. Choir Organ, 10 Stops. 19. Montre 8 feet. 20. Bourdon 8 feet tone. 21. Prestant 4 feet. 22. Flute 4 feet tone. 23. Nazard 2j feet. 24. Doublette 2 feet. 25. Fourniture. 26. Cornett. {Trompette discant 1 Trompette basse j 28. Hautbois 8 feet. 8 feet. Swell Organ, 6 Stops. 29. Montre discant 8 feet. 30. Bourdon 8 feet tone. 31. Prestant 4 feet. 32. Flute 4 feet. 33. Doublette 2 feet. 34. Cromhorne 8 feet. Pedal Organ, 10 Stops. 35. Montre 16 feet. 36. Bourdon 16 feet tone. 37. Prestant 8 feet. 38. Bourdon 8feettone. 39. Prestant 4 feet. 40. Flute 4feet. 41. Fourniture. 42. Bombarde 16 fee 43. Trompette 8 feet. 44. Clairon 4 feet. Manuals, C C to f^ in alt. Compass. Pedals, F F F to tenor f. 23. Antwerp. The organ in the Church of St. Paul at Antwerp was built by Terbrugen, of Antwerp, in the year 1670, and was repaired and improved in 1825. It has 3 Manuals and Pedal, and 5 1 Stops. The Pedal-board is very inconveniently 352 APPENDIX. arranged, and the touch is disagreeable ; otherwise it is a very satisfactory- instrument, and rather superior to that in the Cathedral. The following is a list of its Stops : — Great Organ, 19 Stops. 1. Principal 16 feet. 2. Bourdon 16 feet tone. 3. Montre 8 feet. 4. Bourdon 8 feet tone. 5. Quintaton 8 feet tone. 6. Grand Nazard 6 feet. 7.- Prestant 4 feet. 8. Flute 4 feet. 9. Flute traverse 4 feet. 10. Gros Tierce 3t feet. 11. Nazard 3 feet. 12. Doublette 2 feet. 13. Fourniture. 14. Cimbale. 15. Cornett. 16. Bombarde 16 feet. 17 (Trompette discant) 3 ^^^^^ '• (Trompette basse ) 18. Clairon 4 feet. ig. Voix Humaine 8 feet. 20. Bourdon 8 feet tone. 21. Viol di Gamba 8 feet. 22. Prestant 4 feet. 23. Flute 4 feet. 24. Flute traverse 4 feet. 25. Nazard 3 feet. 26. Doublette 2 feet. 27. Flute Champ 2 feet. Choir Organ, 15 Stops. 28. Tierce i| foot. 29. Fourniture. 30. Cornett. 31. Trompette 8 feet. 32. Hautbois 8 feet. 33. Vox Angelica 8 feet. 34. Bassoon 8 feet. Echo Organ, 10 Stops. 35. Bourdon 8 feet. 36. Prestant 4 feet. 37. Flute 4 feet. 38. Nazard 3 feet. 39. Doublette 2 feet. 41. Fourniture. 42. Cornett. 43. Trompette 8 feet. 44. Voix Humaine 8 feet. 45. Prestant 16 feet. 46. Quintaton 16 feet tone. 47. Flute 8 feet. 48. Prestant 4 feet. Pedal Organ, 7 Stops. 49. Bombarde 16 feet. 50. Trompette 8 feet. 51. Clairon 4 feet. Manuals, C C to f ' in alt. Compass I Pedals, C C C to tenor c. 24. Brussels. The organ in the Cathedral Church of St. Gudule, at Brussels, contains 47 Stops, 3 Manuals, and Pedal containing a 32-feet Reed. The following list shows the distribution and names of the Stops : — Great Organ, 18 Stops. 1. Bordun, discant 32 feet tone. 2. Montre 16 feet. 3. Bordun 16 feet tone. 4. Prestant 8 feet. 5. Bordun 8 feet tone. 6. Octave 4 feet. 7. Flute 4 feet. 8. Nazard 2| feet. 9. Doublette 2 feet. 10. Tierce i^foot. 11. Quint 1 J foot. 12. Fourniture, 13. Cymbalies. 14. Cornet. 14. Cornet, lowest rank, Bor- dun 16 feet. 16. Bombarde 16 feet. 17. Trompet 8 feet. 18. Clarin Bass 4 feet. AN ACCOUNT OF FOREIGN ORGANS. 353 Choir Organ, 12 Stops 19. Bordun 16 feel tone. 20. Bordun 8 feet tone. II. Flute g feet. 22. Prestsnt 4 feet. 23- Flute 4 feet. 24. Nazard 2I feet. 25. Octave 2 feet. 26. Tierce '. i-| foot. 27. Larigot '. i| foot. 28. Fourniture. 29. Cornet. 30. Hautbois g feet. Echo Organ, 7 Stops. 31. Prestant 8 feet. 32. Bourdon 8 feet tone. 33. Octave 4 feet. 34- Flute 4 feet. 35. Doublette 2 feel. 36. Fourniture. 37. Trompete 8 feet. Pedal Organ, 10 Stops. 38. Montre 16 feet. 39. Bourdon 16 feet tone. 40. Flute 8 feel. 41. Bourdon 8 feet tone. 42. Quinte 5Heet. 43. Flute 4feet. 44. Quarte 2 feet. 45. Buzain 32 feet. 46. Bombarde 16 feet. 47. Trompete 8 feet. 25. Liege. The organ in the Church of St. Martin, at Liege, built by Clerinex, at a cost of £iooo, has 3 Manuals, and Pedal, and 36 Sounding Stops, of which the following is a list : — Great Organ, 14 Stops. 1. Bourdon 16 feet tone. 2. Principal 8 feet. 3. Bourdon 8 feet tone. 4. Gamba 8 feet. 5. Flute Travers 8 feel. 6. Prestant 4 feet. 7. Flute pointue 4 feet. 8. Super-octave 2 feet. 9. Sesquiallera, III ranks 3 feet. 10. Fourniture, IV ranks. 11. Cornell IV ranks. 12. Trompet 8 feet. 13. Clarion 4 feel. 14. Cromhorne 8 feel. Choir, 9 Stops. 15. Salicional 8 feet. 16. Bourdon 8 feet tone, 17. Prestant 4 feet. 18. Old Flute 4 feel. 19. Super-octave ; 2 feet. Echo, 6 Stops. 24. Bourdon 8 feet tone. 25. Prestant 4 feet. 26. Flageolet. 20. Sesquialtera. 21. Cornel. 22. Trompetle 8 feel. 23. Hautbois 8 feet. 27. Super-octave 2 feet. 28. Cornet. 29. Trompetle 8 feet. Pedal, 6 Stops. 30. Montre, metal 16 feet. 31. Flute, wood open 16 feet. 32. Soubasse 16 feet tone. 33. Montre 8 feet. 34. Bombarde* 16 feet. 35. Bombarde 8 feet. 26. Cologne. The organ in the Cathedral of Cologne was built in the year 1572 ; and repaired in 1734, by J. J. Schmitt, of Miilbeim. It was reconstructed and consider- ably enlarged by Engelbert Maas, of Cologne, in the years 1817 and 1821 ; more * The CCC Pipe, 1 2 inches in diameter. LL 3S4 APPENDIX. than half the Pipes, the mechanism, &c., being made by him. The organ has now 40 Stops, 3 Manuals,«and Pedal ; the names and distribution of the former being as follow : — Great, 11 Stops. 1. Principal, tin, in front 16 feet. 2. Octave 8 feet. 3. Viol (ii Gamba 8 feet. 4. Hohlflote 8 feet. 5. Super-octave 4 feet. 6. Flautin 2 feet. 7. Rauschwerk, V ranks 2| feet. 8. Cymbal, IV ranks. 9. Sesquialtera, II ranks 2| feet. 10. Posaune 16 feet. 11. Trompette 8 feet. Choir, II Stops. 12. Principal 8 feet. 13. Rohrflote 8 feet tone. {Viola di Gamba, discant \ o c Violoncello bass j 15. Queerflote, discant 8 feet. 16. Rohrflote 4 feet tone. 17. Super-octave... 2 feet. 18. Cornet, IV ranks. /Bourdon, discant 1 ^g j^^^^ ■^ ( Contrafagot, bass J 20. Clairon 8 feet. 21. Krumhorn 8 feet tone. 22. Glockenspiel. Echo, 9 Stops. 8 feet. f Hohlflote, discant ) *3- 1 Hohlflote, bass \ ■■" 24. Queerflote, discant 8 feet. 25. Prestant 4 feet. 26. Hohlflote 4 feet. 27. Super-octave 2 feet. 28. Super-flote 2 feet. 29. 'Quint-flote ij foot. 3°- ^'^, ' 8 feet tone. Cymbal. (Clarinett, discant ) 3'' "[Clarinett, bass \ Pedal, 9 Stops. 32. Contra Violin 16 feet. 33. Sub-bass 16 feet tone. 34. Violin 8 feet. 35. Octave Sub-bass 8 feet tone. 36. Super-octave 4 feet. 37. Posaune 16 feet. 38. Trompete 8 feet. 39. Clairon 4 feet. 40. Clarinett 2 feet. Compass. Manuals, CC to f» in alt, 54 notes. | Pedal, CCC to tenor c, 25 notes. 27. Cologne. The organ in the'Minorets Church is said to be no less than 400 years old. Its tone is exceedingly good ; and it has 33 Stops, of which the following is a list =— Great, 15 Stops. 9. Salicena, Oder Quint 2; feet. 10. Super-octave 2 feet. n. Quint li foot. 1 2. Mixture, III and IV ranks. (Trompet, discant) 3 f^^j_ ■^ ^Trompet, bass ) 14. Clairon 4 feet. 15. Vox Humana 8 feet tone. 1. Bourdon 16 feet tone. 2. Prestant 8 feet. (Gamba, discant ) 8 fppt '■ (Gamba, bass J 4. Violoncello 8 feet. 5. HoUpfeife 8 feet. 6. Octave 4 feet. 7. Flote 4 feet. 8. Wald-flote 4 feet. Choir, 12 Stops. 16. HoUpfeife 8 feet. 17. Flaut traverse 8 feet. 18. Prestant 4 feet. 19. Flaut douce 4 feet. 20. Vox Angelica 4 feet. 21. Quint flaut 2S feet tone. 22. Octave 2 feet. 23. Cymbal, III ranks, 24. Carillon, II ranks. 25. Hautbois 8 feet, 26. Clarinet 8 feet tone. 27. Vox Humana 8 feet tone. AN ACCOUNT OF FOREIGN ORGANS. 355 Pedal, 6 Stops. 28. Principal, in front 16 feet. 29. Octave-bass g feet. 30. Super-octave 4 feet. 31. Posaune 16 feet. 32. Trompette 8 feet. 33. Clairon 4 feet. Accessory Stops. Choir to Great. | 2. Great to Pedal. Manuals, CC to d' in alt, no top c* sharp 50 notes. Compass. , I Pedal, CCC to EE, 17 notes. 28. Cologne. The organ in the Jesuits' Church at Cologne is a particularly fine instrument. It was originally built about the year 1750, and was repaired and enlarged in 1822. It has now 34 Stops, 3 Manuals, and a Pedal of 6 Stops. Great, 11 Stops. Principal iSfeet. Prestant 8 feet. Gamba 8 feet. Bourdon 8 feet tone. Octave 4 feet. Quint 2| feet. 7. Super-octave 2 feet. 8. Mixture IV ranks. 9. Cornet ...V ranks. ^^ fTron.pette,discant1 j. I Trompette, bass ) II. Clairon 4 feet. Choir, II Stops. 12. Prestant 8 feet. 13. Gamba 8 feet. 14. Hollpfeif 8 feet. 15. Travers-flote 8 feet. 16. Octave 4feet. 17. Flote 4 feet. Echo, 23. Gemshom 8 feet. 24. HoUpfeif 8 feet. 25. Prestant 4 feet. 18. Flautino 4 feet. ig. Super-octave 2 feet. 20. Carillon, II ranks. 21. Cornet... V ranks. 22. Clarinet 8 feet tone. 6 Stops. 26. Flote 4 feet. 27. Hautbois 8 feet. 28. Vox Humana 8 feet tone. Pedal, 6 Stops. 29. Sub-bass 16 feet. 30. Octave 8 feet. 31. Violone 8 feet. 32. Posaune 16 feet. 33. Trompete 8 feet. 34. Clairon 4 feet. Accessory Stops, Movements, Sfc. «. Choir to Great, z. Echo to Choir. 3. Great to Pedal. 4. Tremulant to Choir. Compass. Manuals, CC to f» in alt, 54 notes. ] Pedal, CCC to FF, i J octave, 18 notes. 29. Cologne. The Church of Maria de Capitol, at Cologne, contains an imposing-toned organ, erected by Ludwig Konig, of Cologne, in 1767 In the year 1839 a Comett and Flautino were added, and the organ raised to its present pitch by Engelbert LL 2 356 APPENDIX. Maas, of Cologne. It has now 40 Stops, 3 Manuals, and Pedal of 10 Stops, following is the disposition : — Great, 12 Stops. The 1. Principal 16 feet. 2. Octave , 8 feet. 3. Viola di Gamba 8 feet. 4. Hollpfeif 8 feet. 5. Octave 4 feet. 6. Flaut 4 feet. 7. Quint 2| feet. 8. Mixture, IV ranks 2 feet. 9. Cymbel, III ranks i foot. 10. Cornett, IV ranks. 11. Trompette 8 feet. 12. Clairon 4 feet. Choir, 12 Stops. Prestant 8 feet. Viola di Gamba 8 feet. Hollpfeif 8 feet. Flaut travers, discant 8 feet. Octave 4 feet. 18. Flaut 4 feet. 19. Super-octave 2 feet. Flautina 2 feet. Quint Flaut ij foot. Carillon, II ranks 4 feet. Vox Humana 8 feet tone. 24. ^2"'^'"'^"^^°']- «feet. ^ (Hautbois, bass ) 25. 26. 27. 28. Echo, 6 Hollpfeife ._. 8 feet. Gemshorn....'. 4 feet. Flaut 4 feet tone Superoctave 2 feet. Stops. 29. Hautbois, discant- {Vox Humana, discant 1 Vox Humana, bass J ' 8 feet. 8 feet tone. Pedal, 10 Stops. 1. Bourdon 16 feet. 2. Viola di Gamba 8 feet. 3. Prestant 8 feet. 4. Gemshorn 8 feet. 5- Quinte 5J feet. 6. Octave 4 feet. 7. Posaune 16 feet. 8. Trompette 8 feet. 9. Clairon 4 feet. 10. Clarino 2 feet. Accessory Stops, Movements, Sr^c I. Great to PedaL ] 2. Tremulant Echo. | 3. Tremulant Positif. Compass. Manuals, CC to f' in alt, J4 notes. , | Pedal, CCC to Gamut A, 22 notes. 30. Cologne. The organ in the Church of St. Columba, at Cologne, was made by Konig, in 1753 ; and presents the remarkable peculiarity, for a German organ of the size, of being entirely without Pedal Stops. The following is a hst of the contents of the above-named instrument : — Great, 12 Stops. 1. Prestant 16 feet. . 2. Principal '. 8 feet. 3. Viol di Gamba 8 feet. 4. Gedact 8 feet tone. 5. Octava 4 feet. 6. Flaut douce 4 feet. 7. Super-octave 2 feet. 8. Sesquialtera, III ranks z| feet. 9. Mixtur IV ranks 2 feet. 10. Posaune i6feet. 11. Trompet 8 feet. 12. Clairon 4 feet. Choir, 9 Stops. 13. Gedact 8 feet tone. 14., Prestant 4 feet. 15. Flaut travers 4 feet. 16. Flaut douce 4 feet. 17. Octava 2 feet. Quint-Flaut IJ foot Carillon, II ranks. Clarinett, discant 8 feet tone. Vox Humana 8 feet tone. AN ACCOUNT OF FOREIGN ORGANS. 357 ,31. Cologne. The organ in the Church of St. Ursula is a new instrument, and was built by Heinrich, of Cologne. It contains 25 Stops, 2 Manuals, and a Pedal of 6 Stops. The following is a list of its contents : — Great, 11 Stops. 1. Bourdon 16 feet tone. 2. Principal 8 feet. 3. Bourdon 8 feet tone. 4. Gamba 8 feet. 5. Octave 4 feet. 6. Flote 4,feet. 7. Qainte 2| feet. 8. Octave 2 feet. 9. Mixtur, IV ranks. 10. Cornet. 11. Trompet 8 feet. >3- 14. IS- Prestant 8 feet. Bourdon 8 feet tone. Salicional 8 feet. Fernflote 4 feet. Choir, 8 Stops. 16. Flaut 4 feet. 17. Octave 2 feet. 18. Oboe 8 feet. 19. Basset Horn 8 feet. Pedal, 6 Stops. 20. Sub-bass 16 feet, 21. Violoncello 8 feet. 22. Octave-bass 8 feet. 23. Posaune 16 feet. 24. Trompet 8 feet. 25. Clairon 4 feet. 32. Bonn. There is a fine old organ in the Cathedral at Bonn, containing 30 Sounding Stops, among which is a particularly fine i6-feet Posaune on the Pedal, of wood. The instrument has 2 Manuals and Pedal, among which the Stops are thus distributed: Great, 12 Stops. 1. Bourdon 16 feet tone. 2. Principal 8 feet. 3. Bourdon 8 feet tone. 4. Gamba 8 feet. 5. Salicional 8 feet. 6. Octave 4 feet. 13. Bourdon 8 feet tone. 14. Flote discant 8 feet. 15. Principal 4 feet. 16. Octave ' 4 feet. 17. Rohrflote 4 feet tone. 18. Quint 3 feet. ' Pedal, 24. Sub-basse 16 feet tone. 25. Principal 8 feet. 26. Violoncello , 8 feet. 7. Quint 3 feet. 8. Super-octave 2 feet. 9. Octavine i foot. lb. Mixture. 11. Trompette 8 feet. 12. Clairon 4feet.. Choir II Stops. 19. Octave 2 feet. 20. Mixture. 21. Trompette 8 feet. 22. Bassoon 8 feet. 23. Vox Humana 8 feet. 6 Stops. 27. Posaune 16 feet. 28. Posaune 8 feet. 29. Posaune 4 feet. 33. Bonn. ■ . The organ in the Protestant Church at Bonn, by "Weil, is an excellent nstrument. It has 19 Stops, of which the following is a list : — Great, 9 Stops. 1. Bourdon 16 feet tone. 2. Principal 8 feet. 3. Bourdon 8 feet tone. 4. Gamba 8 feet. 5. Octave 4 feet. 6. Flute 4 feet. 7. Salicional 4 feet. 8. Super-octave 2 feet. 9. Trompette 8 feet. 358 APPENDIX. Choir, 1. Flote 8 feet. 2. HoUflote 8 feet. 3. Harmonica 8 feet. 4. Principal 4 feet. I. Principal 16 feet. 7 Stops. 5. Rohrfiote 4 feet. 6. Super-octave '. 2 feet. 7. Krumhorn 8 feet. Pedal, 3 2, Sub-bass Stops. 16 feet tone. 3. Octave.. 8 feet. 34. COBLENTZ. The organ in the Church of Castor, at Coblentz has 39 Stops, distributed among 3 Manuals and Pedal, as follow : — Great, 16 Stops. 17' 18. '9' 20. 21, Gross-gedact 16 feet tone. Principal 8 feet. Viol di Gamba 8 feet. Holpfeif 8 feet. Quintadena 8 feet tone. Coppel 8 feet. Octave 4 feet. Salicional 4 feet. Fleut 4 feet. 10. Quint 2| feet. 11. Super-octave 2 feet. 12. Vox Angelica 2 feet. 13. Terz 1 1- foot. 14. Mixtur I foot. i;. Cornet. {Trompet, treble ) oft Trompet, bass ...J ^ *^"' Choir, 9 Stops. Bourdon 8 feet tone. Flaut Ravena 8 feet. Principal 4 feet. Flaut 4 feet. Quint 2| feet. Echo, 7 Bourdon 8 feet tone. Flaut 4 feet. Salicional 4 feet. Quint 2| feet. 22. Octave 2 feet. 23. Mixtur. 24. Krumhorn 8 feet tone. 25. Vox Humana 8 feet tone. Stops. 30. Octave 2 feet. Trompet 8 feet. Vox Humana 8 feet tone. Pedal, 33. Violon-bass 16 feet. 34. Sub-bass 16 feet tone. 35. Principal-bass 8 feet. 36. Octave-bass 4 feet. 7 Stops. 37. Posaune-bass 16 feet. 38. Clairon-bass 4 feet. 39. Cornet-bass 2 feet. Accessory Stops, Movements, Ssr'c- I. Choir to Great. | i. Great to Pedal. | 3. Tremulant Echo. Compass. Manuals, CC to d' in alt, 51 notes. | Pedal, CCC to Gamut G, 20 notes. 35. Strasbourg. Strasbourg has long been famous for its bell-foixnders, clock-makers, organ-builders, and for its Freemasons. So early as the 13th century there were several organs in its Cathedral, very curious in their structure, and sonorous in their tone. The present instrument was built by Silberman, of Strasbourg, and was completed in August, 1716. It has 42 Sounding Stops, of which number 7 are on the Pedal ; 2242 Pipes ; and 6 Bellows, 12 feet by 6. The organ is placed on the north side of the Nave, where it pro- AN ACCOUNT OF' FOREIGN ORGANS. 359 jects from the Triforium about 50 feet above the pavement of the Cathedral. The following are the particulars of the instrument : — Great, 13 Stops. 1. Bourdon 16 feet tone. 2. Montre, tin 8 feet. 3. Bourdon 8 feet tone. 4. Prestant 4 feet. 5. Nazafd if feet. 6. Doublette 2 feet. 7. Tierce if foot. 8. Fourniture. 9. Cymbal. 10. Cornett, V ranks. ^ fTrompette,discant1 g f^^^_ 1^ Trompette, basse... J 12. Trompette 8 feet. C Clairon discant } r ^' (Clairon, basse...) ^ Choir, II Stops. 14. '5- 16. 18. 19- 25 26. 27, 28, 29. 30. 36- 37- 38. 39- Montre, tin 8 feet. Bourdon 8 feet tone. Prestant 4 feet. Flute 4 feet. Nazard 2f feet. Doublette 2 feet. 20. Tierce if foot. 21. Larigot i J foot. 22. Fourniture. 23. Cymbal. f Cromhorn, discant ) „ r *■ I Cromhorn, basse... ) Echo, II Stops. Montre, tin 8 feet. Gamba 8 feet. Bourdon 8 feet tone. Salicional 8 feet. Prestant 4 feet. Flute 4 feet. 31. Flute magique 4 feet. 32. Doublette 2 feet. 33. Hautbois 8 feet. 34. Vox Humaine 8 feet. 35. n''°'"P"V^''""'l 8 feet. \ Bassoon, basse .-• J ' Pedal, 7 Stops. Montre, tin 16 feet. Bourdon 16 feet tone. Montre 8 feet. Prestant 4 feet. 40. Bombarde 16 feet. 41. Trompette 8 feet. 42 Clairon 4 feet. Accessory Stops, Movements, Sr'c. Tremulant to Great. | . Tremulant to Echo. The Echo and Choir Manuals couple to the Great by being drawn out a little. Compass. Manuals, CC to c' in alt, 49 notes. | Pedal, CCC to tenor c, 25 notes. 36. Strasbourg. The organ in St. Thomas's Church is also the work of Silberman, and bears the date of 1740. It has undergone some alterations by Weltzer, a resident organ-builder in Strasbourg. It contains 36 Sounding Stops, of which number 7 are on the Pedal. The distribution of the Stops is as follows :— Great, 13 Stops. I. Bourdon, stopped metal to the tenor c key, then wood 16 feet tone. Montre 8 feet. Bourdon, metal 8 feet tone. Salicional 8 feet. Prestant 4 feet. Flute 4 feet. Nazard 2^ feet. 8. Doublette 2 feet. 9. Fourniture, IV ranks. 10. Cornett V ranks. {Trompette, discant I s f f Trompette, basse ... J Clairon, discant ... r .. Clairon, basse J 4 '^"" 13. Vox Humaine 8 feet. ■■{ 14. Bourdon, metal 8 feet tone. 15 Quintadena 8 feet. 16. Prestant 4 feet. 17, Cordedain 4 feet. Choir, 8 Stops. 18. Flute 4 feet. 19. Na2ard 3 feet 20. Doublette 2 feet. 21. Cromorne 8 feet. 36o APPENDIX. Echo, 8 Stops. 22. Montre 8 feet. 23. Viola de Gamba 8 feet. 24. Bourdon, metal 8 feet tone. 25. Salicional 8 feet tone. 26. Flate 4 feet. Pedat, 7 Stops. 30. Principal, wood 16 feet. 34. 31. Octave 8 feet. 35. 32 Quint 6 feet. 36. 33. Prestant 4 feet. 27. Cordedain, a kind of flaut traverse, of metal 4 feet. 28. Trompette 8 feet. 29. Bassoon 8 feet. Bomharde, wood 16 feet. Trompette, metal 8 feet. Clairon, metal 4 feet. Compass. Manuals, CC to c^ in alt, 49 notes. | Pedal, CCC to tenor c, The Echo and Choir Manuals move and couple to Great. 25 notes. 37. Strasbourg. The organ in the Protestant Church, called the "Temple neuf," is also the work of Silberman. Like the last it is an excellent instrument throughout ; but is especially remarkable for the beauty of its Diapasons and Metal Flutes, which are of great excellence. It has 46 Stops, 3 Manuals, and Pedal. The specification is as follows : — Great, 14 Stops. 1. Bourdon 16 feet tone. 2. Montre 8 feet. 3. Bourdon Sfeettone, IS- 16. 'T- IS. "9- 25- 26. 27- 29. 3°- 31- 38, 39- 40. 41. 42. Quintaton 8 feet. Prestant 4 feet. Flute 4 feet tone. Quint 2J feet. Doublette 2 feet. 9. Tierce if foot. 10. Fourniture, III ranks i foot. 11. Cymbal, III ranks 2 feet. 12. Cornet, V ranks. IV IZ;™'"?"^'''^'''"" 1 8 feet. ■" < Trompette, basse... J J Clairon, discant ) r . ^' (Clairon, basse y ^ Choir, 10 Stops. Bourdon 8feettone. Salicional 8 feet. Prestant 4 feet. Flute 4feettone. Jeu celeste 4 feet. 20. Doublette 2 feet. 21. Larigot if foot. 22. Hautbois, discant 8 feet. 23. Cromorne 8 feet. 24. Cor de basset 8 feet. Echo, 13 Stops. Bourdon i6feettone. Montre 8 feet. Bourdon 8feettone. Viol di Gamba 8 feet. Prestant 4 feet. Flute ..'. 4feettone. Doublette 2 feet. I foot. 32. Sifflute 33. Fourniture, III ranks. 34. Cornet, ...IV ranks. 35. Trompette 8 feet. 36. Bassoon 8 feet. 37. Voix Humana 8 feet. Pedal, 9 Stops. Principal, wood 16 feet. Bourdon ("open wood) 16 feet. Octave 8 feet. Violoncello 8 feet. Prestant 4 feet. 43. Plein jeu, II ranks. 44. Bombarde, metal 16 feet. 45 Trompette, metal 8 feet. 46. Clairon, metal 4 feet. 38. Friburg in Brisgau. The Cathedral of Friburg in Brisgau, so long celebrated for its beautiful Gothic spire, contains two organs, both of which are small, but of remarkably sweet and full tone. The one in the Nave is very old, having been put up in 1520; that in AN ACCOUNT OF FOREIGN ORGANS. 361 the Choir, which is about the same size, was built in 181 1. The Nave organ has 24 Stops, 2 Manuals, and Pedal, of which the following are the particulars :— Greats 10 Stops. Bourdon 16 feet tone. Principal ...: 8 feet. Bourdon 8 feet tone. Oct;iv 4 feet. Floete 4 feet tone. 6. Nazard i| feet. 7. Super octav 2 feet. 8. Mixtur, III ranks, 9. Cymbal, III ranks. 10. Trompette 8 feet. Choir, 10 Stops. 11. Principal 8 feet. 12. Bourdon 8 feet tone. 13. Salicional 8 feet. 14. Gamba 8 feet. 15. Octav 4 feet. 16. Flote 4feet. 17. Waldflote , 2 feet. 18. Sesquialtera, II ranks 2§ feet. 19. Cromhom 8 feet tone. 20. Vox Humana 8 feet tone. Pedal, 4 Stops. 21. Montre i6feet. I 23. Octav 8 feet, 22. Bourdon 16 feet tone. | 24. Posaune, to FFF 16 feet. Compass. Manual, CC, short octave, up to a^ in alt. | Pedal, C C C to C C, one octave complete. 39. Friburg in Brisgau. The orgati in the Lutheran Church at Friburg in Brisgau was built about 300 years ago, but has lately been repaired. It has 2 Manuals and Pedal, and 32 Stops, of which the following is a list : — Great, 14 Stops. 1. Bourdon 16 feet tone. 2. Principal .'. 8 feet. 3. Hohlflote 8 feet. 4. Bourdon 8 feet tone. 5. Octav 4 feet. 6. Flote.. 4 feet. 7. Fugara 4 feet. 8. Quint , 2| feet. 9 Super octave 2 feet, 10. Woldflote 2 feet. 1 1 . Cymbil, III ranks. 12. Mixtur, II ranks. 13. Cornet, V ranks. \\. Trompette 8 feet. 15' 16. 17- 18. 19. Choir, 10 Stops. Principal 8 feet. Bourdon 8 feet tone. Gamba 8 feet. Salicional 8 feet. Octav 4feet. 20. Gemshorn 4 feet. 21. Flote 4 feet. 22. Rohrflote 4 feet tone. 23. Super-octav 2 feet. 24. Trompeta 8 feet. *5' 26. 27. 2g. Pedal, 8 Stops. Montre 16 fee^. Bourdon i6feettone. Quintaton 16 feet tone. Principal 8 feet. 29. Bourdon 8 feet tone. 30. Mixtur, III ranks, 31. Posaune 16 feet. 32. Trompette 8 feet. Compass. Manuals, C C to f' in alt, 54 notes. Pedal, CCC to Gamut G, ih octave. Coupler. Choir to Great 362 APPENDIX. 40. Frankfort. The organ "recently burnt in the Cathedral at Frankfort was built in the early part of the seventeenth century, by Meyer ; who repaired the Cathedral organ at Ulm, in 1630. The tone of the full organ was particularly mellow, resonant, and ringing ; and there was good weight and fulness of tone on the Pedal. It con- tained 34 Stops, as foUows : — Great Organ, 14 Stops. 1. Gross Gedackt (Bourdon) ... 16 feet tone. 2. Principal 8 feet. 3. Salicional 8 feet. 4. Viola di Gamba 8 feet. 5. Bifaro 8 feet. 6. Octave 4 feet. 7. Klein Flbte 4 feet. Gemshorn 4 feet. Hohlflote 4 feet. Quint 2| feet. Octave 2 feet. Mixture, V ranks. Cornet, ...V ranks. Trompette 8 feet. Choir Organ, 12 Stops. ij. Principal 8 feet. 16. Flote Major 8 feet. 17. Octave 4 feet. 18. FlbteMinor 4 feet. 19. Salicionaloctave 4 feet, 20. Spitzflote 4 feet. 21. Quint 2| feet. 22. Octave 2 feet. 23. Sesquialtera, II ranks 2i feet. 24. Nazard i J foot. 25. Vox Humana 8 feet. 26. Krumhorn 8 feet. Pedal Organ, 8 Stops. 27. Sub-bass, metal 16 feet. 28. Principal-bass, wood 16 feet. 29. Principal 8 feet. 30. Violone 8 feet. 31. Mixtur, III ranks. 32. Posaune 16 feet. 33. Trompete 8 feet. 34. Clairon 4 feet. Compass. Manuals, CC to c' in alt, 4 octaves. Pedal C C C to C C, i octave. 41. Frankfort. The very large and fine organ in St. Paul's Church, Frankfort, was built by Walker, of Ludwigsburg, and was opened in the month of June, 1833. I' contains 74 Stops, 3 Manuals, and 2 Pedals, and 12 Bellows 14 feet long by l\ broad. The Draw-stops are placed over as well as at the sides of the Manuals. The quality and varied tones of the numerous 16, 8, and 4 feet Manual Flue Stops, are deserving of all praise. The following is an enumeration of the Stops in this organ ; — Great, 23 Stops. 1. Manual-untersaz 32 feet tone. 2. Principal, in front 16 feet. 3. Gamba major 16 feet. 4. Tibia major 16 feet tone. 5. Octave 8 feet. 6. Viola di Gamba 8 feet. 7. Gemshorn 8 feet. 8. Jubal Flote, 2 mouths 8 fe^t. 9- Quint 5jfeet. 10. Octave 4 feet. 11. Hohlpfeife 4 feet. 12. Fugara 4 feet. *3 Gemshorn-terz 31 feet. Quinte z| feet. Super-octave, II ranks 2 feet. Waldflote 2 feet. Klein-octave i foot. Mixtur, IV ranks. Scharf, V ranks. Cornet, V ranks. Tuba 16 feet. Trompet 8 feet. AN ACCOUNT OF FOREIGN ORGANS. 363 Choir, 15 Stops. 24. Bordun ififeettone. 15- 26. 28. 29. 30. 31- 39- 40. 41. 42. 43- 44- 45- Principal, in front 8 feet. Salicional 8 feet. Dolce 8 feet. Gedact 8 feet tone. Quintaton 8 feet tone. Quintflote 5jfeettone. Octave 4 feet. 32. Flauto traverso 4 feet. 33. Rohrfiote 4feettone. 34. Gemshornquint 2§ feet. 35. Octave 2 feet. 36. Mixtur, V ranks 2 feet. 37. Posaune..... 8 feet. 38. Vox Humana 8 feet. Echo, 14 Stops, Quintaton iSfeettone. Principal 8 feet. Harmonica 8 feet. Bifaro 8 feet. Hohlflote 8 feet. Gedact, two mouths 8feettone. Spitzflote 4 feet. 46. Dolcissimo 4 feet. 47. Flute d'amour 4 feet. 48. Gedact : 4 feet tone 49. Nazard 2f feet. 50. Flautino 2 feet. 51. Hautbois 8 feet. 52. Physharmonica 8 feet. First Pedal, 15 Stops. 53. Contra-bass, open 32 feet. 54. Sub-bass, open 32 feet. 55. Principal-bass, in front 16 feet. 56. Octav-bass 16 feet. 57. Violon 16 feet. 58. Quint I of feet. 59. Octave 8 feet. 60. Violoncello 8 feet. 61. Terza 6| feet. 62. Quint 5I fset. 63. Octave 4 feet. 64. Posaune 16 feet. 65. Trompette 8 feet. 66. Clarino 4 feet. 67. Cornettino 2 feet. Second Pedal, 7 Stops. 68. Sub-bass i6feettone. 69. Violon d'amour 16 feet. TO. Principal 8 feet. 71. Flote 8 feet. 72. Flote 4feet 73. Waldflote 2 feet. 74. Fagotto 16 feet. 1. Choir to Great. 2. Echo to Choir. 3. Great to first Pedal. Accessory Stops, Movements, S-'c. 4. Choir to second Pedal. 5. Second to first Pedal. 6 to 10. Five Wind-trunk Valves. Manuals, C C to f a in alt, 54 keys. Compass. I Pedal, C C C to tenor d, 27 keys. 42. FULDA. The organ in the Town Church at Fulda, was constructed by G. F. Ratzmann, of OhrdrufF. It has 48 Sounding Stops, 3 Manuals, and Pedal of 9 Stops ; also bellows measuring 12 feet by 8. The following is its disposition : — Great, 15 Stops. Large Scale and full intonation. 10. Quint, tin 2f feet. 1. Principal, tin, the 16 feet octave in front 16 feet. 2. Bourdon, wood 16 feet tone 3. Principal, tin, in front 8 feet. 4. Bourdon, wood 8feettone 5. Hohlflote, wood ., 8 feet. 6. Quint, wood bass, tin treble 5J feet. 7. Gamba Quint sl fe"- 8. Octave, tin 4 feet. 9. Hohlflote, wood 4 feet. 11. Octave, II ranks, tin zfeet&ift. 12. Mixtur, IV ranks, c', e', g', C^ 2 feet. 13. Cymbal, IIIranks,g>,c'',g» i^ foot 14. Cornet, III ranks, the first and second ranks, wood stopped, c, g, c 8 feet tone. Trompette, tin, with free reeds 8 feet. >S 364 APPENDIX. 28. 29. 30. 3'- 32- 33- Choir, 12 Stops. Smaller Scale and clear intonation. 16. Principal, the bass and tenor octaves of wood, the treble of tin 16 feet. 17. Principal, tin in front 8 feet. 18. Gemshorn, the bass and tenor octaves of wood, the treble of tin 8 feet. 19. Still gedact, wood 8 feet tone. 20. Quintaton, tin 8feettone. 21. Octave, tin 4 feet. 22. Flote, wood 4 feet. 23. Klein Gedact, tin 4feettone. 24. Waldflote, tin 4 feet. 25. Quint, tin 2J feet. 26. Octave, II ranks, tin 2 feet & i ft. 27. Mixtur, IV ranks, tin, ci, el, gi, c" 2 feet. Echo, 12 Stops. Smaller Scale and delicaie intonation. Quintaton, the bass octave of wood, the remainder of tin, 16 feet tone. Geigen Principal, tin in front 8 feet. Salicional : 8 feet. Gedact, wood 8 feet tone. Flote travers, wood 8 feet. Octave, tin 4 feet. 34. Spitzflote, tin 4 feet. 35. Flote travers, wood 4 feet. 36. Flageolet, tin 2 feet. 37. Sifflote, tin i foot. 38. Mixtur, in ranks, tin, c, g, c 2 feet. 39. Clavioline 8 feet. Pedal, 8 Stops. Largest Scale and fullest intonation. 40. Untersatz, wood 32 feet tone, 41. Principal-bass, wood 16 feet. 42. Violon, wood 16 feet. 43. Sub-bass, wood 16 feet tone. 44. Traversen-bass, wood 16 feet. 45. Octaven-bass, wood 8 feet, 46. Violoncello, wood 8 feet. 47. Traversen-bass 8 feet. 48. Posaune, wooden tubes ... 16 feet. Accessory Stops, Movements, ^c. 1 . Coupler Choir to Great. 2. Coupler Echo to Great. 3. Coupler Great to Pedal. 4. Coupler Choir to Pedal. Manuals, CC to fs in alt, 54 notes. 5. Tremulant. 6, 7, 8, 9. Four double action Pedals. Compass. composition Pedal, CCC to tenor d, 27 notes. 43. GOTHA. The organ in St. Augustine's Church, at Gotha, was built in 1841, by Schulze, and contains 34 Stops, of which .the following is a list ; — Great, 15 Stops. 1. Bourdon to the fiddle g key 32 feet tone. 2. Principal; bass and tenor octaves of wood ; from the middle c^ key up- wards, of tin 16 feet. 3. Bourdon 16 feet tone. 4. Octave ; bass octave of wood ; from tenor c upwards, of tin 8 feet. 5. Gamba 8 feet. 6. Hohlflote , 8 feet. 7. Octave 4 feet. 8. Hohlflote ,.,,.,, 4 feet. 9. Gedact ,>..,., 4feettone. 10. Quint 2f feet. 11. Octave 2 and I. 12. Mixtur, V ranks 2 feet. 13. Cymbal, III ranks 2 feet. 14. Cornet, III ranks. 15. Trompet 8 feet. AN ACCOUNT OF FOREICJn ORGANS. 36s Choir, 16. Lieblich Gedact ififeettone. 17. Geigen Principal ; bass octave ■wood S feet. 18. Salicion^I ,. 8 feet. 19. Flauto Traverso 8 feet. 20. Harmonica 8 feet. I Stops. 21. Lieblich Gedact Sfeettone. 22. Octave 4 feet. 23. Flaut douce 4 feet. 24. Quinte 2§ feet. 25. Octave z feet. 26. Scharf, III ranks 2 feet. 27. Principal-bass 16 feet. 28. Violon-bass 16 feet. 29. Sub-bass 16 feet tone. 30. Octave-bass 8 feet. Pedal, 8 Stops. 31. Violoncello 8 feet. 32. Gedact-bass 8 feet tone. 33. Posaune 32 feet. 34. Posaune 16 feet. 44. GOTHA. The organ in the Church of St. Margaret, at Gotha, was also built by Schulze. It contains 26 Stops, distributed as follows : — 14. IS- 16. '7- Great or Lower Manual ^ 13 Stops. Principal 16 feet. Bourdon i6feettone. Principal 8 feet. Gamba 8 feet. Hohlflote 8 feet. Gedact 8 feettone. Harmonica £ feet. 8. Quint, Stopped wood 5J feet tone. 13 Octave 4 feet. Flote 4 feet. (■Quint zffeet. \ Octave 2 feet. Mixture, V ranks 2 feet. Scharf, III ranks 2 feet. Choir or Upper Manual, 7 Stops. Lieblich Gedact 16 feettone. Geigen Principal 8 feet. Salicional 8 feet. Lieblich Gedact 8 feettone. 18. Flauto traverso 8 feet. 19. Principal 4 feet. 20. Flauto traverso 4feet. Pedal, 6 Stops. 21. Principal-bass 16 feet. 22. Violon i5 feet. 23. Sub-bass 16 feet tone. 24. Octaven-bass 8 feet. 25. Violoncello 8 feet. 26. Posaune 16 feet. 45. Haarhausen. The organ in the Church at Haarhausen, in the Dukedom of Gotha, has 2 Manuals and Pedal, and 22 Stops. The following is its disposition : — Great, lo Stops. II 12, i3' 14, Quintaton 16 feettone. Principal, English tin 8 feet. Gedact 8 feettone. Gamba 8 feet. Hohlflote, of wood 8 feet. 6. Octave 4 feet. 7- Quinta 2f feet. 8. Super-octave 2 feet. 9. Mixtur, IV ranks 2 feet. 10. Cymbel, III ranks i foot. Choir, 8 Stops. Flote, to tenor c 8 feet. Still-gedact 8 feettone. Quintaton 8 feettone. Principal, English tin 4 feet. 15. Nachthorn 4 feet. 16. Octave 2 feet. 17. Sesquialter, II ranks 2f feet. 18. Mixtur, ... IV ranks i foot. 366 APPENDIX. Pedal, 4 Stops. 19. Violori-bass iSfeet. I 21. Octaven-bass 8 feet. 10. Sub-bass 16 feet tone. 22. Posaunen-bass 16 feet. 1. Choir to Great, 2. Great to Pedal. Accessory Stops, fir=f. I 3, 4, 5. Three Wind-trunk Valves. 46. Eltsleben. The organ in the Church at Eltsleben, in the Princedom of Schwartzburg, was built by Francis Volkland, of Erfurt. It has 2 Manuals and Pedal, and 28 Stops, the names and distribution of which latter are as follow : — Great, 12 Stops. Quintaton 16 feet tone. Principal, English tin 8 feet. Bordun 8 feet tone. Gamba 8 feet. Flauto traverso 8 feet. Octave 4 feet. 7. Quinta 2§ feet, 8. Super-octave 2 feet. 9. Sesquialter, II ranks 2J feet. 10. Mixtur, VI ranks 2 feet. 11. Cymbel, IV ranks i foot, 12. Trompette 8 feet. Choir, 10 Stops. 13. Gedact 8 feet tone. 14. Quintaton 8 feet tone. 15. Principal, Engl, tin 4 feet, 16. Nachthorn 4 feet. 17. Spitzflote 4 feet. 18. HohlfliJte 4 feet. 19. Octave 2 feet. 20. Sesquialter, II ranks 2J feet. 21. Mixtur, IV ranks ij foot. 22. Vox Humana 8 feet tone. 23. Violon-bass 16 feet. 24. Sub-bass 16 feet tone 25. Octaven-bass 8 feet. Pedal, 6 Stops. 26. Violon-bass 8 feet. 27. Hohlfloten-bass 4 feet. 28. Posaunen-bass 16 feet. 1. Coupler Choir to Great. 2. Coupler Great to Pedal. 3. Tremulant to Choir. Accessory Stops, Movements, ^c. 4 5, 6. Three Wind-trunk-valves to Manuals and Pedal. Cymbelstern, g, h, d, g. Cymbelstern, c, e. g, c. 47. Waltershausen. The fine organ at Waltejshausen, in the Dukedom of Gotha, was built by G. H. Trost, of Altenbourg, in the years 172610 1730. It contains 3 Manuals and Pedal, and 50 Sounding-Stops ; the names and distribution of which latter are as follow : — Great, 17 Stops. 1. Bordun 16 feet tone: 2. Quintaton 16 feet tone. 3. Praestant, Engl, tin, in front 8 feet. 4. Bordun 8 feet tone. 5. Gamba 8 feet. 6. Gemshorn 8 feet. 7. Quintaton 8 feet tone. 8. Unda Maris 8 feet tone. 9. Octave 4 feet. 10. Rohrflote 4 feet tone. 11. Salicional 4 feet. 12. Quinta 2f feet, 13. Super-octave 2 feet. 14. Sesquialter, II ranks 2^ feet, 15. Mixtur, VIII ranks 2 feet. 16. Fagott 16 feet. 17. Trompette 8 feet. AN ACCOUNT OF FOREIGN ORGANS. 367 Choir, 12 Stops. 18. 19. 20. 21. 22. »3- 30. 37- 38. 39- 40. 41. 42. 43- Spitzflbte Major 8 feet. Nachthorn 8 feet. Principal, Engl, tin, in front 4 feet. Quintaton 4 feet tone. Gemsiiorn 4 feet. Flauto douce 4 feet. 24. Gemshorn quinta 2^ feet. 25. Nasat 2f feet. 26. Octave 2 feet. 27. Sesquialter i^ foot. 28. Mixtur, IV ranks 2I feet, 29. Hautbois 8 feet. Geigen-Principal, Engl, tin, in front 8 feet. Doppel-Flute 8 feet. Hohlflote 8 feet. Echo, 7 Stops. 33. Flauto traverso 8 feet, 34. 35. 36, Spitzflote 4 feet. Still-gedact 4 feet tone. Hohlflote 2 feet. Pedal, 14 Stops. Gross-Untersatz 32 feet tone. Gross-Principal, Engl, tin, in front 16 feet. Quintaton 16 feet tone. Violon 16 feet. Untersatz 16 feet tone. Octaven-Principal 8 feet. Bordun 8 feet tone. 44. Viola di Gamba 8 feet. 45. Quinta 5j feet. 46. Octave 4 feet. 47. Rohrflote 4 feet tone. 48. Mixtur 2 feet. 4g. Posaune 16 feet. 50. Trompette 8 feet. 1. Coupler Choir to Great. 2. Coupler Echo to Great. 3. Coupler Great to Pedal. Accessory Stops, Movements, &^c. 4. Tremulant to Choir. 5. Cymbelstern. Sj 7> 8, 9. Four Wind-valves. 48. Zerbst. The new organ in the Church of St. Nicholas, Zerbst, was built by Zuberier and his partner Geibelin, of Dresden, in 1840. It contains 37 Stops, 2 Manuals, and a Pedal of 9 Stops. The details of the instrument are as foUow : — Great, 15 Stops. I. Principal, in front 16 feet. 16. •7- 18. '9- 20. 21. 22. Quintaton 16 feet tone. Octave 8 feet. Gedact 8 feet tone. Viola di Gamba 8 feet. Hohlflote 8 feet. Quinta 5J feet. Super-octave 4 feet. Choir, 13 Stops, Bordun 16 feet tone. Principal 8 feet. Gedact 8 feet tone, Quintaton 8 feet tone. Flauto traverso 8 feet Octave 4 feet. Salicet 4 feet. 9. Gedact 4 feet tone. 10. Gemshorn 4 feet. 11. Quinta 2J feet. 12. Quinta decima 2 feet. 1 3. Mixtur, VI ranks. 14. Cornett, IV ranks. 15. Trompette 8 feet. 23. Flaut douce 4 feet. 24. Quint 2^ feet. Super-octave 2 feet. Waldflote 2 feet. Tertia 14 foot. Mixtur, IV ranks i.\ feet. Pedal, 9 Stops. 29. 30. 3'- 32- 33- Untersaz 32 feet tone. Principal, in front 1 6 feet. Sub-bass i6feettone. Violone iS feet. Octave 8 feet. 34. Violoncello 8 feet. 35. Super-octave 4 feet. 36. Posaune 16 feet. 37. Trompette 8 feet. Accessory Stops, Movements, Qr'c. Coupler Great to Pedal. | 2, 3, 4. Three Wind-tnink-valves. Six Bellows, 10 feet by j. 368 APPENDIX. 49. Langensulza. The new organ in the Church of St. Boniface, at Langensulza, contains 34 Stops, distributed among 2 Manuals and Pedal in the following manner : — Great, 14 Stops. 1. Bordun, of wood i6feettone. 2. Principal, of English tin 8 feet. Bordun 8 feet tone. Gemshorn , 8 feet. Viola di Gamba 8 feet. Flauto major 8 feet. Octave 4 feet. 8. Spitzflote 4 feet. 9. Quinta 2J feet, 10. Super-octave 2 feet. 11. IVIixtur, VI ranlcs 2 feet. 12. Cymbel, III ranks i foot. 13. Cornet, III ranks. 14. Trompet 8 feet. 15. Quintaton ififeettone. 16. Principal, of English tin 8 feet. 17. Gedact, wood 8 feet tone. 18. Flauto traversOj pear-tree wood 8 feet. 19. Klein -gedact, metal 4 feet tone. 20. Nachthorn 4 feet. Choir, 13 Stops. 21. Flach-flote, pear-tree wood 4 feet. 22. Octave, metal 2 feet. 23. Sesquialtera, II ranks 2J feet. 24. Mixture, IV ranks 2 feet. 25. Scharf, IV ranks 1 foot. 26. Cymbel, III ranks ^ foot. 27. VoxHumana 8 ieet tone. 28. 29. 30. 31- Gross-Untersatz, wood 32 feet tone. Principal-bass, wood 16 feet. Violon-bass, wood i6feettone. Sub-bass, wood 16 feet tone. Pedal, 7 Stops. 32. Traversen-bass, wood 16 feet. 33. Octaven-bass, wood 8 feet. 34. Posaun-bass, wood 16 feet. 1. Coupler Choir to Great. 2. Coupler Great to Pedal. 3. Coupler Choir to Pedal. Accessory Stops, Movements, &'e. 4. Tremulant to Choir. 5, 6, 7. Three Wind-trunk-valves. 8. Cymbelstern. 50. MUHLHAUSEN. The organ in the Church at Muhlhausen has 60 Sounding Stops, 3 Manuals and Pedal. The following is a list of the Stops : — : Bordun 16 feet tone. Surdun 16 feet tone. Principal 8 feet. Spitzflote 8 feet. Salicional 8 feet. Octave ....; 4 feet. Offeneflote 4 feet. Quint 2f feet. Great, 15 Stops. 9. Super-octave 2 feet. 10. Waldhorn 2 feet 11. Sexte 2f feet. II. SifHote I foot. 13. Mixtur, VII & VIII ranks. 14. Mixtur, VI ranks. 15. Zink (reed) 8 feet. 16. Principal 8 feet. 17. Gedact 8feettone. 18. Quintaton 8 feet tone. ig. Hohlflote 4 feet. 20. Quintaton 4 feet tone. 21. Querflote 4 feet. 22. Quint 2f feet. Choir, 14 Stops. Superoctave 2 feet. Gemshorn 2 feet. Tertian 2 feet. Sifflote I foot. Mixtur, VI ranks. Dulcian 16 feet. Krummhorn 8 feet tone. 30. Salicional 16 feet. 31. Principal 8 feet. 32. Viol di Gamba 8 feet. 33. Hohlflote 8 feet. 34. Spitzflote 4 feet. 35. Flote douce ■ 4 feet. 36. Quinte 2f feet. Echo, 13 Stops. 37. Waldflote 2 feet. 38. Tertia z feet. 39. Cymbal, IV ranks. 40. Harfen-regal 16 feet. 41. Hautbois.,,,. 8 feet. 42. Trompete 4 feet. AN ACCOUNT OF FOREIGN ORGANS. 369 Pedal, 18 Stops. 43. Sub-bass 3ifeettone. 44. Principal 16 feet. 45. Sub-bass 16 feet tone. 46. Octave 8 feet. 47. Waldflote g feet. 48. Octave 4 feet. 49. Quintaton 4feettone. 50. Naclithom 4 feet 51. Super-octave z feet. 52. Snper-superoctave i foot, 53. Mixtur, X ranks. 54. Posaune 32 feet. 55. Posaune 16 feet. 56. Dulcian 16 feet. 57. Trompete 8 feet. 58. Krummhorn 8feettone. 59. Schalmei 4feettone. 60. Cornet 2 feet. 51. Merseburg. The organ in the Cathedral Church, at Merseburg, in Saxony, originally erected in the year 1629, and enlarged in 1698, was considerably augmented and improved by Herr- Ladegast, in the year 1853. It now contains 5686 Pipes, and the follow- ing 8i Sounding Stops. The compass of the Manuals is from C C to g in alt. ; and the Pedal, from C C C to tenor f. Hauptwerk, 20 Stops. 1 . Sub-Bourdun, to tenor c Itey, CCCpipe 2. Principal, in front, Eng. tin 3. Bourdun, wood 4. Principal, in front, tin 5. Doppelgedackt, wood 6. Gamba, tin 7. Hohlflote, wood 8. Gemshorn, tin 9. Quint Gedackt, tin 10. Octave, tin 32 feet tone. 16 feet tone. 1 6 feet tone. 8 feet. 8 feet tone. & feet. 8 feet. 8 feet. 5j feet tone, 4 feet. 11. Gedackt, metal 4 feet tone. 12. Gemshorn, metal 4 feet. 13. Quint, metal 2J feet. 14. Octave, metal 2 feet. 15. Doublette, II ranks 4 & 2 feet. 16. Mixtur, IV ranks. 17. Scharf, IV ranks, 18. Cornet, HI to V ranks. 19. Fagott 16 feet. 20. Trompette 8 feet. , Oberiuerk, 16 Stops. 21. Quintaton, metal iSfeettone. 22. Principal, tin S feet. 23. Rohrflote, tin 8 feet tone. 24. Gamba, tin 8 feet. 25. Gedackt, tin 8 feet tone. 26. Flaute amabile, wood 8 feet, 27. Octave, metal 4 feet. 28. Rohrflote, metal 4 feet tone. 29. Spitzftdte, wood '. 4 feet. 3Qv Quint, metal 2f feet. 31. Waldflote, metal 2 feet. 32. Terz, metal i^^foot. 33. Sifflbte, metal i foot. 34. Mixtur, IV ranks, 3J. Schallmei, metal 8 feet one. 36. Stahlspiel. Ruckpositiv, II Stops. 37. Bourdun, wood i6feettone. Princijjal, Eng. tin 8 feet. Flauto traverso, wood 8 feet. Quintaton, metal 8 feet tone. Fugara, tin 8 feet. Octave, metal 4 feet. 38' 39' 40, 41. 42. 43. Gedackt, metal 4 feet tone. 44. Octave, metal z feet. 45. Mixtur, IV ranks. 46. Cornet, II to V ranks. 47. Oboe 8 feet. Brustwerk, 14 Stops. 48. Lieblich-Gedackt, wood 16 feet tone. 49. Geigen-Principal, tin 8 feet. 50. Lieblich-Gedackt, wood Sfeettone. 51. Salicional 8 feet. 52. Flauto Dolce, wood 8 feet. 53. Unda Maris, 11 ranks, tin ... 8 feet. 54. Octave, tin 4 feet. 55. Zartflote, wood 4 feet. 56,. Salicional, metal 4 feet. 57. Nassat, metal zj feet. 58. Octave, metal 2 feet. 59 Cymbel, III ranks. 60. Progressiv-harmonica, II to IV ranks. 61. .Slolinf; 16 feet, M M 370 APPENDIX. Pedal, 20 Stops. 6z. Untersatz, wood 32 feet. 63. Principal, Eng. tin, in front 16 feet. 64. Sub-bass i6feettone. 65. Violon-bass 16 feet. 66. Salicet-bass 16 feet. 67. Grossnassat loj feet. 68. Principal 8 feet. 69. Bass-flote 8 feet. 70. Violoncello 8 feet. 71. Terz, metal 6| feet 72. Rohr Quint, metal S J feet. 73. Octave, metal 4 feet. 74. Flote, wood 4 feet. 75. Scharf Flote, metal 4 feet. 76. Mixtur, IV ranks. 77. Cornet, IV ranks, 78. Posaune 32 feet. 79. Posaune 16 feet. 80. Dulcian 16 feet. 81. Trompete ., 8 feet. Accessory Stops, Movements, Sfc. 82-84. Three Manual Couplers. 85-87. Three Pedal Couplers. 8^-91. Four Wind-valves to Manuals. 92-94. Three Wind-valves to Pedals. 95. Tremulant. 96 CoUectivzug to Pedal. 97. Calcantenruf. 98. Cybelstern. 99. Echozug. 100. Vacant. 53. Halle. The old organ in the Church of St. Maurice, at Halle, was made by Isaac Compenius, of Brunswick, in 1625. The present instrument was built by Schulze, and cohtains 40 Stops, distributed between 3 Manuals and Pedal. The Sound- boards are made to slope upwards from front to back, so that the Stops stand in terrace form. Great, 14 Stops. 1. Bordun to the fiddle, g key... 32 feet tone. 2. Principal 16 feet. 3. Bordun 16 feet tone. 4. Octave 8 feet. 5. Gedact 8 feet tone. 6. Gamba 8 feet. 7. Hohlflote 8 feet. 8. Quinte sj feet. 9. Octave 4 feet. 10. Flote 4 feet. 11. Quint and Octave 2^ & 2 feet. 12. Mixtur, V ranks 2 feet. 13. Cornet, III ranks. 14. Trompette 8 feet. Choir, 10 Stops. 15. Bordun 16 feet tone. 16. Principal 8 feet. 17. Gedact 8 feet tone. 18. Flote 8 feet. 19. Salicional 8 feet. 20. Octave 4 feet. 21. Hohlflote 4 feet. 22. Quinte zf feet. 23. Octave 2 feet. 24. Scharf, V ranks 2 feet. Echo, 8 Stops. 25. Lieblich-Gedact 16 feet tone. 26. Geigen-Principal 8 feet. 27. Lieblich-Gedact 8-feet tone. 28. Flauto traverso 8 feet. 29. Harmonica 8 feet. 30. Schweizerflote 8 feel. 31. Geigen-Principal 4 feet. 32. Gedact 4 feet tone. Pedal, 8 Stops. 33. Principal-bass 16 feet. 34. Sub-bass 16 feet tone. 35. Violone 16 feet. 36. Octave-bass 8 feet. 37. Gedact-bass 8 feet tone. 38. Violoncello 8 feet. 39. Posaune 32 feet. 40. Posaune 16 feet. AN ACCOUNT OF FOREIGN ORGANS. n^ S3. LOIZ. The organ in the Marien-Kirche at Loiz, built by Johann Frederic Schulze, has 34 Sounding Stops, 2 Manuals, and Pedal. The following is a list of its contents : — Great, 14 Stops. Bordun to the fiddle, g key 32 feet tone. Bordun 16 feet. Principal '. S feet. Gedact 8 feet tone. Gamba 8 feet. Hohlflote 8 feet. Quinte 5J feet. 8. Octare 4 feet. 9. Gedact-flote 4 feet. 10. Quinte 2J feet. 11. Octave 2 feet. 12. Mixture, V tanks 2 feet. 13. Scharf ...III ranks 2 feet. 14. Trompette 8 feet. Choir, 12 Stops. 15. Lieblich-Gedact 16 feet tone. 16. Geigen-Principal 8 feet. 17. Lieblich-Gedact 8 feet tone. 18. Salicional 8 feet. 19. Flauto traverso 8 feet. 20. Harmonica 8 feet. 21. Octave 4 feet, 22. Flauto traverso 4 feet. 23. Quinte if feet. 24. Octave 2 feet. 25. Scharf, III ranks 2 feet. 26. .^oline 8 feet. 27. Violone 16 feet. 28. Sub-bass 16 feet tone. 29. Gross-Quinte loj feet. 30. Octaven-bass 8 feet. Pedal, 8 Stops. 31. Gedact 8 feet tone. 32. Violoncello 8 feet. 33. Posaune 32 feet. 34. Posaune 16 feet. Manuals, C C to f in alt, 54 tones. Compass. I Pedal, C C C to Tenor d, 28 tones. 54- Katscher. The organ in the Catholic Church at Katscher was built by MiiUer, sen., in 1843. It has 21 Sounding Stops, distributed among 2 Manuals and Pedal in the following manner : — Great, ii 1. Bourdon, maple-wood in the treble, pine in Bass 16 feet tone. 2. Principal, ^ tin, in front 8 feet. 3. Salicet, maple- wood to tenor c, remaining octave, pine 8 feet. 4. Doppelrohrflote, oak to mid- dle ci, pine for the remain- ing 2 octaves Sfeettone. Stops. 5. Portunalflaut 8'feet. 6. Principal 4feettone. 7. Doppelrohrflaut, of oak ... 4 feet tone. 8. Gemshomquinte, metal ... iffeet. 9. Super-octave, metal 2 feet. 10. Mixtur, probe tin, V ranks. 11. Trompette 8 feet. Choir, 6 Stops. 12. Principal, in front 8 feet. 13. Salicet, of probe tin in the treble, pine in the bass ... 8 feet. 14. Flaut major, oak in the treble, pine in die bass Sfeettone. 15. Salicet 4 feet. s6. Portunal, of maple and pear- tree woods to tenor c ; the last octave of pine 4 feet. 17. Violini, 14 loth, probe tin... 2 feet. Pedal, 4 Stops. \%. Violon, of pine-wOod 16 feet. ] 20. Violon, of pine-wood 8 feet. 19. Sub-bass, of pine-wood 16 feet tone. | 21. Posaune, peartree-wood ... 16 feet. M M2 372 APPENDIX. Accessory Stops, S^c. 1. Wind to Great. 2. Wind to Choir. 3. Wind to Pedal. Compass, &=€. Manuals, CC to d' in alt. Pedal, C C C to tenor d. 3 Bellows, 9 feet by 4.J. 55. Erdmannsdorf. The organ in the Church at Erdmannsdorf was built by Buckow, in 1840 ; and has 19 Sounding Stops, of which the following is a list : — Great, 9 Stops. Bourdon, wood, ififeettone. Principal, of Eng. tin in front 8 feet. Gemshorn, 14 loth, tin 8 feet. Principal octave, Eng. tin in front 4 feet. Gemshorn, 14 loth, tin 4 feet. 3 feet, z feet. 6. Nasard (conical) 1 2 loth, tin 7. Super-octave, 14 loth, tin ... 8. Cornetti, it loth, tin, of conical pipes, III ranl^s... 9. Progressio, 14 loth, tin, III and IV ranlcs 2 feet, 2 feet. Choir, 6 Stops. 10. Salicional, Eng. tin 8 feet. 11. Viola di Gamba 8 feet. 12. Flauto douce, 10 loth, metal, lower octaves of wood ... 8 feet. 13. Principal, Eng. tin 4 feet. 14. Flaut d'amour, 10 loth, metal 4 feet. 15. Flautino, 12 Icth. probe tin, conical pipes 2 feet. 16. Slide for a Reed Stop of ... 8 feet. Pedal, 4 Stops. 17. Violon, wood 16 feet. iS. Sub-bass, wood 16 feet tone. ig. Violoncello, the upper notes of probe tin 8 feet. 20. Posaune 16 feet. Accessory Stops, Sr'c. I. Coupler, Choir to Great. | 2. Coupler, Great to Pedal. | 3, 4, J, Three Wind-trunk Valves. Compass, &'c. Manuals, C C to f^ in alt. | Pedal, C C C to tenor d. 56. Krumols. The organ in the new Catholic Church at Krumols has 22 Sounding Stops, of which the following is a list : — Great, 10 Stops. 1. Bourdon, metal treble, wood bass 16 feet tone. 2. Principal, Eng. tin, polished, and in front 8 feet. 3. Gemshorn, 14 loth. Eng. tin ,8 feet. 4. Hohlflote, the upper 3J octave in 10 loth, metal, the re- mainder in wood 8 feet. 5. Octave, 12 loth. Eng. tin ... 4 feet. 6. Gemshorn, 12 loth. Eng. tin 4 feet. 7. Quinte. 12 loth. Eng. tin ... 2f feet. 8. Super-octave, 12 loth. Eng. tin 2 feet. 9. Progressio, 12 loth. Eng. tin, III, IV, and V ranks 2 feet. 10. Trompetce 8 feet. Choir, 8 Stops. 11. Viola di Gamba, 15 loth. Eng. tin 8 feet. 12. Flaut douce, 10 loth, metal to tenor c, last octave wood 8 feet. 13. Principal, 14 loth. Eng. tin, in front ; 4 feet. 14. Fliit d'amour, 10 loth, metal 4 feet. 15. Quintadulcis 2j feet. 1 6. Flautino, 1 2 loth. Eng. tin 2 feet. 17. Flauto Piccolo, 12 loth. Eng. tin i foot. 18. Cornetti, 12 loth. Eng. tin, III ranks AN ACCOUNT OF FOREIGN ORGANS. m Pedal, 4 Stops. 19. Principal, wood 16 feet. I zi. Octave, 1 2 loth, tin 8 feet. 20. Sub-bass, wood i6feettone. | 22. Posaune 16 feet. Accessory, Stops, Movements, d^c. 1. Coupler, Choir to Great. I 3, 4, 5. Three Wind-trunk Valves. 2. Coupler, Great to Pedal. ' Manuals, C C to f 3 in alt. Compass. Pedal, CCC to tenor d. | Three Bellows, 10 feet long. 57. Halberstadt. The organ in the Great Church at Halberstadt was almost completely re-built by J. F. Schulze, in the year 1838. It has 65 Sounding-stops, and about 4250 Pipes. There are 4 Manuals, and a Pedal organ of 18 Stops. The Specification of the Stops is as follows : — First Manual, 15 Stops. 1. Principal 16 feet. 2. Octave 8 feet. 3. Gemshorn 8 feet. 4. Gedact 8 feet tone. 5. Nasat Sjfeet. 6. Octave 4 feet. 7. Gedact 4 feet tone. 8. Quinite 2I feet. Second Manual, 13 Stops. 16. Gedact i6feettone. 17. Quintaton 8 feet. 18. Principal 8 feet. 19. Viola di Gamba 8 feet. 20. Hohlflote 8 feet. 21. Gedact Sfeettone. 22. Octave 4 feet. Third Manual, 11 Stops. Bourdon i6feettone. Principal 8 feet. Salicional 8 feet. Gedact 8 feet tone. Octave 4 feet. Spitzflote 4 feet. Octave 2 feet. Mixtur, VI ranks 2 feet. Scharf, IV ranks 2 feet. Cornett, IV ranks. Contra-bourdon 32 feet tone. Trompette 16 feet. Trompette 8 feet. 29. 3°- 31- 33- 34- 23. Flute douce 4 feet. 24. Quinte 2| feet. 25. Octave 2 feet. 26. Mixtur, V ranks 2 feet. 27. Cymbel, III ranks i foot. z8. Hantbois 8 feet. 35. Nasat 2I feet. 36. Octave 2 feet. 37. Mixtur, IV ranks. 38. Cornett, III ranks. 39. Vox humana 8 feet tone. Fourth Manual, 8 Stops. 40. 41, 42, 43- Lieblich-Gedact 16 feet tone. Terpodion 8 feet. Harmonica 8 feet. Flauto traverse 8 feet. 44. Lieblich-Gedact 8 feet tone. 45. Principal ; 4 feet. 46. Flauto traverso 4 feet. 47. Physharmonica 8 feet. Pedal, 18 Stops. 48. Untersatz 32feettone. 49. Principal 16 feet. 50. Violone 16 feet. 51. Sub-bass i6feettone. 52. Sub-bass , 16 feet. 53. Grossnasat lof feet. 54. Octave 8 feet. 55. Violoncello 8 feet. 56. Gedact 8feettone. 57. Tertia 6f feet. 58. Nasat sjfeet. 59. Octave 4 feet. 60. Mixtur, IV ranks 4 feet. 61. Cornett, V ranks. 62. Posaune 32 feet. 63. Posaune i6feet. 64. Trompette 8 feet. 65. Trompette.... 4 feet. 374 APPENDIX. 58. HiRSCHBERG. The large organ in Christ Church, Hirschberg, has 62 Sounding Stops, 4 Manuals, Pedal of 16 Stops, and 3,844 Pipes. The Stops are disposed in the following manner : — First Manual, 16 Stops. 1-1 • 18. 19- 20. XI. 21. 23. Principal, J tin 16 feet. Quintaton, metal ififeettone. Principal, Eng. tin 8 feet. Gemsliorn, metal 8 feet. Hohlflote, wood 8 feet. Nasard, tin 5^ feet. Super-octave, tin 4 feet. Flute douce, wood ; . . 4 feet. 9. Quinte, tin 2ffeet. 10. Vigesima secunda, tin 2 feet. 11. Rauschquinte, II ranks, tin i J foot. 1 2. Mixtur, V ranks, tin 2 feet. 13. Scharf, IV ranks, tin ij foot. 14. Cymbel, III ranks, tin i foot. 15. Tromba, f tin 16 feet. 16. Trompette, f tin 8 feet. Second Manual, 13 Stops. Bourdon, oak -wood 16 feet tone. Principal, in front, tin .. 8 feet. Gedact, metal 8 feet tone. Quintaton, metal 8 feet tone. Octave, tin 4 feet. Gemshorn, tin 4 feet. Quinte, tin : xj feet. 24. Super-octave, tin 2 feet. 25. Terz, tin if feet. 26. Flageolet, tin i foot. 27. Mixtur, VI ranks, tin 2 feet. 28. Cymbel, III ranks, tin ij feet. 29. Vox humana, J tin 8 feet tone. Third Manual, 10 Stops. 30. Principal, Eng. tin 8 feet. 31. Fugara, pine and maple-wood 8 feet. 32. Gedact, oak-wood 8feettone. 33. Octave 4 feet. 34. Rohrflote, metal 4 feet tone. 35. Quinte 2f feet. 36. Super-octave z feet. 37. Mixtur IV ranks. 38. Sesquialtera, II ranks. 39. Schalomo, tin 8 feet tone. Fourth Manual, 7 Stops. 40. Prestant, tin 8 feet. 41. Fliit douce, wood 8 feet. 42. Octave, tin 4 feet. 43. Fliit traversiere, wood 4 feet. 44. Super-octave, tin 2 feet. 45. Cornet, 11 ranks, tin i^ foot. - fOboe im descant, wood \ « r ^ ' 1 Fagotto im bass, wood... J Pedal, 16 Stops. 47. Untersaz, wood 32 feet tone. 48. Principal, Eng. tin 16 feet. 49. Violon ...„ 16 feet. Jo. Quintaton i6feettone. 51. Sub-bass 16 feet. 52. Octave, wood and metal 8 feet. 53. Violoncello 8 feet. 54. Quinte, metal 5J feet. 5;. Super-octave, tin 4 feet. 56. Nacthorn, tin 2 feet. 57. Mixtur, V ranks, tin 2§ feet. 58. Rauschquinte, II ranks, tin 59. Contraposaune, wood 32 feet. 60. Posaune, wood 16 feet. 61. Trompette, J tin 8 feet. 62. Clarino, I tin 4 feet. Accessory Stops, Sr'c. I, 2, 3, 4. Couplers for all 4 Manuals. 5. Coupler, Great to Pedal. 6 to 12. Seven Wind-trunk Valves. 13. Tremulant. 59 Naumberg. The organ in the Church of St. Wenzel, in Naumberg, contains 52 Sounding Stops, 3 Manuals, and a Pedal of 12 Stops; 3,000 Pipes, and 7 large pairs of Bellows. The oldest parts of the instrument date as far back as 1613, to which AN ACCOUNT OF FOREIGN ORGANS. 37S' additions were made in 1734 (by Hildebrand, of Leipzig), in i;737 and in 1810. The present contents of the organ are as follow : — Great, 15 Stops. I. Principal 16 feet. z. Quintaton i6feettone. 3. Octave 8 feet. 4. Spitzflote 8 feet. 5. Gedact 8 feet tone. 6. Prestant 4 feet. 7. Spitzflote 4 feet. 8. Gedact 4feettone. 9. Quinte 3 feet.. 10. Octave 2 feet. 11. Weitpfeife , z.feet„ iz. Mixtur, V ranks. 13. Cornett, V ranks.. 14. Bombard 16 feet. 15. Trompette S.feet„ Echo, 14 Stops. 16. Bourdon 16 feet tone. 17 Principal 8 feet. 18. Principal undamar 8 feet. 19. Hellflbte 8 feet. 20. Flauto traverso 8 feet, 21. Clav. jEoline 8 feet. 22. Prestant 4 feet. 23. Gemshorai ..» 4.feet., 24. Gedact 4ifeet. 25. Quinte 8.feet.. 26. Octave 2 feet. 27. Waldflote , 2>feet. 28. Sifflote „.., » foot. 29. Mixtur, V ranks.. 30. Tibia major 16 feet tone. 31. Principal 8 feet. 32. Gemshom 8 feet. 33. Viola di Gamba 8 feet. 34. Fugara 8 feet. 35. Rohrflote Sfeettone. Choir, II Stopi. j& Quintaton Sfeettone. 3j7. Prestant ^ 4 feet 38. Rohrflote 4 feet tone. 3;9), Octajre .^ 2 feet. 4Q. Mlxtup, Vranks 3 feet. Ped'at,. 12 Stops, 41. Principal i5feet. 42. Violon 16 feet. 43. Sub-bass iSfeettone-. 44. Octav-bass 8, feet. 45. Violon 8,feet. 46. Quinte 6feet. 47. Octave '. 4 feet. 48; Octave 2 feet. 49. Mixtur, V ranks 3i feet. 50. Posaune 32 feet. Jr. Posaune 16 feet. 5z. Trompette 8 feet. 6c3i Trebniz. The organ in the Catholic Church at Trebniz has 33 Sounding Stops, which are distributed as follows : — Great, I. Bourdon, wood i6feet. z. Principal, Eng. tin, in front % feet. 3. Salicet, J tin to tenor f, wood bass 8. feet. 4. Gemshorn, metal except the bottom octave, which is of wood 8 feet. 5. Quintaton, half tin & feet tone. 6. Rohrflote, metal except the 13 Stops. 8 feet octave, which is of wood 8 feet. Gemshornquinte metal ... 5J feet. Octave, Eng. tin in front ... 4 feet. Doppelrohrflote^aple-wood 4 feet. Quinte, metal 2^ feet. Super-octave, metal 2 feet. Mixtur, V ranks. Trompette, J tin 8 feet. 9- 10. II. 12. Chair, 9 Staps. 14. Principal, Eng. tin 8 feet. 1 5 . Salicet, J the lowest octave of wood 8 feet. 16. Portunalflote, wood 8 feet. 17. Flaut major, wood & feet tone, 18. Salicet, tin ... 4 feet. 19. Portunal 8 feet. zo. Gemshornquint, half tin ... 3 feet. 21. Super-octave, metal 2 feet. 22. Cymbel, III ranks. 376 APPENDIX. Pedal, II Stops. Principal, wood 1 6 feet. Gamba, wood 1 6 feet. Salicet, wood 1 6 feet. Sub bass, wood ififeettone. Quinten bass, wood loj feet. 19. Salicet, wood 8 feet. 30. Doppelflaut, wood 8 feet tone. 31. Super-octave 4 feet. 32. Posaune, wood 16 feet. 33. Trompette, J tin 8 feet. 1 . Coupler, Choir to Great. 2. Coupler, Great to Pedal. Manuals, C C to f» in alt. Accessory Stops, &r'C. I 3, 4. Two Wind-trunk Valves. I Four Bellows, 9 feet by 4J. Compass I Pedal, C C C to tenor d. 61. Salzwedel. The organ in the Church of St. Catharine, in the new town of Salzwedel, has 42 Sounding Stops, and was built by Friedrick Turley, Treuenbritzen, in 1838. Great, 15 Stops. 9 Quinte if feet. 10. Super-octave 2 feet. 11. Corrett, IV ranks, 6, 4, 3^, and 2 feet. 1. Principal, in front 16 feet. 2. Octave 8 feet. 3. Spitzflote 8 feet. 4. Gedact 8 feet tone. 12. 5. Quinte Sj feet. 13. 6. Super-octave 4 feet. 14. 7. Rohrflote 4 feet tone 15, 8. Lieblich-Gedact 4 feet tone. Choir, 13 Stops. 16. Bourdon 16 feet tone. Principal, in front 8 feet. Viola di Gamba 8 feet. Salicional 8 feet. Quintaton 8 feet tone. Lieblich-Gedact 8 feet tone. Octave 4 feet. Scharf ...IV ranks, 2, \\, ij, and i foot. Cymbel, III ranks, i, J, and \ foot. Trompette 16 feet. Trompette 8 feet. 23. Gemshorn 4 feet. 24. Nassat 3 feet. 25. Super-octave 2 feet. 26. Mixtur, IV ranks, 2, \\, i, and ^ foot. 27. .ffioline 16 feet. 28. Hautbois, to c' 8 feet. Pedal, 14 Stops. 29. Principal, in front 16 feet. 30. Violon 16 feet. 31. Sub-bass i6feettone. 32. Gross-Nassat 12 feet. 33. Octave 8 feet. 34. Gedact 8 feet tone. 35. Tertia 6J feet. 36. Nassat 6 feet. 37. Super-octave 4 feet. 38. Compensation Mixtur, V ranks. 39. Posaune 16 feet. 40. Dulcian 16 feet 41. Trompette 8 feet. 42. Clarion 4 feet. 1. Coupler, Choir to Great. 2. Tremulant. Accessory Stops, b'c. I 3, 4, 5. Three Wind-trunk Valves. Six Bellows. 62. Weissenfels. The organ in the Lock Church at Weissenfels was built by Schulze. 19 Stops, 2 Manuals, and Pedal. The following is a list of its contents : — Great, 10 Stops. It has 1. Bourdon ififeettone 2. Principal 8 feet. 3. Viola di Gamba 8 feet. 4. Hohlflote 8 feet. 5. Gedact 8 feet tone. 6. Octave 4 feet. 7. Quinta 2f feet. 8. Octave 2 feet. 9. Mixtur, V ranks 2 feet. 10. Scharf, III ranks 2 feet. AN ACCOUNT OF FOREIGN ORGANS. 377 Choir, 5 Stops. 11. Lieblich-Gedact iSfeettone. 12. Salicional 8 feet. 13. Flauto traverso 8 feet. 14. Lieblich-Gedact Sfeettone. 15. Principal 4 feet. Pedal, 4 Stops. 16. Gedact iSfeettone. 1 18. Gedact 8feettone. 17. Principal 8 feet. | 19. Posaune 16 feet Accessory Stops. I. Coupler, Choir to Great. | 2. Coupler, Great to Pedal. Compass. Manuals, C C to f » in alt Pedal, C C C to tenor d. 63. Celle. The organ in the Ludwigs Church at Celle has 15 Stops, 2 Manuals, and Pedal. The following are the names of the Stops : — Great, 7 Stops. 1. Bourdon, metal to middle c', remaining 2 octaves wood 16 feet tone. 2. Principal, 12 loth, tin, in front 8 feet. 3. Rohrflote, metal treble, wood bass 8 feet tone. 4. Octave, 4 loth, metal 4 feet. 5. Gemshorn, 4 loth, metal ... 4 feet. 6. Octave, 4 loth, metal 2 feet. 7. Mixtur, III ranks. Choir, 4 Stops. 8. Salicional 8 feet. g. Gedact, metal treble, wood bass 8 feet tone. 10. Rohrflote, 4 loth, metal 4 feet tone. 11. Waldflote, 4 loth, metal 2 feet. Pedal, 4 Stops. 12. Sub-bass, wood 16 feet tone. I 14. Octave, 4 loth, metal 4 feet. 13. Principal, 12 loth, metal ... 8 feet. | 15. Posaune...; 16 feet. 64. Verden. The organ in the pretty little Cathedral at Verden is a particularly fine instru- ment, built by Schulze, containing 34 Sounding Stops, of which the following is a list : — Great, 14 Stops. 8. Octave 4 feet. 9. Flote 4 feet 10. Hohlflote 4 feet. 11. Quint and Octave 2J & 2 feet. 12. Mixtur, V ranks 2 feet. 13. Cymbal, Til ranks 2 feet. 14. Cornett, III ranks 4 feet. 1. Bourdon 32feettone. 2. Bourdon 16 feet tone. 3. Principal 8 feet. 4. Gedact 8feettone. 5. Gamba 8 feet. 6. Hohlflote 8 feet 7. Quint 5jfeet. Choir, 15. Lieblich-Gedact i6feettone. 16. Lieblich-Gedact 8 feet tone. 17. Geigen-Principal 8 feet 18. Salicional 8 feet 19. Flauto traverso 8 feet 20. Harmonica 8 feet. [ Stops. 21. Geigen-Principal 4 feet. 22. Flauto traverso 4 feet. 23. Quint and Octave 2J & 2 feet. 24. Scharf, HI ranks. 25. .ffioline 8 feet. 378 APPENDIX. 26. »7- z8. 29. 30. Pedal, 9 Stops. Principal-bass 16 feet. Sub-bass i6feettone. Violon , 16 feet. Quinten-bass loj feet tone. Octave bass 8 feet. 31. Gedact-bass 8 feet tone. 3z. Violoncello 8 feet. 33. Posaune 32 feet. 34. Posaune 16 feet. Compass. Manuals, CC to f» in alt, 54 notes. | Pedal, CCC to tenor d, 27 notes. 65. Bremen. The organ in the Cathedral Church at Bremen was built by Schulze, and con- tains 59 Stops, 16 of which are devoted to the Pedal. It presents the peculiarities of having a Stop of 32-feet tone on the Choir as well as on the Great Manual, and of having a Great Stopped Quint of 21^ feet on the Pedal. The following is the Specification of the abeve-named instrument : — Great, 16 Stops. Bourdon, to tenor c key 32 feet tone. Principal 16 feet. Bourdon 16 feet. Principal 8 feet. Gedact 8 feettone. Gamba 8 feet. Hohlflote 8 feet. 8. Quinte 5j feet. 9. Octave 10. Flote 11. Quint and Octave 12. Mixtur, V ranks 13. Cymbel III ranks 14. Cornett, III ranks 15. Trompet i 16. Trompet 4 feet. 4 feet, zf & 2 feet. 2 feet. 2 feet. 4 feet. 6 feet. 8 feet. Choir, 13 Stops. 17. Bourdon, to tenor c key 32 feet tone. 18. Bourdon iSfeettone. 19. Salicional 8 feet. 20. Gedact 8 feet tone. 21. Flote 8 feet. 22. Principal 8 feet. 23. Octave 4 feet. 24. Flote 4 feet. 25. Spitzflote 4 feet. 26. Quint and Octave 2J & 2 feet 27. Mixtur, V ranks 2 feet. z8. ScharfF, III ranks 2 feet. 29. Phizharmonica 8 feet. Swell, 14 Stops. Lieblich-Gedact j6 feet tone. Geigen-Principal 8 feet. Harmonica 8 feet. Lieblich-Gedact 8 feettone. 34. Terpodion 8 feet. 35. Gedact-flote 8 feettone. 36. Flauto traverso 8 feet. 30- 3'- 3»- 33- 37. Geigen-Principal 4 feet. 38. Flauto traverso 4 feet. 39. Zart-flote 4 feet. 40. Quint zjfeet. 41. Octave 2 feet. 42. Mixtur, III ranks 2 feet. 43. MoVme 8 feet. Pedal, 1 5 Stops. 44. Principal-bass 32 feet. 45. Gross Quinten-bass 2t^ feettone. 46. Principal-bass 16 feet, 47. Major-bass 16 feet, 48. Violon 16 feet. 49. Sub-bass 16 feet tone. 50. Quinten-bass loj feet tone. 51. Octaven-bass 8 feet. 52. Gedact-bass 8 feettone. 53. Floten-bass 8 feet. 54 Violoncello 8 feet. 55. Octave 4 feet. 56. Posaune 32 feet. 57. Reim 16 feet. 58. Posaune 16 feet. 59. Trompet 8 feet. Hamburg. The ancient city of Hamburg was long celebrated for the number, namely, five, and excellence of its 32-feet organs, two of which, however, perished in the great AN ACCOUNT OF FOREIGN ORGANS. 379 conflagration of 1842. Of the three which remain, that in the present Church of St. Michael is the best known, and is also the most modern one. 66. Church and Organ of St. Michael's, Hamburg. The old Church of St. Michael being struck by lightning and burnt down, the present edifice was commenced in 1750, from the designs of Mr. Ernest George Sonnin, and opened for service in 1762. The height of the church inside is 93 feet, its length 249 feet, and its breadth 178 feet The organ stands at the west end and contains the following stops : — Great Organ, 18 Stops. 1. Principal, tin 2. Quintadena, wood and metal 3. Octave, tin 4. Gedact, wood and metal 5. Gamba, tin 6. Gemshom. metal 7. Quint, tin 8. Octave, tin , 9. Gemshom, metal 16 feet. 16 feet tone. gfeet. g feet tone. 8 feet. 8 feet. si feet- 4 feet. 4 feet. 10. Nasat, metal 11. Octave, tin 12. Rauschpfeif, II ranks, tin ... 13. Mixture ...VIII ranks, tin 14. Scliarf V ranks, tin ... 15. Cornet V ranks, tin ... 16. Trompette, tin 17. Trompette, tin 18. Oboe, from tenor f, tin zj feet. 2 feet. 2$ feet. 2 feet. ij foot. 8 feet. 16 feet. 8 feet. 8 feet. Choir Organ, 16 Stops. 19. Rohrflote, wood and metal... 16 feet tone, ic. Principal, tin 8 feet. 21. Principal, to £ddle g 8 feet. 22. Rohrflote, metal 8 feet tone. 23. Flauto tiaverso, ^ood 8 feet. 24. Klein Gedact, wood 8 feet tone. 25. Octave, tin 4 feet 26. Rohrflote, metal 4 feet tone. 27. Nasat, tin 2J feet. z8. Octave, tin 2 feet. 29. Flach-flote. metal 2 feet 30. Quint, tin i J foot. 31. Rauschpfeif, II ranks, tin... 2^ feet. 32. Cymbal V ranks, tin. 33. Chalameau, tin 8 feet. 34. Trompette, tin 4 feet. Upper-work and Swell on the same Manual, 20 Stops :- Upper-work, 16 Stops. 3 J. Bourdon, wood and metal ... 8 feet tone. 36. Principal, tin 8 feet. 37. Qointadena, wood and metal 8 feet tone. 38. Spitzflote, metal 8 feet. 39. Unda Maris, to fiddle g 8 feet. 40. Octave, tin 4 feet. 41. Spitzflote, metal 4 feet. 42. Quint, tin zj feet. 43. Octave, tin 2 feet. 44. Rauschpfeif, II ranks, tin ... zf feet. 45. Cymbal V ranks, tin ... i|- foot. 46. Echo cornet, to fiddle g, V ranks 8 feet. 47. Trompette 8 feet. 48. Vox liumana, tin 8 feet. 49. Cremona to tenor f 8 feet. 50. Glockenspiel to tenor f ... 8 feet. Swell, 4 Stops. 51. Octave 8 feet. 52. Octave 4 feet. 53. Comet, V ranks in the treble, II in bass. 54. Trompette 8 feet. Pedal, 16 Stops. 55. Principal, tin 32 feet 56. Sub-bass, wood 32feettone. 57. Principal, tin 16 feet. 58. Sub-bass, open, wood 16 feet 59. Sub-bass, stopped, wood i6feettone. 60. Violone, wood 16 feet 61. Rohr-quint, metal lojfeettone. 62. Octave, tin gfeet 63. Gedact, tin gfeettone. 64. Octave, tin 4 feet. 65. Mixture, tin, X ranks. 66. Posaune, tin 32 feet. 67. Posaune, tin 16 feet. 6g. Fagotto 16 feet. 69. Trompette, tin 8 feet. 70. Clarino, tin 4 feet. 38o APPENDIX. Accessory Stops. 1. Tremulant to Great Manual. 2. Cymbalstar. 3. Wind to Great Organ. 4. Wind to Choir Organ. 5. Wind to Upper-work. 6. Wind to Pedal Organ. The case presents a handsome front, 60 feet in height, and sixty feet in width. The 32-feet pipe stands in the centre by itself, in an immense pilaster, the remainder of the 32-feet stop in two great concave compartments, one on each side, and every pipe is supported below by a base, and finished off above with a Corinthian capital, gilded, the pipes themselves forming the shafts, being of their natural bright silvery colour. The organ is finely laid out inside, in four stories, to each of which free access is* obtained by wide staircases with hand-rails. Passage-boards occur in abun- dance ; and any pipe in this immense instrument can be got at without disturbing a second one. There are no " conveyanced off" pipes, except those which appear in the front of the case, the site of the organ being so favourable as to allow of the sound- boards being made of ample dimensions. Those of the Great organ are made " in halves," each half measuring from 8J to 9 feet in length, and the pipes of every stop stand in a single row, even to the 16-feet double trumpet. The C C C C pipe in the middle of the front is made of pure tin, is 35 feet 6 inches in length, weighs upwards of 960 pounds, is 20 inches in diameter, and the body was cast in one sheet. The diameter of the 32-feet Posaune is 16 inches at the bell, and of the 16-feet Posaune, 10 inches. A light sieve of metal wire, with wide meshes, placed over the bell of each of the large reed pipes, keeps out the birds— a most necessary and excellent precaution. The tops of a great portion of the large metal pipes also have an addition that is by no means cominon. This consists of a sliding cylinder, introduced to aid the process of tuning, which is drawn up or pressed down accord- ing as the pitch of the pipe may require fiattening or sharping. The top of the pipe is further covered with leather outside, to prevent the cylinder slipping. None of the pipes are pressed out of shape, none present bent or ragged tops, as is too frequently the case in English organs, but all preserve their symmetry of outline. Silbermann, the celebrated organ-builder, of Dresden, was invited to construct the new St. Michael's organ, which invitation he accepted ; but, dying shortly afterwards, the execution of the work was entrusted to his principal workman, Hildebrand. This was about the year 1768. T. Matheson, the celebrated com- poser and theorist, left, by will, £\ooa towards paying for this organ ; which sum, however, did not nearly equal the amount expended in its fabrication. 67. St. Catherine's Church, Hamburg. An organ stood in this Church as early as the year 1501. A portion of the present instrument was made in 1540, including a Principal, on the Pedal, of 26 feet. This latter was removed, on account of its damaged state and feeble tone, in 1670, after being in use at least 130 years, and the present Stop of 32 feet, of the best English tin, polished, substituted. Sebastian Bach, when a youth, made frequent journeys to Hambiirg to hear the then organist of St. Catherine's Church, John Adam Reinkin, who was at that time very famous ; and he remem- bered to his latest years, with lively satisfaction, this organ, with its magnificent 32-feet Pedal, on which, in after life, he sometimes publicly performed. In 1867 an organ committee was formed, consisting of four gentlemen connected with the AN ACCOUNT OF FOREIGN ORGANS. 381 administration of the Church, and the. present organist, Herr H. Dagenhardt, who entered into a contract with the organ-builder, Mr Heinr. Wolfsteller, junr., for the cleansing, improvement, and enlarging of the instrument, according to a design prepared by the organist. The organ now contains the following Stops : — Principal 16 feet. Quintaton ..; 16 feet tone. Principal 8 feet. Octave 8 feet. Saiicet 8 feet. Hohlflote 8 feet. 7. Octave 8. Octave 9. Rauschpfeif, II ranks. 10. Mixtur VI to X ranks. 11. Trompette 12. Trompette Bordun 16 feet tone. Principal 8 feet. Gedact 8 feet tone. Rohrflote 8 feet tone. Octave 4. feet. Flote 4 feet. Oberwerk. 7. Waldflote 8. Scharf, III to V ranks, g. Trompette 10. Trompette 11. Voxhumana 12. Glockenspiel. Riickpositiv. Bordun 16 feet tone. Principal 8 feet. Quintaton 8feettone. Gedact 8 feet tone. Octave 4 feet. Hohlflote 4 feet. 7. Nasat 8. Octave 9. Sesquialtera, II ranks. 10. Scharf V ranks. 11. Dulcian 12. Hautbois d' Amour Brustwerk {Swell). Principal 8 feet. Gedact 8 feet tone. Octave 4 feet. Quintaton 4 feet tone. Scharf, V ranks. Trompette Oboe Cimbelstern. Pedal. Principal 32 feet. Principal 16 feet. Sub-bass i6feettone. Violon 16 feet. Quint lojfeet. Octave 8 feet. Bordun 8 feettone. 8. Octave 9. Rauschpfeife, II ranks. 10. Posaune 11. Posaune 12. Dulcian 13. Trompette 14. Trompette 4 feet. 2 feet. 1 6 feet. 8 feet. 2 feet. 8 feet. 4 feet. 8 feet. 3 feet. 2 feet. 16 feet. 8 feet. 8 feet. 8 feet. 4 feet. 32 feet. 16 feet. 16 feet. 8 feet. 4 feet. 68. Hamburg. The fine organ in the Church of St. Jacobi, at Hamburg, was built by the Abbe Schnittker, and was completed towards the close of the seventeenth century. Sebastian Bach, when a young man, was very desirous to obtain the appointment of organist to this church, on account of the great excellence of the instrument it contained ; but in spite of the excitement which his wonderful playing created, he did" not succeed ; the reason being that a clerical amateur, of mediocre talent, offered a sum of money for the appointment, which temptation had more weight with the authorities than the transcendent skill of the great master. The organ has 60 Sounding Stops, 4 Manuals, and Pedal of 14 Stops. The following is the disposition : — Great, 13 Stops. 1. Principal 16 feet. 2. Quintadena 16 feettone. 3. Octave 8 feet. 4. Viola di Gamba 8 feet. 5. Spitzflote ■ 8 feet. 6. Octave 4 feet. 7. Rohrflote 4feettone. 8. Quinte 2f feet. 9. Super-octave 2 feet. 10. Mixtur, VI and VIII ranks. 11. Rauschpfeife. 12. Trompette 16 feet. 382 APPENDIX. Choir, 13 Stops. 13- 14. IS' 16. 'T- IS. '9- z6. ^7- xg. 29. 30. 3'- 32. Principal X feet. Bauerpfeife S feet. Quintadena 8 feet tone. Gedact 8 feet tone. Octave 4 feet. Blockflote 4 feet. Nasat 2I feet. 20. Octave 21. Sifflote 22. Sesquialtera, II ranks 23. Scharf, VI and VIII ranks. 24. Dulcian 25. Trompette Echo, 13 Stops. Principal 8 feet. Holzflote 8 feet. Rohrflote 8 feet tone. Octave 4 feet. Spitzflote 4 feet. Nasat 2| feet. Octave 2 feet. Gemshorn Cymbel, III ranks. Scharf, VI ranks. Trompet Oboe, to middle c ' Vox humana Swell, 8 Stops. 39. Principal 8 feet. 40. Octave 4 feet. 41. Hohlflote 4 feet. 42. Waldflote 2 feet. 43. Sesquialtera, II ranks 44. Scharf, VI and VIII ranks. 45. Dulcian 46. Trichter-regal 2 feet. I foot. 2i feet. 8 feet. 8 feet. 2 feet. 8 feet. 8 feet. 8 feet tone. 2| feet. 8 feet. 8 feet. Pedal, 14 Stops. 47. Principal, in front 32 feet. 48. Octave 16 feet. 49. Sub-bass i6feettone. 50. Octave 8 feet 51. Octave 4 feet. 52 Nachthorn 2 feet. 53. Mixtur, VI and VIII ranks. 54. Rauschpfeife, II ranks. 55. Posaune 32 feet. 56. Posaune 16 feet. 57. Dulcian 16 feet. 58. Trompette 8 feet. 59. Trompette 4 feet. 60. Cornet 2 feet. The 4 Manuals can be coupled together. Accessory Stops. I to 5. Five Wind-trunk Valves. 6. Cymbelstar. 7. Glockenspliel. 8. Trommel. The name of the builder of the above excellent organ is held in great veneration in Germany ; where his instruments are as highly prized for their stability, as they are justly celebrated for their dignified and impressive tone. The Abbe Schnittker resided at a place about 36 English miles from Hamburg, in the Hanoverian terri- tories, in a house that has gone by the name of " the organ-builder's box " or villa ever since. The three fine instruments, just noticed, form most interesting objects for examination to an English admirer of the organ ; not simply on account of the very distinct character in the tone of each, but because they so closely resemble in quality the organs of three of the most celebrated builders of this country of past times ; and they therefore picture to the hearer what the instruments of those builders would have been, had the art in England been in a more advanced state in their day. The organ in the Church of St. Catherine, which is the oldest of the three, is strikingly like Harris's in tone ; clear, ringing, and dashing in the Mixtures. That in the Church of St. Jacobi calls to mind the instruments of Father Smith ; resonant, solemn, and dignified ; with somewhat less fire than that at St. Catherine's, but rather more fulness. The organ at St. Michael's, the most recently constructed one of the three, is also the largest in scale ; is less powerful than the others, but very musical and pleasing ; and, in all these respects, forcibly calls to mind the excellent instruments of Green. AN ACCOUNT OF FOREIGN ORGANS. 383 69. Hamburg. The organ that lately stood in the Church of St. Nicholas, at Hamburg, had 67 Sounding Stops, and, like the last, was built by Schnittker, who completed it in the year 1686. The following is a list of the Stops that were contained in this instrument : — Great, 14 Stops. Principal 16 feet. Quintadena 16 feet tone. Octave g feet. Spitzflote g feet. I. z. 3- 4- J. Salicional, wood 8 feet. 6. Viola di Gamba 8 feet. 7. Octave 4 feet. 8. Spitzflote 4 feet. 9. Rauschpfeife, III ranl(s zj^ feet. ID. Super-octave z feet. II. Mixtur, VI to IX ranlis. I z. Scharf, III ranks. 13. Trompette 16 feet, 14. Trompette 8 feet. Kcho, 14 Stops. Quintadena 16 feet tone. Octave 8 feet. Quintadena 8feettone. Rohrflote 8 feet tone. Octave 4 feet. zo. Rohrflote 4 feet. zi. Nasat 2| feet. 'S- 16. 17- 18. '9 Z2. Flachflote 2 feet. 23. Scharf, IV to VI ranks. 24. Cymbel, III ranks. Z5. Trompette 8 feet. 26. Trompette 4 feet. Z7. Krumhorn 8feettone. 28. Vox humana 8feettone. Choir, in front, 13 Stops. Z9..Bourdon iSfeettone. 30. 31- 32. 33- 34 35- Principal 8 feet. Quintadena ■.. 8 feet tone. Gedact 8 feet tone. Octave 4 feet. Rohrflote 4 feet tone. Sesquialtera, II ranks zj feet. 36. Sifflote z feet. 37. Querflote z feet. 38. Scharf, VI to IX ranks. 39. Dulcian 16 feet. 40. Trompette 8 feet. 41. Trompette to middle c ' 8 feet. Brustwerk, 10 Stops. 4z. Principal 8 feet. 43. Barpfeife 8 feet. 44. Blockflote, wood 8 feet. 45. Principal 4 feet 46. Blockflote, wood 4 feet. 47. Rauschpfeif, II ranks zj feet, 48. Waldflote z feet. 49. Nasat ij foot. 50. Scharf, III to VI ranks. 51. Dulcian 8 feet. Pedal, 16 Stops. 5z. Principal 3Z feet. 53. Octave 16 feet. 54. Quint io| feet. 55. Octave 8 feet. 56. Violoncello 8 feet. 57. Rauschpfeife, III ranks 5J feet. 58. Octave 4 feet. 59. Gedact 4feettone. 60. Nachthorn 2 feet, 61. Mixtur, VI to X ranks. 6z. Posaune 3 z feet. 63. Posaune 16 feet. €4. Dulcian 16 feet. 65. Trompette 8 feet. 66. Krumhorn 8feettone, 67. Trompette 4 feet. -I. Cymbelstar. z. Glockenspiel. Accessory Stops. 3. Tremulant. 4. Riegal. 5 to 10. Six Wind- trunk Valves. 1 1 . Coupler, Choir to Pedal, 70. Hamburg. The organ that stood in St. Peter's Church previous to the fire was the most ancient one in the city. It is not known when or by whom it was originally built j but the last two Manuals, which were subsequent additions, were made upwards of 384 APPENDIX. 300 years ago, i.e.,m 1548, at Hartzogenbuch, in Brabant, and sent thither by sea. The Stops in the above organ were as follow : — Great, 11 Stops. . Principal 16 feet. . Gedact i6feettone . Octave 8 feet. .. Rohrflote 8 feet tone . VioiadiGamba 8 feet. \. Quint Sj feet. Echo, 14 Stops. Octave 4 feet. 8. Rauschpfeife, II ranks 2J feet. 9. Mixtur IV ranlcs. 10. Scharf Ill ranks. 11. Trompette 16 feet. Quintadena 16 feet tone. Principal 8 feet. Principal 8 feet. Gedact 8feettone. 6. Octave 4 feet. 17. Spitzflote 4 feet. 18. Nasat ^l feet. 12. 14, 15- 19. Sesquialtera, II ranks z\ feet. 20. Mixtur IV ranks. 21. Cornet V ranks. 22. Trompette 8 feet. 23. Trompette 8 feet. 24. Oboe discant 8 feet. 25. Vox humana 8 feet tone. 26. Principal 8 feet. 27. Quintadena 8 feet tone. 28. Gedact 8 feet tone. 29. Octave 4 feet. 30. Blockflote 4 feet. 31. Sesquialtera, II ranks 2| feet. Choir, in front, 12 Stops. 2 ffcet. I foot. 32. Flote 33. SifRote 34. Scharfe, IV ranks. 35. Dulcian 16 feet. 36. Trompette 8 feet. 37. Trompette, tenor c 8 feet. Pedal, 13 Stops. 38. 39- 40. 41. 42. 43- Principal 32 feet. Untersatz 16 feet. Octave 8 feet. Rohr-quint 5J feet tone. Octave 4 feet. Mixtur VI ranks. 44. Rauschpfeife, 11 ranks. 45. Posaune 32 feet. 46. Posaune 16 feet. 47. Dulcian 16 feet. 48. Trompette 8 feet. 49. Trompette 4 feet. 50. Cornet 2 feet. 71. LUBECK. The Marien Kirche, in the ancient town of Lubeck, contains two organs ; the largest of which stands at the west end of the church, a stately Gothic edifice, measuring upwards of 120 English feet in height inside, and about 300 feet in length. It was built in the year 1518 ; the Choir organ being added in the year 1 561, which date is ingeniously recorded among the ornamental carving on the top. The case presents a most noble and magnificent, though not elaborate, fa5ade ; and is from 70 to 80 feet in height, 40 in width, and 7 in depth. It has the 32-feet metal pipes in front, the largest of which is 19 inches in diameter. All the front pipes are of pure tin, burnished ; and are slightly but exquisitely diapered about the mouth. The case is made of a handsome dark wood, probably walnut, and has a great quantity of carved and gilt work about it, which gives a gorgeous effect to the whole. Diederich Buxtehude was organist of this church in the early part of the last century, and was so celebrated, that Sebastian Bach, then a youth, undertook a journey on foot to Lubeck to hear him. Among Buxtehude's compositions for the organ, there is one with a double pedal part, with which Bach seems to have been acquainted. The Lubeck organ has just had a new inside put to it, by J. F. Schulze, of Paul- inzelle, from a specification drawn up by H. Jimmerthal, the organist to the church. It is laid out in four stories, the Swell occupying the upper one The frame-work and sound-boards are almost entirely of oak ; the front-boards of the latter being of polished mahogany, handsomely inlaid with ebony. The front -boards are AN ACCOUNT OF FOREIGN ORGANS. 38S fastened on with wooden screws having large six-sWed heads, which present the great advantage of being capable of being turned by the fingers unaided. The beams that support the organ are built into the wall behind ; and the organ hangs, pendant fashion, therefrom, with the most elegant effect. The organ has 82 Sounding-stops, distributed among 4 Manuals and 2 Pedals and includes 3 Stops of 32 feet, 17 of 16 feet, and 30 of 8 feet. The following is a detailed account of its contents : — Great, 21 Stops. 1. Bourdon, to the tenor c key 32 feet tone. 2. Principal 16 feet. 3. Viola Major 16 feet. 4. Bourdon 16 feet tone. 5. Principal 8 feet. 6. Gemshorn 8 feet. 7. Hohlflote 8 feet. 8. Viola di Gamba 8 feet. 9. Gedact 8 feet tone. 10. Quinte 5J feet. 11. Octave. ' 4 feet. 12. Spitzflote 4 13. Gambette \ 4 14. Nasat 2| 15. Rausch-quinte, II fach 2| 16. Mixtur, V fach 2 17. Cymbel, III fach 2 18. Cornett, IV fach. Trompette 16 Trompette 8 Trompette 4 19 feet. feet. \ feet. I & 2 feet. feet. feet. teet. feet, feet. Choir, 16 Stops. 22. Principal 16 feet. 23. Bourdon ififeettone. 24. Principal 8 feet. 25. Salicional S feet. 26. Spitzflote , 8 feet. 27. Czakan Flote 8 feet. 28. Gedackt 8feettone. 29. Octave 4 feet. 30. Gemshorn 4 feet. 31. Rohrflote 4 feet tone. 32. Quinte 2f feet. 33. Octave 2 feet. 34. Mixtur, V fach 2 feet. 35. Scharf, III fach 2 feet. 36. Physharmonika 16 feet. 37. Trompete 8 feet. Echo, 14 Stops. 38. 39- 40. 41. 42. 43- 44. 53- 54- 55- 56. Lieblich Gedackt 16 feet tone. Geigen Principal 8 feet. Terpodion 8 feet. Lieblich Gedackt 8 feettone. Flauto traverso 8 feet. Doppel-flote 8 feettone. Geigen Principal 4 feet. 45. Zart-flote 4feet. 46. Flauto traverso 4 feet. 47. Quinte 2f feet. 48. Wald-flote 2 feet. 49. Mixtur, V fach 2 feet. 50. .ffioline 8 feet. 51. Oboe 8 feet. Swell, 10 Stops. Quintaton 16 feettone. Principal 8 feet. Fugara 8 feet. Gedackt 8 feet tone. Harmonika 8 feet. 57. Principal 4 feet. 58. Viola d'amore 4 feet. 59. Mixtur, III fach 2 feet. 60. ^oline 16 feet. 61. Clarinetto 8 feettone. Great Pedal, 16 Stops. 62. Gross Principal 32 feet. 63. Principal-bass 16 feet. 64. Basso Magiore 16 feet. 65. Violon 16 feet. 66. Quinte i of feet. 67. Principal-bass 8 feet. 68. Basso Minore 8 feet. 69. Violoncello g feet. 70. Terz; 6f feet. 71. Quinte 5i feet. 72. Octave 4 feet. 73. Cornett, V fach. 74. Contra Posaune 32 feet. 75. Posaune 16 feet. 76. Trompette 8 feet. 77. Clarine 4 feet. 78. Sub-bass 16 feettone 79. Doppfilflotenbass 16 feettone 80. Violoncello 8 feet. Choir Pedal, 5 Stops. 81. Gedackt 8 feettone. 82. Fagotto ; i6feet. N N 386 APPENDIX. I. Wind to Great, z. Wind to Choir. 3. Wind to Eclio; 4. Wind to Swell. 5. Wind to Great Pedal Basses, Accessory Stops, Sr'c. 6. Wind to Pedal Reed-work. 7. Wind to Choir Pedal. 8. Coupler, Choir to Great. 9. Coupler, Echo to Great. JO. Coupler, Great to Pedal. 72. LUBECK. The second organ in this Church — the " little organ," as it is called — contains 33 Stops, 3 Manuals and a Pedal ; has a i6-feet speaking front, and has the choir organ in front. The Specification is as follows : — Great, 8 Stops. 5. Flote , 4 feet. Quintaton 16 feet tone. Principal 8 feet. Spitzflote 8 feet. Octave 4 feet. 6. Rausch-quint, II ranks ...... z| & 2 feet. 7. Mixtur, IV and V ranks. 8. Trompette 8 feet. Choir, II Stops. 9. Principal 8 feet. 10. Quintadena 8 feet tone. 11. Rohrflote 8 feet tone. 12. Octave 4 feet. 13. Rohrflote 4 feet tone. 14. Flote 2 feet. 15. Sesquialtera, II ranks z|&iffeet. 16. Mixture, IV ranks. 17. Scharf, V ranks. 18. Fagotto i6feettone. 19. Regal 8 feet. Swell, 4 Stops. 20. Gedact Sfeettone. I 22. Cornet, III ranks. 21. Gedact 4 feet tone. | 23. Trompette .. i feet. Pedal, 10 Stops. 24. Principal, in front 16 eet. 25. Gross Quint, Stopped lojfeettone. 26. Octave 8 feet. 27. Gedact Sfeettone. 28. Octave 8 feet. 29. Octave 4 teet, 30. Mixture, III ranks 2J feet. 31. Posaune 16 feet. 32. Trompette 3 feet. 33. Schalmey 4 feet tone. 73. LUBECK. The organ in the second Church, not the Cathedral, has 4 Manuals and Pedal, and 45 Stops, of which the following is a list : — Great, 9 Stops. Principal 16 feet. Quintaton 16 feet tone. Octave 8 feet. Viola di Gamba 8 feet. Octave 2 feet. 6. Flote 4 feet. 7. Rauschpfeife, II ranks 2| feet. 8. Mixtur, VIII ranks. 9. Scharf, VI ranks. Choir, 10 Stops. 10. Principal 8 feet. 11. Gedact 8 feet tone. 12. Quintaton Sfeettone. Barpfeife 8 feet. Octave ,. 4 feet. 15- f'ote 4 feet. 16. Sifflote 2 feet. 17. Mixtur, IV ranks. 18. Schalmey Sfeettone. 19. Regal Sfeet. 20. Principal 8 feet. 21. Hohlflote Sfeet. 22. 24. Echo, lo Stops. Zink Sfeet. Principal 4 feet. "' ■ 4 feet. Flote.! Nassat 2f feet. Waldflote 2 feet. Cymbel, III ranks. Trompet 8 feet. Vox humana g feet tone. AN ACCOUNT OF FOREIGN ORGANS. 387 Swell, 7 Stops. 30. Gedact gfeettone. 31. Octave 4 feet. 32. Quintaton 8feettone. 33. Waldflote 2 feet. 34. Scharf, IV ranks, 35. Dulcian i6feettone, 36. Regal 8 feet. Pedal, 9 Stops. 37. Principal 16 feet. 38. Sub-bass i6feettone. 39. Octave 8 feet. 40. Violoncello 8 feet. 41. Gedact Sfeettone. 42. Octave 4 feet. 43. Mixtur, IV ranks. 44. Posaune 16 feet. 45. Trompet 8 feet. 74. WiSMAR. The organ- in St. Mary's Church, at Wismar, was built by J. F. Schulze, and finished in 1840. It has 56 Sounding Stops, 8 Bellows, and 3 Manuals and Pedal. The following is a list of the Stops : — Great, 15 Stops. Bourdon to g 32feettone. Principal 16 feet. Quintaton 16 feet tone. Octave 8 feet. Hohlflote 8 feet. Terpodion 8 feet. Gedact 8 feet tone. Quinte Si feet. 9. Octave 4 feet. 10. Gemshorn 4 feet. 11. Scharf, V ranks.. 1 2. Cymbel, III ranks. 13. Cornet, III ranks. 14. Trompette 16 feet. 15. Trompette ; 8 feet. Choir, 13 Stops. Bourdon 16 feet. Principal 8 feet. Gemshorn 8 feet. Gamba 8 feet. Flauto traverso 8 feet. 21. Gedact 8 feet tone. 22. Octave 4 feet. '7- 18. 19- 20. 23. Spitzflote '. 4 feet. 24. Flote ; 4 feet. 25. Quinte and Octave, II ranks 2f & 2 feet. 26. Mixtur, IV ranks i|^ foot. 27. Physarmonica 16 feet. 28. Trompette 8 feet. 29. 30. 3'- 32. 33' 34- Swell, II Stops. Lieblich-Gedact 16 feet. Geigen-Principal 8 feet. Salicional 8 feet. Zartflote 8 feet. Flauto traverso 8 feet. Lieblich-Gedact 8. feet tone. 35. Octave 4 feet. 36. Fugara 4 feet. 37. Waldflote 2 feet. 38. Mixtur, III ranks. 39. .£oline 8 feet. Pedal, 17 Stops. 40. 41. 42. 43- 44. 45- 46. 47' Principal-bass ;... 32 feet. Principal 16 feet. Quintaton 16 feet. Major-bass 16 feet. Sub-bass .' i6feettone. Quinte lof feet. Octaven-bass '. 8 feet. Violone 8 feet. 48. Minor-bass 8 feet. 49. Gedact-bass 8feettone. Jo. Octave 4 feet. 51. Mixtur, V ranks. 52. Posaune 32 feet. 53. Posaune 16 feet. 54. Bombarde 16 feet. 55. Trompette 8 feet. j6. Clarino 4 feet. N N 2 388 APPENDIX. 75- Perleberg. The organ in the Church at Perleberg was built by Tobias Turley and his son John F. Turley, in 1831, and has 36 Sounding Stops : — Great, 14 Stops. I. Bourdon iSfeettone. I. Principal, Eng. tin, in front 8 feet. 3. Spitzflote, metal to tenor c, lowest octave wood 8 feet. 4. Hohlflote, metal to tenor c, lowest octave wood 8 feet. 5. Rohrflote, metal 8 feet tone, 6. Octave, Prussian tin 4 feet. 7. Gemshorn, metal 4 feet. 8. Lieblich-Gedact, metal 4 feet tone. 9. Quinte, Prussian Tin 3 feet 10. Super-octave, Prussian tin... z feet. 11. Scharf, V. ranks, Prussian tin z, if, rj, I, and J feet. 12. Cymbel, III ranks, Prussian tin I, J, and \ foot. 13. Cornett, III ranks, Eng. tin 2^, z, and i-l feet. 14. Trompette 8 feet. Bourdon, metal, except the lowest octave, which is of wood i6feettone. 16. Principal, in front 8 feet. 17. Viola di Gamba, Eng. tin to tenor c, last octave wood 8 feet. 18. Flauto traverse, pear-tree wood 8 feet. 'S Choir, 12 Stops. 19. Gedact metal Sfeettone. 20. Octave 4 feet. zi. Rohrflote 4 feet tone. Z2. Nassat 2§feet. 23. Super-octave 2 feet 24. Mixtur, III ranks i^, i, and ^ feet. 25. .^loline, wood 16 feet, 26. Hautbois, treble 8 feet. Pedal, 10 Stops. 27. Untersatz, wood 32 feet tone. 28. Principal, in front ; 16 feet. 29. Sub -bass, wood 16 feet tone. 30. Gros Nasat, wood loj feet. 31. Octave, wood 8 feet. 32. Gedact-bass, wood 8 feet tone. 35. Tertia, wood 6^ feet. 34. Super-octave, metal 4 feet. 35. Posaune 16 feet. 36. Trompette 8 feet. 76, Berlin. The organ in St. Mary's Church at Berlin was originally built in 1722 by Joachim Wagner, but has received subsequent additions at the hands of Buchholz, of Berlin. It now has 40 Sounding Stops, 3 Manuals, a Pedal of 9 Stops ; and 6 pairs of Bellows, 9 feet long by 4J broad. The Stops are distributed as follows :— Great, 12 Stops. 1. Bourdon i6feettone. 2. Principal 8 feet. 3. Rohrflote 8 feet tone. 4. Viola di Gamba 8 feet. j. Octave , 4 feet. 6. Spitzflote '. 4 feet. 7. Quinte 2| feet. 8. Super-octave 2 feet. 9. Cornett ...V ranks. 10. Sharf V ranks, 11. Cymbel, 111 ranks. 12. Trompette 8 feet. Choir, 9 Stops. 13. Salicional 8 feet. 14. Gemshorn 8 feet. 15. Gedact 8 feet tone. 16. Quintaton 8feettone. 17. Octave 4 feet. 18. Fugara 4 feet. 19. Lieblich Flote 4feettone, 20. Nassard 2§ feet. 21. Super-octave 2 feet. 22. Quintaton i6feettone. 23. Principal 8 feet. 24. Gedact 8 feet tone 25. Octave 4feet. 26. Rohrflote 4 feet tone, 27. Nassard 2f feef Echo, 10 Stops. 28. Super-octave z feet. 29. Sifflote I foot. ,„ (Mixture major) ,„ , 3°' tMixture miior| '^'■^"'^'- f Hautbois discant } ^' t Fagott Bass \ i feet. AN ACCOUNT OF FOREIGN ORGANS. 389 32. Principal, in front 16 feet. 33. Sub-bass i6feettone. 34. Violon 16 feet. 35. Gross Nassard i of feet. 36. Gemshorn 8 feet. Pedal, 9 Stops. 37. Bass-flote Sfeettone. 38. Octave 4feet. 39. Contra-Posaune 32 feet. 40. Posaune 16 feet. 1. Coupler, Choir to Great. 2. Coupler, Echo to Great. Accessory Stops. I 3. Coupler, Great to Pedal. I 4, 5, 6, 7. Four Wind-trunk Valves. 77. Berlin. The organ in the Garrison Church at Berlin was built in 1725 by Joachim Wagner, and contains 50 Stops, 3 Manuals, and Pedal of 12 Stops. The names and distribution of the Stops are as follow : — Great, 13 Stops. 1. Bourdon i6feettone. 2. Principal 8 feet. 3. Rohrflote 8feettone. 4. Viol di Gamba 8 feet. 5. Flauto traverse 8 feet. . 6. Octave 4 feet. 7. Spitzflote 4 feet. 8. Quinte 9. Octave 10. Mixture, IV ranks. 11. Cornett, 12. Scharf, 13. Fagott V ranks. VI ranks. Echo, II Stops. 14. '5- 16. 17- 18. '9- 25. 26. 27. 28. 29. 30. 38. 39- 40. 41. 42. 43- Gedact 8 feet tone. Quintaton 8 feet tone Principal 4 feet. Rohrflote 4feettone. Nassat 2f feet. Octave 2 feet, 20. Flageolet 21. Terz 22. Quint 23. Cymbel, IV ranks, 24. Vox humana Quintaton 16 feet tone. Principal 8 feet. Gedact 8 feettone. Salicional 8 feet. Octave 4 feet. Fugara 4 feet. Quinte z\ feet. Choir, 13 Stops. 32. Octave 33. Wald-flote : 34. Sifilote 35. Scharf ...V ranks. 36. Cymbel, III ranks. {Trompette discant ) Trompetten-bass J ' Principal, in front 16 feet. Violone 16 feet. Octave 8 feet. Gemshorn 8 feet. Quinte 5J feet. Nacht-horn 4 feet. Pedal, 12 Stops. 44. Quinte 45. Mixture, VIII ranks, 46. Posaune 47. Posaune 48. Trompette 49. Clarion 2f feet. 2 feet. 16 feet. 2 feet. If foot. 1 1 foot. 8 feet tone. 2 feet. 2 feet. I foot. 8 feet. 2f feet. 32 feet. 1 6 feet. 8 feet. 4 feet. 78. Kronstadt. The fine organ in the Cathedral Church at Kronstadt was built from the plans of C. Buchholz, of Berlin, in 1839. It contains 63 Sounding Stops, 4 Manuals, and Pedal of 17 Stops ; and 9 large pairs of Bellows. The Stops are distributed as follows : — Great, 15 Stops. 1. Principal i6feet. 2. Quintaton ^ 16 feettone. 3. Principal 8 feet. 4. Rohrflote 8 feettone. 5. Gemshorn 8 feet. 6. Viol di Gamba 8 feet. 7. Nassat 5i feet. 8. Octave 4 feet. 9. Spitzflote 4 feet. 10. Waldflote 4 feet. 11. Quint , 2f feet. 12. Super-octave 2 feet. 13. Cornet, V ranks. 14. Scharf, V ranks. 15. Cymbel, V ranks. 390 APPENDIX. Echo, 13 Stops. 16 17. 18. 10. zi. zz. zg. 3°- 31- 3*- 33- 34- 40. 41. 4z. 43 • Bourdon 16 feet tone. Principal 8 feet. Gedact 8 feettone. Salicional 8 feet. Hohlflote... 8 feet. Quintaton 8 feettone. Octave 4 feet. Z3. Rohrflote 4 feettone. Z4. Fugara 4 feet. 25 Nasat zffeet. 26. Super-octave, II ranks z feet. 27. Mixture V ranks. z8. Hautbois 8 feet. Choir, 11 Stops. Salicional 16 feet. Principal 8 feet. Gedact 8 feet tone. VioldiGamba 8 feet. Flauto traverso 8 feet. Octave 4 feet. 35. Viol d'amour 4 feet. 36. Flauto dolce 4 feet. 37. Gemshorn Quinta zj feet. 38. Decima Quinta z feet. 39. Progressio harmonica. III to V ranks. Reed-work Manual, 7 Stops. 44. Rohrflote 8 feettone. 45. Violino 8 feet. 46. Principal 4 feet. Fagott 16 feet. Trompette S^feet. Clarionetto 8 feet. Vox Angelica 8 feet. Nos. 44, 45, and 46 are Lip Scops Pedal, 17 Stops. 47. Principal 32 feet. 48. Untersatz 32 feet tone. 49. Principal 16 feet. 50. Sub-bass 16 feettone. 51. Violone 16 feet. 51. Nassat i of feet. 53. Principal 8 feet. 54. Bass-flote 8 feettone. 55. Violone 8 feet. 56. Gemshorn 8 feet, 57. Quinte 5 J feet. 58. Octave 4 feet. 59. Mixture, IV ranks. 60. Contia-Posaune 32 feet. 61. Posaune 16 feet. 6z. Trompette 8 feet. 63. Cornette 4 feet. Accessory Stops, Movements, Sr'c. 1,1, i. Three Manual Couplers. 1 J to 9. Five Wind-trunk Valves. 4. Pedal Coupler. | Compass. Manuals, CC toga in alt, 56 notes. | Pedal, CC C to fiddle g, 32 notes. 79. Leipzig. The organ in the University Church at Leipzig is a very fine instrument ; but the touch is so heavy, that playing on it is a great labour. It has 3 Manuals and Pedal, and 58 Stops, of which latter the following is an enumeration :— Great, 18 Stops. Principal 16 feet. Bourdon 16 feettone. Octave 8 feet. Gemshorn 8 feet. Gamba 8 feet. Rohrflote 8 feettone. Quinta 5jfeet. Octave 4 feet. Gemshorn 4 feet. 10. Quinta ...: zj feet. 11. Octave z feet iz. Tertia i|- foot. 13. Mixtur, VI ranks. 14. Cymbal, III ranks. 15. Cornet, V ranks. 16. Fagotto 16 feet. 17. Trompette 8 feet. 18. Clairon 4 feet. AX ACCOUNT OF FOREIGN ORGANS. 391 Choir, 12 Stops. 19. Salidonal 8 ieet. so. Flote % feet. II. Rohrflote Sfeectone. 22. Priadpal 4 feet. 23. Flote 4 feet. 34. Gedact 4feett»ne. 25. Nassat 2 feet. 26. Octave 2 feet. 27. Qninta ij foot. 2S. Flageolet 1 foot. 29. KfixtDT, IV tanks, 30. Oboe 8 feet. Echo, 14 Stops. 31. Qnintadon ififeettone. 32. Principal 8 feet. 33. SpitzSote 8 feet 34. F^^ara 8 feet. 35. Qnintadon Sfeettone. 36. Gedact i feettooe. 37. Octave 4 feet. 58. Rohrflote 4 feet tone. 39. Qninta ijfeet. 40. Octave 4 feet. 41. Mixtur. V tanks. 42. Comet, m nnks. 43. Phj^armonica 8 feet tone. 44. Vox bnniana 8 feet tone. PaM, 14 Steps. 45. Piindpal 32 feet. 46. Octave 16 feet. 47. Violone 16 feet. 48. Snb-bass i6feettone. 49. Qninta 10 feet. 50. Octave 8 feet. 51. Violoncello 8 feet. 52. Qninta 5J feet. 53. Octave 4 feet. 54. Mixtnr, VI tanks. 55. Posanne 32 feet. 56. Posanne 16 feet. 57. Tiompette 8 feet. 58. Cl^ion 4 feet. I. Echo to Gieat. £. Choir to Great. 3. Great to PedaL Accessory Stops, Movements, &v. I 4. TnecDulaDt Echo- 5. 6, 7. Three \(lnd-ttnnk Valves. Compass. Manuals, C C to e* in alt. Pedal, CC C to tenor e. Dresden. The five principal churches in the dty of Dresden all contain very fine organs, four of which are by Silbennann, one of the most renowned German oigan-bnildeis of the last century, and whose name (SQverman) Tery well describes the spaikling and chaste tone of his instrumdoits. In the RausiU Among the Musuians of Germany, a most interesting volume, written by the late Mr. Edward Holmes, and published in 1828, the author, in destsibing these instruments, observes : — ^" In glancing over the list of contents, the musical reader may please his imagination by fancying with what effect a piece of florid and aitfid counterpoint comes out of a German organ, where the player sits with a flood of sound ready to the touch of his fingers, and store of thunder lying harmless at his feet. The thic1mes.s, depth, and independence of the Pedals, here vindicate supremely the poetical ascendancy of die fiigne over every other class of mnsical composition ; and in slow subjects, when the bass rolls ia its ponderoosness — there is no disputing it — it is like 'Sat fiat of the Omnipotent. As a matter of sdoice, it is worthy consideration how feu- the structure of our organs might be improved by uniting the sweet Cathedral quality of tone fi)r which those of the Temple, Westminster Abbey, &c. are noted, with the magnificence of Silbermann. If there lived now in England a mechanic capable of associating the best points of the two, a perfect specimen of the kind would be the result." Since the above excellent observations on the effect of the Dresden organs were written, a considerable advance has been made in the art of organ-buildii^ in England. 392 APPENDIX. The largest of Silbermann's four Dresden organs stands in the Royal Catholic Church. 80. Dresden. The fine organ in the Royal Catholic Church is esteemed Silbermann's masterpiece. Gottfried Silbermann died during its progress, and it was finished by his nephew, John Daniel Silbermann, of Strasbourg, who had assisted him in the work; and was completed and erected in the year 1754. It has 48 Stops, distributed in the following manner :— Great, 16 Stops. 1. Principal 16 feet. 2. Bourdon 16 feet tone. 3. Principal 8 feet. 4. Viola di Gamba 8 feet. J. Rohrflote 8 feet tone. 6. Octave 4 feet. 7. Spitzflote 4 feet. 8. Quinta zf feet. Echo, 14 Stops. 9. Octave 2 feet. 10. Tertia if foot. 11. Mixtur, IV ranks, iz. Cymbel, III ranks. 13. Cornet, V ranks. 14. Fagott i6feet. 15. Trompette 8 feet. 16. Clarin 4 feet. 17. Quintaton i6feettone. 18. Principal 8 feet. 19. Gedact 8 feet tone. 20. Quintaton 8 feet tone. 21. Unda Maris 8 feet tone. 22. Octava 4 feet. 23. Rohrflote 4feettone. Nassat 2^ feet. Octave 2 feet Flageolet i foot. Mixtur, IV ranks. Echo ... V ranks. Vox Humana 8 feet tone. Choir, 10 Stops. 3'- 3». 33' 34- 35' 41, 42. 43' 44. Gedact 8 feet lone. Principal 4 feet. Rohrflote 4 feet tone. Nassat zj feet. Octave 2 feet. 36. Quinta i^ foot. 37. Sifflote I foot. 38. Mixtur Ill ranks. 39. Sesquialtera, II ranks. 40. Chalmeaux '.... Sfeettone. Pedal, 8 Stops. Untersatz 32 feettone. Principal 16 feet. Octav-bass 8 feet. Octava 4 feet. 45. Mixtur, VI ranks. 46. Pausan '. 16 feet. 47. Trompette 8 feet. 48. Clarin 4 feet. Echo to Great. Great to Pedal. Accessory Stops, Qr'c. I 3. Tremulant Echo. I 4. Tremulant Great. Compass. Manuals, CC to d= in alt. I Pedal, CCC to tenor c. 81. Dresden. The organ in the Royal Church of the Evangelists, at Dresden, was completed and erected by Silbermann in the year 1720. It has 32 Sounding Stops, distributed among 2 Manuals and Pedal, in the following manner : — Great, 14 Stops. 1. Bordun idfeettone. 2. Principal 8 feet. 3. Spitzflote 8 feet. 4. Rohrflote 8 feet tone. 5. Octave 4 feet. 6. Gemshorn 4 feet. 7. Quinte 2f feet. 8. Octave z feet. 9. Tertia if foot. 10. Mixtur, IV ranks. 1 1 . Cymbal, III ranks. I z. Cornet, IV ranks. 13. Trompette ; 8 feet. 14. Clarin 4 feet. AN ACCOUNT OF FOREIGN ORGANS. 393 Choir, 13 Stops. 15. Quintaton i6feettone. 16. Principal 8 feet. 17. Gedact Sfeettone. 18. Quintaton 8 feet tone. 19. Unda Maris 8feettone. 20. Octave 4 feet 21. Rohrflote 4 feet tone. Nassat zf feet. 23. Octave 2 feet. 24. Quinte ijfoot. 25. SiiBote I foot. 26. Mixtur, III ranks. 27. Vox humana 8 feet. 28. Principal-bass 16 feet. 29. Sub-bass 16 feet tone. 30. Violone 8 feet. Pedal, 5 Stops. 31. Pausan 16 feet. 32. Trompette < Sfeettone. 82. Dresden. The organ in St. Mary's Church was completed in the year 1736. It has 43 Stops, 3 Manuals, and Pedal of 8 Stops, including a Covered Stop of 32-feet tone. The distribution of the Stops is as follows : — Great, 14 Stops. 1. Principal 16 feet. 2. Octave 8 feet. 3. Viola di Gamba 8 feet. 4. Rohrflote 8 feet tone. 5. Octave 4 feet. 6. Spitzflote 4 feet 7. Quinta 2f feet. Echo, II ij. Quintadena i6feettone 16. Principal 8 feet. 17. Gedact Sfeettone. 18. Quintaton Sfeettone. 19. Octava 4 feet. 20. Rohrflote 4 feet tone Choir, 10 Stops. Octava 2 feet. . 10. Mixture, IV ranks. 11. Cymbal, III ranks. 12. Cornet... V ranks. 13. Fagott 16 feet. 14. Trompette 8 feet. Stops. 21. Nassat 2f feet. 22. Octava 2 feet. 23. Tenia if foot, 24. Mixtur, IV ranks. 2j. Vox humana Sfeettone. 26. 27. 28. ^r 30. Gedact 8 feettone. Principal 4 feet. Rohrflote 4 feet tone, Nassat zj.feet. Octava 2 feet. 3i' 33' 34 35' Pedal, 8 Stops. Gemshorn 2 feet. Quinta ijfoot. Sifflote I foot. Mixtur, ill ranks. Chalmeaux Sfeettone. 36. Untersatz 32 feettone. 37. Principal-bass 16 feet. 38. Octave-bass 8 feet. 39. Octave 4 feet. Neben-Register. 1. Tremulant. | 2. Schv^ebung.' | 3. Bass Ventil. 40. Mixtur, VI ranks. 41. Posaun 16 feet. 42. Trompette S feet. 43. Clarin 4 feet. I 4. Coppel. I 5. Klingel. 83. Dresden. The organ in the Church of St. Sophia at Dresden was built by Silbermann about the year 1750, and is a very fine instrument. It contains 33 Stops, which are distributed among 2 Manuals and Pedal in the following manner : — Great, 15 Stops. 1. Bourdon i6feettone. 2. Quintaton i6feettone. 3. Principal S feet. 4. Spitzflote 8 feet. 5. Rohrflote Sfeettone. 6. Octave 4 feet. 7. Gemshorn 4 feet. 8. Quint 2I feet. Octave 2 feet. Terz iffoot. Mixtur, V ranks. Cymbel, III ranks. Cornet, V ranks. (Trompet discanti „ f tTrompet-bass ) ■ ''^^''• Clarin :. 4 feet. 394 APPENDIX. Choir, 12 Stops. i6. Quintaton 16 feet. 17. Principal 8 feet. 18. Gedact 8 feet tone. 19. Quintaton 8feettone. lo. Unda Maris Sfeettone. zi. Octave 4 feet. Pedal, 28. Principal 16 feet. 29. Bourdon 16 feet tone. 30. Sub-bass 16 feet. 22. Rohrflote 4feettone. 23. Nasat 2f feet. 24. Octave 2 feet. 25. Super^octave i foot. 26. Mixtur, III ranks. 27. Vox humana 8feettone. 6 Stops. 31. Cornet, VIII ranks. 32. Posaune 16 feet. 33. Trompet 8 feet. Accessory Stops, (&-»c. 1. Coupler, Choir to Great. 2. Coupler, Great to Pedal. 3. Tremulant, to Choir. Compass. Manuals, C C to d' in alt. Pedal, C C C to tenor c. 84. Dresden. The organ in the Church of the Holy Cross, built by Jagermann of Dresden, is altogether a very fine instrument. It is the largest in the city, and contains ;6 Sounding Stops, 3 Manuals, and Pedal of 32 feet. The following is a list of its contents : — Great, 16 Stops. 27. 28. 29. 30- 31' 3*- 33' 41. 42. 43- 44. 45- 46. 47- 48. Principal 16 feet. Bourdon 16 feet tone. Gross Octave 8 feet. Gamba 8 feet. Gemshorn 8 feet. Rohrflote 8 feet tone. Octave 4 feet. Gemshorn 4 feet. 9. Quinte 2j feet. 10. Octave 2 leet. 11. Terz i| feet. 12. Mixtur, VI ranks. 13. Cymbel, V ranks. 14. Cornet, V ranks. 15. Fagotto 16 feet. 16. Trompette 8 feet. Choir, 10 Stopst 17. Lieblich-Gedact 8 feet tone. 18. Rohrflote 8feettone. 19. Principal 4 feet. 20. Rohrflote , 4feettone. 21. Nasat z§ feet. 22. Octave 2 feet. 23. Quinta ij foot. 24. Sifflote 1 foot 25. Mixtur, IV ranks. 26. Kram-horn Sfeettone. Echo, 14 Stops. Quintaton 16 feet tone. Principal 8 feet. Schwiegel 8 feet. Gedact 8 feet tone. Quintaton 8 feet. Octave 4 feet. Rohrflote 4 feet tone. 34. Quinta 2J feet. 35. Octave 2 feet. 36. Flageolet i foot. 37. Mixtur, V ranks. 38. Cymbel, IV ranks. 39. Cornet, V ranks. 40. Vox humana 8 feettone. Gross Principal-bass 32 feet. Principal-bass 16 feet. Violone-bass 16 feet. Sub-bass 16 feettone. Gedact Quint-bass loj feettone. Principal-bass' 8 feet. Quintaton-bass 8 feet tone. Violon-bass 8 feet. Pedal, 16 Stops. 49. Koppel 8 feet. 50. Quinta-bass 5j feet. 51. Octave-bass 4 feet, 52. Octave-bass 2 feet. 53. Mixtur-bass, VI ranks. 54. Posaune-bass 16 feet. 55. Trompette bass 8 feet. 56. Clarin-hass 4 feet. AN ACCOUNT OF FOREIGN ORGANS. 395 Accessory Stops, Sr'c. 1. Coupler, Great to Pedal i 3. Tremulant Echo. 2. Coupler, Echo to Great. | 4, 5, 6. Three Trunk-valves. Compass. Manuals, CC to da in alt. | Pedal, C C C to tenor d. 85. Freiberg in Saxony. The Cathedral at Freiberg, in Saxony, contains one of Silbermann's largest and finest organs ; comprising 45 Stops, 3 Manuals, and a Pedal of 10 Stops. The following is a Ust of the several Stops contained therein : — Great, 13 Stops. 1. Bourdon, wood in the bass ... 16 feet tone. 2. Principal, Eng. tin 8 feet. 3. Viola di Gamba, tin 8 feet. Rohrflote, tin Sfeettone. 5. Octave, tin 4 feet. 6. Quinte, tin 2f feet. 7. Super-octave, tin 2 feet. 9. Furniture, IV ranks, Eng. tin. 10; Cymbale, III ranks, Eng. tin. 11. Cornet... V ranks, Eng. tin. 12. Trompette, Eng. tin 8 feet. 13. Clairon, Eng. tin 4 feet. Choir, 13 Stops. 14. 15- 16. 'T- IS. '9- 20. 27. 28. 29. 30. 3t- 36- 37- 38- 39- 40. Quintaton, Eng. tin 16 feet tone. Principal, Eng. tin 8 feet. Bourdon, metal treble, wood bass 8 feet tone. Octave, Eng. tin 4 feet. Flute, Eng. tin 4 feet. Nazard, metal 2^ feet. Super-octave, Eng. tin 2 feet. Bourdon, metal 8feettone. Principal, Eng. tin 4 feet. Rohrflote, Eng. tin 4 feet tone. Nasard, metal 2§ feet. Octave, Eng. tin 2 feet. 21. Tierce, Eng. tin I 8 foot. 22. Fourniture, III ranks, Eng. tin. 23. Cymbale.IIIranks, Eng. tin. 24. Echo Cornet, V ranks, metal. 25. Cromorne, Eng. tin 26. Voix humaine, Eng. tin ... 8 feet tone. 8 feet tone Stops. 32. Tierce, metal %X. Ouinte. Enff. tin If foot, ij foot. I foot. 34. Sifflet, Eng. tin 35. Fourniture, III ranks, Eng. tin. Pedal, 10 Stops. Untersatz, wood 32feettone. Principal-bass, Eng. tin 16 feet. Sous-bass, wood 16 feet tone. Octave, wood 16 feet. Octave-bass, tin 8 feet. 41. Super-octave, tin 42. Fourniture, VI ranks, tin, 43. Bombarde, tin 44. Ttompet, tin 45. Clairon, tin 4 feet. 1 6 feet. 8 feet. 4 feet. Accessory Stops, Sr'C. Coupler, Great to Pedal. I ' Two Tremulants. \Vind-trunk Valves. I Six Bellows. 86. Prague. The organ in the Church of St. Dominico, at Prague, is a very large and most interesting instrument. It has 4 Manuals and Pedal, and 71 Stops, distributed in the following manner : — Great, 14 Stops. I. Principal 16 feet. I. Gross-gedackt i6feettone. Octave 8 feet. Gedackt 8 feet tone. Octave 4 feet. Offenflote 4 feet. Quinte 2f feet. 8. Super-octave 2 feet. g. Spitzflote 2 feet. 10. Sexte zf feet. 11. Quinte i^ foot. 12. Kuzial flote i foot. 13. Mixtur, X ranks. 14. Cymbel, IV ranks. 396 APPENDIX. Echo, 11 Stops. 1. Quintaton iSfeettone. 2. Surdun i6feettone. 3. Principal 8 feet. 4. Gemshorn 8 feet. 5. Hohlflote 8 feet. 6. Octave 4 feet. Nachthorn 4 feet. Super-octave 2 feet. Rauschpfeife, III ranks 2f feet. Koppel quint ij foot. Mixtur, VI ranks. Krummhorn Sfeettone. Inside Choir, 9 Stops. 1. Gedact Sfeettone. 2. Gedact 4feettone. 3. Quintaton 4 feet tone. 4. Octave 4 feet. 5. Quinte ij foot. 6. Sedecima i foot. 7. Cymbel, III ranks. 8. Jungfernregal 16 feet. 9. Regal , 8 feet. Front Choir, 18 Stops- Principal 16 feet. Salicional 16 feet. Principal 8 feet. Rohrflote 8 feet tone. Quintaton 8 feet tone. Octave 4 feet. Blockflote 4 feet. Querflote 1 4 feet. Quint 2J feet. 10. Super-octave 2 feet. 11. Gemshorn 2 feet. 12. Waldflote 2 feet. Sexte - foot. Sifflote I foot. Mixtur, V ranks. Cornett, III ranks. Dulcian, of wood 16 feet. 18. Trompette 8 feet. Pedal, 18 Stops. Principal 32 feet. Octave 16 feet. Principal 16 feet. Salicional 1 16 feet. Octave 8 feet Gross-Quinte 5J feet. Super-octave 4 feet. Nachthorn 4 feet. Spitzilote 2 feet. Koppel 2 feet. Bauerflote i foot. {Quinte Ill ranks. Super-octave, II ranks. Tertian II ranks. Koppel Ill ranks. 13. Mixtur VIII ranks. 14. Posaune 32 feet. 15. Posaune 16 feet. 16. Dulcian 16 feet. 17. Trompette 8 feet. 18. Schalmei 4 feet. 87. GOERLITZ. The organ in the Church of St. Peter and St. Paul, at GoerUtz, in Upper Lusatia, was built by Eugenius Casparini, and his son, Adam Horatius, in six years ; and was consecrated, by a solemn service, August 19th, 1703. It has 82 Stops, 55 of which are whole Stops ; and 3270 Pipes, 522 of which are of metal. The front of the organ case shows above 280 Pipes of polished tin, the largest of which is the F F F F in the Pedal, 24 feet long. The organ has 3 Manuals, and 12 pairs of Bellows. The following is an enumeration of the whole Stops : — Great, 1. Principal, in front 16 feet. 2. Octave Principal .' 8 feet. 3. Viol di Gamba 8 feet. 4. Quintadena 8feettone. 5. Gedact Sfeettone. 6. Flote Quinte 5^ feet. 7. Super-octave 4 feet. 8. Salicional 4 feet 16 Stops. 9. Quinte 10. Sedecima 11. Quinte 12. Mixtur V ranks. 13. Rauschpfeif III ranks. 14. Bombard.... 15. Trompette 16. Vox huraana 2j feet. 2 feet. I J foot. 16 feet. 8 feet. 8 feet tone. Echo, 8 Stops. 17. Gedact Sfeettone. iS. Principal 4 feet. 19. Octave 2 feet. 20. Flageolet 2 feet. 21. Nason i^ foot. 22. Sedecima i foot. 23. Mixtur, III ranks. 24. Hautbois 8 feet. AN ACCOUNT OF FOREIGN ORGANS. 397 Choir, 12 Stops. 25. Quintadena, cypress-wood ... 16 feet tone. i6. Principal 8 feet. 27. Unda Maris, cypress-wood... 8 feet tone. 28. Octave 4 feet. 29. Flote 4feettone. 30. Quinte 2f feet. 31. Sedecitna 2 feet. 32. Flageolet 2 feet. 33. Super-sedecima i foot. 34. Cornet, V ranks. 35. Mixtur, II ranks. 36. Cymbel, II ranks. Pedal, 19 Stops. 37. Gross Principal, tin 32 feet. 38. Violon-bass 16 feet. 39. Bourdon i6feettone. 40. Tubalflote 8 feet. 41. Quintadena 8 feet tone. 42. Quinte 5j feet. 43. Super-octave 4 feet. 44. Virgin royal 4 feet. 45. Tubalflote 4feet. 46. Tubalflote 2 feet. 47. Rustic 2 feet. 48. Mixtur, V ranks. 49. Scharf, II ranks. 50. Cymbel, II ranks. 51. Posaune 16 feet. 5-2. Fagott 16 feet. 53. Trompette 8 feet. 54. Chalmey-bass Sfeettone. 55. Corno 8 feet. Compass of Pedals, 2 Octaves, from C C C to tenor c. 88. GOERLITZ. The organ in St. Mary's Church, at Goerlitz, has 15 Sounding Stops, and was built by Buckow, in 1838. Great, 8 Stops. 1. Bourdon, wood 16 feet tone. 2. Principal, 14 loth. Eng. tin, [front 8 feet. 3. Flauto grave; wood 8 feet. 4. Principal octave, i4loth. Eng. tin, in front 4 feet. 5. Gemshornquint, iiloth.Eng. tin 2I feet. 6. Super-octave, 12 loth. Eng. tin 2 feet. 7. Mixtur, 12 loth. Eng. tin, IV ranks 2 feet. 7. Cornetti to fiddle g. III ranks 2 feet. 9. Slide for a Trompette 8 feet. Choir, 4 Stops. iz. Dolciano, wood 8 feet. 13. Fliit d'amour, wood 4 feet tone. 10. Viola di Gamba, I z loth. Eng. tin 8 feet. 11. Fliit douce, wood 8feettone. Pedal, 3 Stops. 14. Violon, pine- wood .: 16 feet tone, i 16. Posaune 16 feet. 15. Violoncello, pine-wood 8 feet. | Accessory Stops. I. Coupler, Choir to Great. | 2. Coupler, Great to Pedal. 89. LlEGNITZ. The organ in the Church of St. Peter and > St. Paul, at Liegnitz, was erected by Buckow, in the year 1839. I' has 3 Manuals and Pedal, and 42 Sounding Stops, the names and distribution of which are as follow : — Great, 13 Stops. 1 . Bourdon, wood i6feettone. 2. Principal, J tin 8 feet. 3. Gemshorn, tin 8 feet. 4. Viola d'amour, tin 8 feet. 5. Flauto grave 8 feet. 6. Flaut douce, wood 8 feet. 7. Octave, tin 4 feet. 8. Flauto dolce, metal 4 feet. 9. Quint, metal 2J feet. 10. ■ Super-octave, metal 2 feet. 11. Flautino, metal 2 feet. 12. Progressio, III, IV, and V ranks 2 feet. 13. Cornet, III ranks 5J, 4, 3^ ft. 398 APPENDIX. Choir, 8 Stops. 14. 16. '7- Quintaton, tin ; the great octave of wood 16 eet tone. Salicional, -J Eng. tin 8 feet. Pyramid-flote, wood 8 feet. Prestant, ^ Eng. tin 4 feet. 18. Piffaro, J Eng. tin 4 feet. 19. Flautino, J Eng. tin z feet. zo. Cornet, III ranks, Eng. tin z§, z, and \\ foot, zi. Oboe 8 feet. Echo, 9 Stops. zz. Prestant, J tin 8 feet. Z3. Viola di Gamba, I tin 8 feet. Z4. Flaut amabile, metal, the bass octave of wood 8 feet. zj. Principal, ^ Eng. tin 4 feet. 3i' 3Z. 33' 34' 35- 36. z6. Flauto amoroso, metal 4 teet. zy. Spitzflote, quint, tin zf feet. z8. Octave, tin z feet. zg. Flauto Piccolo, tin i foot. 30. Mixtur, III ranks '... i J foot. Pedal, 12 Stops. Principal, polished tin, in front 16 feet. Violon, oak 16 feet. Prestant, oak 16 feet. Sub-bass 16 feet tone. Principal 8 feet. Violoncello, wood 8 feet. 37. Bass-flote, wood Sfeettone. 38. Quint, tin and wood 5jfeet. 39. Super-octave 4 feet, 40. Octave z feet. 41. Posaune 16 feet. 4z. Trompette 8 feet. 1 . Coupler, Choir to Great. 2. Coupler, Echo to Great. Accessory Stops. I 3. Coupler, Great to Pedal. I 4, 5, 6, 7. Four Wind-trunk Valves. 90. Breslau. The Cathedral Church of St. John, at Breslau, contains no less than 3 distinct organs ; one in the Nave, a second in the Choir, and a third in one of the small Chapels. The Great organ has 60 Sounding Stops, 3 Manuals, and a Pedal of 18 Stops ; 4,700 Pipes, and 12 Bellows. The following are the details of the largest organ : — Great, 16 Stops. Principal, in front, tin 16 feet. Quintaton, metal 16 feet tone. Octave, in front, tin 8 feet. Gemshorn, metal 8 feet. Salicet, metal 8 feet. Quintaton, metal 8 feet tone. Flaut-major, wood 8 feet. Quinta, metal 5J feet. 9. Super-octave, metal 4 feet. 10. Rolirflote, metal 4 feet tone. 11. Gemshorn, metal 4 feet. iz. Quinta, metal zJ feet. 13. Sedecima, metal z feet. 14. Scharf, metal, IV ranks. 15. Mixtur, metal, VII ranks. 16. Trompette, tin 8 feet. Echo, 14 Stops. 17. Bourdon, maple-wood 16 feet tone. 18. Principal, tin 8 feet. 19. Salicet, tin 8 feet. zo. Flaut allemande, metal 8 feet. 21. Doppel Rohrflote, maple 8 feet tone, zz. Octave, tin .^ 4 feet. 23. Salicet, tin 4 feet. 24. Spitzflote, metal ,,,,, 4 feet. Z5. Doppel Rohrflote, maple .,, 4 feet tone. z6, Nassat, metal zJ feet. 27. Super-octave, metal z feet. z8, Cymbel, metal. III ranks, Z9. Mixtur, metal, VI ranks. 30. Clarinet, tin 8 feet tone. Choir, 12 Stops. 31. Principal, in front, tin 8 feet. 3Z. Gamba, metal 8 feet. 33. Flaut traverse 8 feet. 34. Quintaton 8 feet tone, 35. Flaut douce 8 feet, 36. Flaut major » , 8 feet. 37. Octave, metal 4 feet. 38. Flaut minor, wood 4 feet, 39. Quinta, metal, zJ feet. 40. Super-octave, metal 2 feet, 41. Mixtur, metal, IV ranks, 42. Obois, metal 8 feet. AN ACCOUNT OF FOREIGN ORGANS. 399 Pedal, I Principal, of tin to FFFF sharp, and in front; the lower Pipes of wood 32 feet. Octave, metal 16 feet. Violon, wood 16 feet. 46. Gamba, wood 16 feet. 47. Sub-bass, of oak 16 feet tone. 48. Quintaton, of oak 16 feet tone. 49. Gemshornquint, metal 10^ feet. 50. Principal, tin 8 feet. 43 44. 45 8 Stops. 51. Uemshorn, metal 8 feet. 5 2. Violoncello, wood, 8 feet. 53. Doppelflote, of oak 8 feet tone. 54. Quinta, metal 5j feet 55. Sedecima, metal 4feet. 56. Nachthorn, ofoak 4 feet. 57. Posaun, wood 32 feet. 58. Posaun, wood 16 feet. 59. Fagott, wood 16 feet. 60. Trompette, tin 8 feet. Accessory Stops, dr'C. I. Echo to Great. 6. Wind-valve to Echo. 2. Choir to Great. 7- Wind-valve to great Pedal Sound- 3. Great to Pedal. board. 4- Wind-valve to Great. 8. Wind-valve to Pedal Reed-work and S- Wind-valve to Choir. 32 feet Principal. Manuals, C C to fa in alt. Compass. Pedal, C C C to tenor c. 91. Breslau. The Choir organ :— Manual, 9 Stops. 1. Principal 8 feet. 2. Gamba 8 feet. 3. Flaut ailemande 8 feet. 4. Flaut major 8 feet tone. 5. Octave 4feet. Pedal, 10. Sub-bass ififeettone. 11. Octaven bass 4 feet. 6. Doppel Rohrflote 4 feet tone. 7. Nasat quint 2J feet. 8. Super-octave 2 feet. 9. Mixtur, IV ranks. Stops. 12. Super-octave 4 feet. Manual, C C to f a in alt. Compass. Pedal, CCC to tenor c. I Coupler, Manual to Pedal. , 91B. Breslau. The little organ in one of the Chapels : — 1. Salicet 8 feet. 2. Quintaton 8 feet tone. 3. Principal 4 feet. 4. Flaut amabile 4 feet. 5. Flaut ailemande 4 feet. 6. Quint 2f feet 7. Super-octave 2 feet. 8. Mixtur, III ranks. 92. Breslau. The old part of the large organ in the Church of St. Mary Magdalen, at Breslau, is the work of Joh. Roder, of Berlin, who constructed it in 1725 ; to whose work additions were made by Engler, in 1821. The organ has now 55 Sounding Stops, 3 Manuals, and Pedal of 16 Stops ; 3415 Pipes, and 10 pairs of Bellows. There is, besides the large organ, a small one in the Choir, of 12 Stops. Contents of the large organ : — Great, 14 Stops. 1. Contra-Principal, of tin, in front 16 feet. 2. Quintaton, metal ififeettone. 3. Principal, metal 8 feet. 4. Salicet, tin 8 feet. 5. Flaut ailemande major, wood 8 feet tone. 6 Quintatpn, metal 8feettpne. 7. Octave, metal 4 feet. Rohrflote, metal 4 feet tone. Quinte, metal 2§ feet. Super-octave, metal 2 feet. Scharf IV ranks i foot. Mixtur VIII ranks ... i J foot. Rauschquint II ranks 2| feet. Trompette, metal 8 feet. 400 APPENDIX. Echo, 13 Stops I J. Principal, of tin, in front ... 8 feet. 16. Gemshorn, metal 8 feet. 17. Salicet to tenor f, tin 8 feet. j8. Flaut major, wood 8 feet tone. 19. Octava, metal 4 feet. zo. Doppel Spitzflote, wood 4 feet. 21. Fugara, metal 4 feet. 2Z. Quinte, metal zj feet. 23. Super-octave, metal z feet. 24. Waldflote, metal z feet. Z5. Mixtur, VI ranks, metal ... \\ foot. z6. Cymbel, III ranks, metal ... i^ foot. 27. Vox humana, wood Sfeettone. Choir, 12 Stops. 40, 41. 42. 43- 44. 45- 46. 47- Principal, of fin, in front ... 8 feet. Salicet, to fiddle g, wood ... 8 feet. Flaut allemande, metal 8 feet. Flaut amabile, wood 8 feet. Octave, metal 4 feet. Spitzflote, metal 4 feet. 34. DoppeWaut, wood 4feettone. 35. Quint, metal 2| feet. 36. Super-octave, metal 2 feet. 37. Cymbel, II ranks ij foot. 38. Mixtur, IV.ranks i foot. 39. Oboe, metal 8 feet. Pedal, 16 Stops. Principal 32 feet. Octave, metal 16 feet. Violon, wood 16 feet. Salicet, wood 16 feet. Sub-bass, wood i6feettone. Octaven-bass 8 feet. Violoncello, wood 8 feet. Doppelfloten-bass, wood 8 feet tone. 48. Flauten-bass, wood 8 feet. 49. Quinte, metal 5i fee'. 50. Super-octave, metal 4 feet. 51. Mixtur, V ranks, metal ... 4 feet. 52. Posaune, wood 3 z feet. 53. Posaune i6feet. 54. Fagott, metal 16 feet. 55. Trompette, tin 8 feet. I. Choir to Great. z. Echo to Great. 3. Wind-valve to Great. 4. Wind-valve to Choir. 5. Wind-valve to Echo. Accessory Stops, dr'c. 6. Wind-valve to Pedal Flue-work. 7. Wind-valve to Pedal Reed-work. Glockenspiel to Great. Glockenspiel to Pedal. Compass. Manuals, CC to ca in alt, without CC sharp. | Pedal, CCC to tenor d, without CCC sharp 93. Breslau. The large organ in St. Elisabeth's Church, Breslau, was built by Michael Engler, in 1750, and has since been enlarged (1830) by Miiller. It has 54 Sound- ing Stops, -3 Manuals, and Pedal of 14 Stops ; and 8 large pairs of Bellows. In the Choir there is a smaller organ, containing 17 Stops. The details of the chief organ are as follow : — Great, \b Stops. 1. Salicet, tin 16 feet. 2. Quintaton, tin i6feettone. 3. Bourdon, wood ififeettone. 4. Principal, tin 8 feet. 5. Gemshorn, tin 8 feet. 6. Salicet, tin 8 feet. 7. Flaut major, wood 8 feet tone. 8. Octave, tin 4 feet. 9. Nachtorn 4 feet. 10. Quinte zf feet. 11. Super-octave z feet. iz. Cymbel, III ranks. 13. Mixtur, VI ranks. 14. Muset-bass 16 feet. 15. Trompette, metal 8 feet. 16. Vox humana, tin (labial) ... 8 feet. Echo, 14 Stops. I?. 1 9' 22. Bourdon, wood iSfeettone. Principal, tin 8 feet. Salicet, tin 8 feet. Fugara, tin 8 feet. Flaut amabile, wood 8 feet. Octave, tin 4 feet. Spitzflote, wood 4 feet. 24. Rohrflote, wood 4feettone. 25. Quinte, metal zJ feet. 26. Super-octave 2 feet. 27. Terz lifoot. z8. Rauschquinte z| feet. 29. Mixtur, IV ranks. 30. Schalmey, metal 8 feet tone. AN ACCOUNT OF FOREIGN ORGANS 401 Choir, 10 Stops. 3'' 3». 33- 34- 35- Principal 8 feet. Flaut allemande, tin 8 feet. Flaut amabile, wood 8 feet. Quintaton, wood 8 feet tone. Octave, tin 4 feet. 36. Portunal, wood 4 feet. 37. Quinte, metal z| feet. 38. Super-octave 2 feet. 39. Mixtur, in ranks. 40. Oboe, metal 8 feet. Pedal, 14 Stops. 1. Major-bass, wood 32 feet tone. 2. Principal, of tin, in front ... 16 feet. 3. Salicet, of tin and wood 16 feet. 4. Violon, wood 16 feet. 5. Sub-bass, wood i6feettone. 6. Quintaton, wood 16 feet tone. 7. Principal, tin, in front 8 feet. 8. Bassflote, wood 8 feet tone. 9. Gemshorn-quint, metal 5J feet. 10. Super-octave, tin 4 feet. 11. Mixtur, metal, V ranks. 12. Posaune 32 feet. 13. Posaune, wood 16 feet. 14. Trompette, tin 8 feet. Choir to Great. Echo to Great. Wind-valve to Great. Wind-valve to Echo. Accessory Stops, &^c. 5. Wind-valve to Choir. Wind-valve to Pedal Flue-work. Wind-valve to Pedal Reed-work. Compass. Manuals, CC to c3 in alt, without CC sharp. | Pedal, CCC to tenor e, without CCC sharp. 94. Breslau. Contents of the small organ in Choir :- Manual, 12 Stops. 1. Principal, in front 8 feet. 2. Quintaton 8feettone. 3. Salicet 8 feet. 4. Flaut major 8 feet. 5. Principal 4 feet. 6. Octave 4 feet. Pedal, 1. Violon 16 feet. 2. Sub -bass i6feettone. 3. Octav-bass 8 feet. 7. Flauta minor 4 feet. 8. Quinte zffeet. 9. Super-octave 2 feet. 10. Cymbel, II ranks. 11. Mixture, IV ranks. 12. Vox humana 8 feet tone. 5 Stops. 4. Doppelflote 8 feet. J. Super-octave 4 feet. Compass. Manual, CC to 0= in alt, 4 octaves. | Pedal, CCC to tenor c, 2 octaves. 95. Breslau. The organ in the Church of St. Bernhardin was built by Caspirini in 1705, and enlarged by Hartig in 1831. It has 34 Sounding Stops, 2 Manuals, and Pedal of 12 Stops. Besides the large organ, there is a small one in the church, which h'as 14 Stops. The specifications are as follow : — Large Organ. Great, 13 Stops. Bordun 16 feet tone. Quintaton 16 feet tone. Principal, in front 8 feet, Gamba 8 feet. Fiaut-major ,....: 8 feet. Portunal 8 feet. Octave 4 feet. 8. Doppelflote 4 feet. 9. Quinta 2| feet. 10. Super-octave 2 feet. 1 1 . Mixture, V ranks. 12. Cymbel, II ranks. 13. Trompette ; 8 feet. O O 402 APPENDIX. Choir, lo Stops. 14. ■5- 16. 17- Principal, in front 8 feet. Salicet 8 feet. Flaut amabile 8 feet. Octave 4 feet. Flaut minor 4 feet. 19. Quinta 2f feet. zo. Super-octave 2 feet. 21. Mi!(;ture, IV ranks. 22. Cymbel, II ranks. 23. Oboe 8 feet. Pedal, 12 Stops. 24. Major 32 feet. 25. Principal, in front 16 feet. 26. Violon 16 feet. 27. Sub-bass i6feettone. 28. Major-Quinta i of feet. 29. Violin 8 feet. Doppelflote 8 feet. Quintaton 8feettone. Super-octave 4 feet. Posaune 32 feet. Posaune 16 feet. Trompette 8 feet. Accessory Stops, &^c. 1. Choir to Great. 2. Great to Pedal. 3. Wind-valve to Great. 4. Wind-valve to Choir. 5 . Wind-valve to Pedal Flue Stops. 6. Wind-valve to Pedal Reed Stops. 96. Small Organ. Manual, 10 Stops. 1. Principal 8 feet. 2. Gamba 8 feet. 3. Quintaton 8 feet tone. 4. Portunal 8 feet. 5. Octave 4 feet. 6. Flaut-traverse 4 feet. 7. Quinte 2f feet. 8. Super-octave z feet. 9. Mixture, IV ranks. 10. Cymbel, II ranks. . Pedal, 4 Stops. 11. Violon 16 feet. I 13. Octave 8 feet. 12. Sub bass i6feettone. | 14. Super-octave 4 feet. 97. Breslau. The organ in the Church of St. Vincent, at Breslau, has the very unusual proportion of half as many Pedal Stops as there are Manual Stops ; that is to say, 15 of the former to 30 of the latter. The Specification is as follows : — Great, 15 Stops. I. Quintaton 16 feet tone. Principal 8 feet. Gemshorn 8 feet. Salicional 8 feet. Portunal 8 feet. Flaut 8feettone. Unda maris 8 feet. Octave 4 feet. 9. Gemshorn 4 feet. 10. Octave 2 feet. 11. Rauschquint-bass. 12. Mixtur, VI ranks. 13. Cymbel, III ranks. 14. Cornet, IV ranks. 15. Trompette 8 feet. Choir, 15 Stops. 16. Prastant 8 feet. 17. Gamba 8 feet. 18. Fugara 8 feet. 19. Trinona S feet. 20. Flaut 8 feet.' 21. Quintaton Sfeettone. 22. Principal 4 feet. 23. Trinona 4 feet. 24. Flaut 4 feet. 25. Flaut-travers ". 4 feet. 26. Octave-bass. 27. Quinte, III ranks. 28. Mixture, IV ranks. 29. Cymbel, III ranks. 30. Clarinet Sfeettone. AN ACCOUNT OF FOREIGN ORGANS. 403 31. Major 32feettone. 32. Principal 16 feet. 33. Gamba 16 feet. 34. Violon 16 feet. 35. Sub-bass i6feettone. 36. Quintaton i6feettone. 37. Octave g feet. 38. Gamba 8 feet. Pedal, 15 Stops. 39. Violon 40. Violoncello 41. Flaut 42. Gemshorn-quint 43. Octave 44. Posaune i 45. Trompette 8 feet. 8 feet. 8 feet. 5 J feet. 4 feet. 6 feet, g feet. Accessory Stops, Couplers, b^c. 1. Choir to Great. | 3j 4i 5- Three wind- trunk valves. 2. Great to Pedal. I ~ Five Bellows. 98. Breslau. The organ in the Church of St Ethelbert, in- Breslau, was built by the elder MuUer, and completed. in 1837. It has 24 Sounding Stops, 2 Manuals, and Pedal of 5 Stops. The following is a list of the Stops : — Great, 12 Stops. 1. Bordun 16 feet tone. 2. Principal, in front 8 feet. 3. Salicet 8 feet. 4. Gemshorn 8 feet. 5. Bordun 8 feet tone. 6. Gemshorn quint 5J feet. 7. Octave 4 feet. 8. Doppel-rohrflote 4 feet tone. 9. Quinte 2§ feet. 10. Super-octave 2 feet. J I. Mixtur, V ranks. 12. Clarinet 8 feet tone. Choir, 7 Stops. 13. Salicet 8 feet. 14. Flaut major 8 feet. 15. Portunal 8 feet. 16. Principal 4 feet. Portunal 4 feet. Super-octave 2 feet. Cymbel, IT ranks. Pedal, 5 Stops. 20. Principal 16 feet. 21. Gamba 16 feet. 22. Sub-bass 16 feet tone. 23. Octave 8 feet. 24. Posaune 16 feet. Accessory Stops, &'c. I. Choir to Great, z. Great to Pedal. 3. Wind-valve to Great. Manuals, C C to d= in alt. Compass. 4. Wind-valve to Choir. 5. Wind-valve to Pedal. Pedal, C C C to tenor c. 99. Breslau. The organ in the Church of the Eleven Thousand Virgins, at Breslau, was built by Miiller, sen., in 1826 ; and has 27 Sounding Stops, 2 Manuals, and Pedal. The following is a list of its contents : — Great, 11 Stops. 1. Bordun i6feettone. 2. Principal 8 feet. 3. Gamba 8 feet. 4. Portunal 8 feet. 5. Doppel-flote 8 feet. 6. Octave 4feet. 7. Rohrflote 4feettone. 8. Quinta 2f feet. 9. Super-octave 2 feet. I o. Mixtur, V ranks. II. Clarinet gfeettone. 2 404 APPENDIX. 12. 13- 14. 16. 21. 22. «3- 24. Choir, Salicet 8 feet. Quintaton ; 8 feet tone. Flaut major 8 feet. Principal 4 feet. Flauto traverso 4 feet. Pedal, Violon 16 feet. Gamba 16 feet. Sub-bass i6feettone. Octave 8 feet. 9 Stops. 17. Nassat quint 2^ feet. 18. Super-octave 2 feet. 19. Mixtur, III ranks. zo. Vox humana, labiel 8 feet. 7 Stops. 25. Doppel-flote 8 feet tone. 26. Octave 4 feet. 27. Posaune 16 feet. 1. Choir to Great. 2. Great to Pedal. 3. Wind- valve to Great. Accessory Stops, &>€. 4. Wind-valve to Choir. 5. Wind-valve to Pedal. Compass of Manuals, C C to f in alt. 100. Breslau. The organ in the Church of St. Salvator in Breslau has 19 Stops, of which number 8 are on the Pedal. The following shows the disposition : — Manual, 1 1 Stops. 1. Principal, in front 8 feet. 2. Salicet 8 feet. 3. Quintaton 8 feet tone. 4. Flaut major 8 feet. 5. Octave 4feet. 6. Gemshom 4 feet. Flaut-minor 4 feet. Quint 2f feet. Super-octave 2 feet. Mixtur, IV ranks. 1 1 . Cymbel, II ranks. 12. Violon 16 feet. 13. Sub-bass ififeettone. 14. Octaven-bass 8 feet. 15. Floten-bass 8 feet tone. Pedal, 8 Stops. 16. Quint 5j feet. 17. Super-octave 4 feet. 18. Mixtur, III ranks. 19. Posaune i6feet. 1 01. Breslau. The organ in the Cemetery Church at Breslau has 12 Stops, as follows : — Great, 6 Stops. 4. Flaut-major 8 feet. 1. Principal 8 feet. 2. Salicet 8 feet. 3. Quintaton 8 feet tone. 5. Octave 4 feet. 6. Spitzflote 4feet. Choir, 3 Stops. 7. Dulcian (Labial) ... 8 feet. | 8. Flaut amabile... 8 feet. | 9. Doppel-flote... 4 feet. Pedal, 3 Stops. 10. Sub-bass... 16 feet tone. | 11. Quintaton... 16 feet tone. | 12. Octaven-bass... 8 feet. Couplers, &^c. I. Great to Pedal. Compass of Manuals, CC to c3 in alt. | Compass of Pedal, C C C to tenor c. 102. Breslau. The organ in the Church of St. Mauritius, in Breslau, has 9 Stops, of which the following is a list : Manual, 7 Stops. I. Principal 8 feet. 5. Gemshom 4 feet. 6. Quinte zf feet. 7. Super-octave 2 feet. 2. Hohlflote 8 feet 3. Gedact 8 feet tone. 4. Octave 4feet. Pedal, 2 Stops. 8. Sub-bass i6feettone. | 9. Octaven-bass 8 feet AN ACCOUNT OF FOREIGN ORGANS. 40S 103. Breslau. The organ in the Church of St. Barbara, at Breslau, has 21 Sounding Stops, of which the following is a list : Great, 8 Sto^s. 1. Quintaton.j 16 feet tone. 2. Principal 8 feet. 3. Salicet 8 feet. 4. Flote gfeettone. 5. Octave 4feet. 6. Quint zj feet. 7. Super-octave 2 feet. 8. Mixtur, V ranks. Upper Manual, Choir, 7 Stops. 9. Salicet 8 feet. lb. Flote 8feettone. 11. Principal 4 feet. 12. Doppel-flote 4feettone. 13. Quinte 2f feet. 14. Super-octave 2 feet. 15. Mixtur, 11 ranks. Pedal, 6 Stops. 16. Sub-bass 16 feet tone. 17. Octaven-bass 8 feet. 18. Floten-bass 8 feet tone. 19. Quinten-bass 5^ feet. 20. Gemshom 4 feet. 21. Fagott 16 feet. 104. Breslau. -The organ in the Music-room of the University at Breslau has 14 Stops, dis- tributed in the following manner : — - First Manual, 6 Stops. 1. Principal 8 feet. 2. Portunal 8 feet. 3. Octave 4 feet. 4. Doppebrohrflote 4 feet tone. 5. Quint 2f feet. 6. Super-octave 2 feet. Upper Manual, 4 Stops- 7. Salicional, metal 8 feet. I 9. Rohrflote 4 feet tone. 8. Gedact, metal treble 8feettone. | 10. Waldflote, metal 2 feet. Compass, Qr'c. Manuals, C C to fa in alt. | 3 Bellows, 8 feet by 4. | Pedals, C C C to tenor e. Pedal, 4 Stops. M. Violon 16 feet. I 13. Violon 8 feet. 12 Sub-bass i6feettone. | 14. Principal 4 feet. 105. Cracow. The organ in the Evangelists' Church at Cracow has 15 Stops, of which the following is a list : — Great, 9 Stops. 1. Bordun, wood 16 feet. 2. Principal, tin 8 feet. 3. Gamba, tin 8 feet. , 4. Flote, wood 8 feet. J. Octave, tin 4 feet. 6. Hohlflofe, wood 4 feet. 7. Quinte, tin 2J feet. 8. Super-octave, tin 2 feet 9. Mixtur, II ranks 2 feet. Choir, 3 Stops. xo. Salicet... 8 feet. | 11. Portunal... 8 feet. | 12. Portunal... 4 feet. Pedal, 3 Stops. 13. Violon... 1 6 feet. | 14. Sub-bass... 16 feet tone. | 15. Violon... 8 feet. 4o6 APPENDIX. 1 06. Warsaw. The organ in the Lutheran Church at Warsaw has 27 Sounding Stops. It was built in 1827-9, by, Robert MuUer, jun., of Breslau, and has 6 Bellows, 10 feet long by 5 in breadth. The following is an enumeration of the Stops ; — Great, 10 Stops. 6. Octave, tin 4 feet. 7. Doppel-rohrflote, wood 4feettone. 8. Quint, tin ij feet. 1. Principal, tin, in front 16 feet. 2. Principal, tin 8 feet. 3. Gemshorn, tin 8 feet. 4. Portunal, wood 8 feet. 5. Doppel-flote, wood 8 feet tone. Choir, 8 Stops. 9. Octave, tin 2 feet. 10. Mixtur, tin, IV ranks. 15. Principal, tin 4 feet. 16. Salicet, tin 4 feet. 17. Violini, tin 2 feet. 18. Clarinett • 8feettone. 11. Salicet, tin 8 feet. 12. Flauto, wood 8 feet. 13. Flaut traverse, wood 8 feet. 14. Quintaton, tin 8feettone. Pedal, 9 Stops. 19. Major, wood 32feettone. 24. Quint, wood Si feet. 20. Violon, wood 16 feet. 25. Octave, tin 4 feet. 21. Gamba, wood 16 feet. 26. Posaune, wood ififeet. 22. Sub-bass, wood i6feettone. 23. Octaven-bass, wood 8 feet. 27. Trompete, wood 8 feet. 107. Vienna. The organ in the Cathedral Church of St. Stephen, at old one. It has 41 Stops, distributed among 2 Manuals following manner : — Great, 18 Stops. Vienna, is a very and Pedal in the 19. 20, Major Flute 16 feet. Quintadon i6feettone. Principal 8 feet. Bourdon Sfeettone. Gamba 8 feet. Salicional 8 feet. Octave 4 feet. Spitzflute 4 feet. Gamba 4 feet. 22. 23, 29. 30. 3'- 3»- 33- 34- 35- 10. Fugara 4 feet. 11. Nachthorn 4 feet. 12. Quint 2^ feet. 13. Super-octave 2 feet. 14. Mixtur ...VIII ranlis. 15. Sesquialtera, IV ranks. 16. Cimbel ...VIII ranks. 17. Scharf IV ranks. 18. Trompette 8 feet. Choir, 10 Stops. Coppel 8 feet. Rohrflote 8 feet tone. 21, Flote-amabile 8 feet. Quintaton 8 feet tone. Principal 4 feet. 24. Flote 4 feet. 25. Dulciana 4 feet. 26. Nazard zj feet. 27. Octave 2 feet. 28. Mixtur, V ranks. Pedal, 13 Stops. Principal, metal 16 feet. Sub-bass, wood 16 feet. Bourdon i6feettone. Principal, metal 8 feet. Octave, wood 8 feet. Violoncello 8 feet. Quinte 5J feet. 36. Octave 4 feet. 37. Mixtur, VI ranks. 38. Cornet, IV ranks. 39. Bombarde 16 feet. 40. Posaune 16 feet. 41. Trompette 8 feet. 1. Choir to Great. 2. Great to Pedal. Manuals, CC to d' in alt. Accessory Stops, Qt'c. I 3. Tremulant. 4, 5, 6, Three Wind-trunk Valves. Compass. Pedal, C C C to tenor c. AN ACCOUNT OF FOREIGN ORGANS. 407 108. Vienna. The organ in St. Michael's Church, at Vienna, is a very old instrument. It has 3 Manuals, Pedal, and 40 Stops, the distribution and names of which are as follow : — Great, 16 Stops. 1. Bourdon i6feettone. 2. Principal 8 feet. 3. Piffaro S feet. 4. Quintadon Sfeettone. 5. Salicional 8 feet. 6. Octave 4 feet. 7. Fugara 4feet. 9. Nachthorn 4 feet. 10. Feldflote 4 feet. 11. Quint z§ feet. 12. Tierce if feet. 13. Mixtur 11 ranks. 14. Sesquialtera, III ranks. 15. Cymbel V ranks. 16. Super-octave i foot. . Spitzflote 4 feet, Choir, 10 Stops. 22. Flaut minor 4 feet. 17. Coppel 8 feet. 18. Flote major 8 feet. 19. Principal 4 feet. 20. Octave 4feet. 21. Coppel 4 feet. 23. Quinte 2f feet. 24. Octave 2 feet. 25. Super-octave i foot. 26. Mixtur, II ranks. Echo, 4 Stops. 27. Coppel 8 feet. 1 29. Flote 28. Principal 4 feet. | 30 Pedal, 10 Stops. 4 feet. Octave 2 feet. 31. Principal, metal 16 feet. 32. Sub-bass, wood 16 feet. 33. Bourdon, wood rSfeettone. 34. Octave, metal 8 feet. 35. Octave, wood 8 feet. Accessory Slops, &°c. 1. Clioir to Great. 2. Echo to Great. 36. Coppel 8 feet. 37. Octave 4 feet. 38. Cornet, III ranks. 39. Posaune 16 feet. 40. Trompette 8 feet. Compass. Manuals CC to c^ in alt, short octaves. Pedal, CCC, short, to A. 109. Vienna. The organ in the Lutheran Church, at Vienna, was built by Deutschmann, of that city ; and has 2 Manuals and Pedal, and 23 Stops, of which the following is a list : — , Great, 9 Stops. 10. II. 16. 17- 18. 19- Principal 8 feet. Gamba 8 feet. Flote 8 feet. Octave 4 feet. Fugara 4 feet. Choir, 6 Stops. 13. Octave 2 feet. 6. Quint 2|feet. 7. Super-octave 2 feet. 8. Mixtur, IV ranks. {Hautbois discant "I Fagotto bass j •••■ 8 feet. Coppel 8 feet. Principal 4 feet. Dulciana 4 feet. 14. Super-octave i foot. 15. Vox human a 8feettone. Bourdon, open 16 feet. Sub-bass i6feettone, Principal 8 feet. Violoncello 8 feet. I . Choir to Great. Pedal, 8 Stops. 20. Octave 8 feet. 21. Octave 4 feet. 22. Posaune 16 feet. 23. Trompette ; 8 feet. Accessory Stops, Sr'c. I 2. Tremulant Choir. Manuals, C C to d^ in alt. Compass. Pedal, C C C to A. 4o8 APPENDIX. no. Vienna. The organ in the Church of the Minorites at Vienna, which is a very old one, has lately been renovated by Deutschmann, of that city. It has 2 Manuals and Pedal, and 24 Stops, of which the following is a list : — Great, 10 Stops. 1. Principal 8 feet. 2. Quintadon Sfeettone. 3. Waldflote 8 feet. 4. Octave 4 feet. 5. Rohrflote 4feettone. 6. Nachthorn 4 feet. 7. Quint zf feet. 8. Super-octave z feet. 9. Mixtur, V ranks. 10. Cimbel, II ranks. Choir, 8 Stops. 11. Principal 8 feet. 12. Coppel 8 feet. 13. Salicional 8 feet. 14. Principal 4 feet. 15. Flote 4 feet. 16. Octave z feet. 17. Quint ij foot. 18. Super-octave i foot. Pedal, 6 Stops. 19. Coppel 16 feet. 20. Violone 16 feet. zi. Principal 8 feet. Z2. Octave 8 feet. 23. Quint 5j feet. 24. Cornet, III ranks. Accessory Stops. I. Clioir to Great. Manuals, C C short to fa in alt. Compass. 2. Great to Pedal. Pedal, C C C short to A. III. .Vienna. The organ in St. Peter's Church is a very old instrument. It has 30 Stops, 3 Manuals, and Pedal of 6 Stops. There are no Reeds in the Organ, and-the Mixtures are harsh ; but the 16, 8, and 4 feet Stops are good. The following is a Specification of the Stops : — Great, 12 Stops. 1. Principal 8 feet. 2. Coppel 8 feet. 3. Gamba 8 feet. 4. Salicional 8 feet. 5. Quintadon 8feettone, 6. Octave 4 feet. 7. Gemshorn 4 feet. 8. Nachthorn 4 feet. 9. Fugara 4 feet. 10. Quint 2f feet. 11. Octave z feet. 1 2. Mixtur, VI ranks. Echo, 8 Stops. 13. Coppel 8 feet. 14. Principal 4 feet. 15. Flote 4feet. 16. Octave z feet. 17' 19, Flageolet z feet. Quint I J foot. Octave I foot. Mixtur, IV ranks. Choir, 4 Stops. z I. Coppel 8 feet. , 23. Flote 4 feet. zz. Principal 4 feet. | z4. Octave z feet Pedal, 6 Stops. 1$. Coppel 16 feet. 26. Sub-bass 16 feet tone. 27. Principal 8 feet. Compass of Manuals C C, short to c^ z8. Octave 8 feet. Z9. Octave 4 feet. 30. Cornet, IV ranks. Compass. in ah. I Compass of Pedal, C C C short to A. AN ACCOUNT OF FOREIGN ORGANS. 409 112. Freiburg, in Switzerland. In the Cathedral Church of St. Nicholas, at Freiburg, in Switzerland, is a parti- cularly fine organ, built by Aloise Moser in 1834. It has 4 Manuals, 2 Pedals, 61 Stops, and 4165 Pipes. The. Draw Stops do not operate in the usual way, forwards, but they slide to the right and left. The case is of dark walnut-tree wood, very elaborately ornamented with carved work, gilded. The Voix Humaine in the Echo is described as being a singularly successful Stop. The following is a list of the contents of this admirable instrument : — Great, 16 Stops. I. Montre . z. Bourdon . 3. Octave .... 4. Principal . 5. Bourdon . 6. Gamba 7. Prestant . 8. Dulciana . 16 feet. 1 6 feet tone 8 feet. 8 feet. 8 feet tone. 8 feet. 4 feet. 4 feet. Doublette 2 feet. Fourniture, VI and VII ranks. Cymbale ...III ranks 2 feet. Scharf VIII ranks 2 feet. Petit Cornet III ranks. Grand Cornet, a Reed 16 feet. Trombone 8 feet. Clairon 4 feet. 17. Quintadena 18. Principal ... I 9. Principal ... 20. Gamba 21. Flute douce , 22. Octave 23. Flute Choir, 14 Stops. 16 feet tone. 8 feet. 8 feet. 8 feet. 8 feet. 4 feet. 4 feet. 24. Flute a chiminee 4feettone. 25. Nazard 2 feet. 26. Doublette 2 feet. 27. Flageolet i foot. 28. Fourniture, IV and V ranks 2 feet. 29. Cornet V ranks ., 8 feet. 30. Trompette 8 feet. 31. Montre 32. Bourdon . 33. Viola 34. Salicional . 35. Prestant . 36. Calcan .... Positif, 12 Stops. % feet. 8 feet tone. 8 feet. 8 feet. 4 feet. 4 feet. 37. Flute bouch^e 4 feet. 38. Dulciana 4 feet. 39. Quint Flute 2| feet. 40. Flageolet 2 feet. 41. Cornet, V ranks. 42. Cromorne 8feettone. 43. Montre . 44. Bourdon . 45. Flute .... 46. Salicional . Echo, 8 Stops. 8 feet. 8 feet tone. 8 feet. 8 feet. M- Quinte Flute 4 feet. Flageolet i feet. Voix humaine 8 feet. Cornet 8 feet. 51. Bass-Bourdon 52. Sous-bass 53. Octave Great Pedal, 6 Stops. 32 feet tone. I 54. Prestant 4 feet. 16 feet. 55. Bombarde 16 feet. 8 feet. 1 56. Trombone ....: 8 feet. 57. Montre 58. Principal 59. Flute .. 1 . Choir to Great. 2. Great to Pedal. Manuals, C C to f in alt Choir Pedal, 5 16 feet. 8 feet. 8 feet tone, Stops. 60. Prestant 4 feet. 61. Trompete 8 feet. Accessory Stops, Qr'c. I 3. Tremulant Great. [ 4. Tremulant Echo, Compass. Pedals, C C C to tenor c. 113. Hanover. The organ in the Market Church at Hanover is a very fine instrument, the work of Herr Meyer. It contains 47 Sounding Stops, three Manuals, and a separate Pedal. The following is a list of the Stops of this organ : — 4IO APPENDIX. Great, 15 Stops. 1. Principal, in front 16 feet. 2. Bordun 16 feet. 3. Principal 8 feet. 4. Gemshorn 8 feet. 5. Gamba 8 feet. 6. Doppelflote 8 feet. 7. Rohrflote 8 feet. 8. Quinte 5j feet. Choir, 12 Stops. 16. Bordun i6feettone. 22. 17. Principal 8 feet. 23. i8. Gedact 8 feet tone. 24. ig. Quintaton 8 feet. 25. 20. Octave 4 feet. 26. 21. Quintaton 4 feet. 27. 9. Octave 4 feet. 10. Rohrflote 4 feet. 11. Octave 2 feet. 1 2. Mixtur, V ranks. ■ 13. Cornet, IV ranks. 14. Trompette 16 feet. i5.«Trompette 8 feet. Querflote 4 feet. Nassat 2f feet. Octave 2 feet. Mixtur, ni ranks. Dulcian 16 feet. Oboe 8 feet. Swell, 6 Stops. 28. Geigen Principal 8 feet. 31. 29. Salicional 8 feet. 32. 30. Gedact 8 feet. 33. Salamine 4 feet. Waldflote 2 feet. j^oline 8 feet. Pedal, 14 Stops. 34. Principal 16 feet. 35. Violon 16 feet. 36. Sub-bass 16 feet tone. 37. Quinte lo^feettone. 38. Principal 8 feet. 39. Violon 8 feet. 40. Bordun 8 feet. 41. Octave 4 feet. 42. Flote .... 2 feet. 43. Mixtur, III ranks. 44. Posaune 32 feet. 45. Posaune 16 feet. 46. Trompette 8 feet. 47. Trompette 4 feet. Accessories. I o Bellows : 6 for Manuals ; 4 for Pedal Organ. 4 Wind-Trunk Valves. Forte Pedal and Piano Pedal ; the latter leaves Stops No. 35, 36, 39, and 40 in operation. 114. Hanover. The organ in the Chapel Royal at Hanover was made by Meyer, and contains the following 40 Stops : — Great, 13 Stops. I. Bordun i6feettone. z. Principal 8 feet. 3. Gemshorn 8 feet. 4. Gamba 8 feet. 5. Rohrflote 8 feet tone. 6. Quintaton 8 feet. 7. Octave 4 feet. 8. Flote 4feet. 9. Quinte 2J feet 10. Octave 2 feet. 11. Mixtur, V ranks. 12. Trompette 16 feet 13. Trompette 8 feet. Choir, 10 Stops. 14. Quintaton i6feettone. 15. Principal 8 feet. i6. Gamba 8 feet. 17. Rohrflote 8 feet tone. 18. Octave 4 feet. Swell, 24. Geigen Principal 8 feet. 25. Salicional 8 feet. 26. Gedact Sfeettone. 27. Octave 4 feet. 19. Doppelflote 4 feet. 20. Nassat 2§feet. 21. Octave 2 feet. 22. Mixtur, III ranks. 23. Oboe 8 feet. 7 Stops. 28. Spitzflote 4 feet. 29. Waldflote 2 feet. 30. Oboe 8 feet. AN ACCOUNT OF FOREIGN ORGANS. 411 Pedal, 10 Stops. 31. Principal 16 feet. 32. Sub-bass iSfeettone. 33. Quinte io§ feet tone. 34. Octave 8 feet. 35. Bordun Sfeettone. 36. Octave 4 feet. 37. Posaune 16 feet. 38. Trompette 8 feet. 39. Trompette 4 feet. 40. Cornet 2 feet. Accessories. 8 Bellows : J for the Manuals, 3 for the Pedals. I 4 Wind Valves ; Forte and piano Pedals for I the Pedal Organ. 115. Hanover. The new organ in St. John's, Hanover, contains 44 Stops, and, Kke the two preceding, was built by Meyer, who is a resident of the town : — Great, 15 Stops. 16. 17- 18. '9- 20. 21. Principal • 16 feet. Bordun 16 feet tone. Principal 8 feet. Spitzflote 8 feet. Rohrflote 8 feet tone. Hohlflbte 8 feet. Quintaton 8 feet tone. Quinte 5j feet tone. 9. Octave 4 feet. 10. Gemshorn 4 feet- 11. Octave 2 feet. 1 2. Mixtur, V ranks. 13. Cornet, IV ranks. 14. Trompette 16 feet. 15. Trompette : 8 feet. Choir, n Stops. Quintaton 16 feet tone. Principal 8 feet. Gambe 8 feet. Gedact ..; 8 feet tone. Doppelflbte 8 feet Octave 4 feet. 22. Flote 4 feet. 23. Quinte 2f feet. 24. Octave 2 feet. 25. Mixtur, IV ranks. 26. Dulcian 16 feet. 27. Geigen Principal 8 feet. 28. Salicional •... 8 feet. 29. Gedact 8 feet tone. Swell, 6 Stops. 30. Salamine 8 feet. 31. Spitzflote 4 feet. 32. Hohlflote 4 feet. Pedal, 12 Stops. 33- 34- iS- 36. 37- 38. Principal 16 feet. Violon 16 feet. Sub-bass 16 feet tone. Quint lof feet tone. Principal 8 feet. Violoncello 8 feet. 39. Bordun 8feettone. 40. Octave 4 feet. 41. Posaune ; 32 feet. 42. Posaune 16 feet. 43. Trompette 8 feet. 44. Trompette 4 feet. 116. Ulm. The Cathedral at Ulm has, for upwards of two centuries and a half, enjoyed the high reputation of possessing an organ ranking among the finest specimens of its kind and time, not only in regard to excellence, but also as to completeness. So far back as the year 1591 it was furnished with an instrument, then quite new, reputed to have been the united work of three distinct firms— Andre Schneider, of Silicie ; Conrad Schott, of Suabe ; and Pierre Grunwalder, of Nuremberg, being mentioned as having taken part in its construction. This joint production, after being repaired in 1630 by Jean Meyer, the builder of the organ recently burnt in the Cathedral at Frankfort, yielded at length to the ravages of time, and was, in the year 1730, replaced by a new 32-feet organ, made by the Schmahls, father and son, which contained 45 Stops, 2 Manuals and Pedal, and 16 Bellows. The 412 APPENDIX. largest pipe in this instrument measured 13 inches in diameter, and the entire work was enclosed in an elaborate case, measuring 93 feet in height, and 28 feet in width. In the course of time this organ, also, like its predecessor, became decayed and infirm, and the erection of a new one in its place was some years since accordingly agreed upon. The execution of this great work was entrusted to Walcker, of Ludwigsburg, who, with Schuize, of Paulinzella, near Erfurt, shares the highest reputation among the present generation of German organ-builders, and also the most extensive and important practice. Walcker's first specification was prepared in the year 1838 ; a second one, for an organ of 80 Stops, was drawn out in 1845, and a third one in 1846, for an instrument of 94 Stops. It was not, however, until the nth of January, 1849, that the agreement of Mr. Walcker was finally made out and signed, which was then for an instrument to contain 100 Stops, four Manuals, and two Pedals, 6,564 Pipes, eighteen Bellows, &c. The removal of the old organ occupied the period between the 22nd of January and the 17th of March, 1849; and the erection and completion of the new one in the church from May, 1854, to October 13th, 1856, on which latter day it was formally inaugurated with a concert of organ music. This new Ulm organ contains, as already stated, 100 Stops, which are appro- priated in the following manner, viz. : — Stops. To the First Manual (Great Organ) 30 „ Second Manual (Choir Organ) 23 „ Third Manual (Swell Organ) 16 „ First (or loud Pedal) 24 ,, Second (or soft) Pedal 7 17. Octave ... 18. Waldflote 19. Octave ... The scheme of the Stops stands thus : — First Manual, 30 Stops, 1. Untersatz to tenor c l^ey the CCCpipe 31 feet. 2. Principal 16 feet. 3. TibiaMajor 16 feet. 4. Viola di Gamba 16 feet. 5. Octave... 8 feet. 6. Gemshorn 8 feet. 7. Gedact 8 feet. 8. Salicional 8 feet. 9. Flbte (open wood) 8 feet. 10. Viola di Gamba 8 feet. 11. Quint 5j feet. 12. Octave 4 feet. 13. Flote 4 feet. 14. Rohrflote 4 feet. 15. Fugara 4 feet. 16. Terz 3i feet. all 20. Sesquialtera IT ranks. 21 Cornett V ranks, through 22. Mixture, V ranks 23. Mixture, V ranks 24. Scharff...V ranks *25. Contra fagott *26. Fagott, wood, small *27. Posaune Trompette Clarine Clarinetto, flue pipes in the treble ^28. ^29. ^30. 2 feet. 2 feet. 1 foot. 2J feet. I of feet. 4 feet. 2f feet. 2 feet 16 feet. 16 feet. 8 feet. 8 feet. 4 feet. 2 feet. Second Manual, 23 Stops. 31. Salicional, lowestoctave wood 16 feet. 32. Gedact 16 feet. 33. Principal 8 feet. 34. Flote 8 feet. 35. Piifaro, small scale with beard and ears 8 feet. 36. Dolce 8 feet. 37. Gedact 8 feet. 38. Quintaton 8 feet. 39. Quintflote 5^ feet. 40. Octave 4 feet. 41. Spitzflote 4 feet. 42. Viola 4 feet. 43. Traverse flute 4 feet. 44. Klein Gedact 4 feet. 45. Octave 2 feet. 46. Piccolo, metal 2 feet. 47. Mixtur, VIII ranks 2f feet. 48. Cimbale, III ranks 1 foot. *49. Posaune 8 feet. *5o. Trompette 8 feet. *S I. Fagott 8 feet. *52. Clarinett 8 feet. *53. Corno 4 feet. AN ACCOUNT OF FOREIGN ORGANS. 413 54. Bourdon 16 feet. 55. Principal 8 feet. 56. Spitzflute 8 feet. 57. Piffaro 8 feet. 58. Harmonica 8 feet. 59. Gedact 8 feet. 60. Octave 4 feet. 61. Gemshorn 4 feet. Third Manual, 16 Stops. 62. Dolce 4feet. 63. Nassard 2f feet. 64. Octave z feet. 65. Flautino 2 feet. 66. Mixtur, V ranks z feet. *(>1. Vox humana 8 feet. 68. Physharmonica 8 feet. *69. Oboe 4 feet. Fourth Manual, 13 Reed Stops, Belonging to the other Manually ivhick borrouted Stops are distinguished by an asterisk on their respective Manuals, z;. Contra fagottt 16 feet. 26. Fagott 16 feet. 27. Posaune 8 feet. z8. Trompette 8 feet. 49. Posaune 8 feet. 50. Trompette 8 feet. 51. Fagott 8 feet. 52. Clarinett 8 feet. 67. Vox humana 8 feet. 29. Clarine 4 feet. 53, Cofno 4 feet. 69'. Oboe 4 feet. 30. Clarinetto 2 feet. 70. 71- 7»- 73- 74- 75- 76. 77- 78. 79- 80. 81. 94- 95- 96. 97- First Pedal, 22 Stops. Principal Bass, in front 32 feet. Grand Bourdon 32 feet. Octave Bass 16 feet. Principal Bass 16 feet. Violon Bass 16 feet. Bourdon 16 feet. Sub-bass 16 feet. Quint io|feet. Octave 8 feet. Floten-bass 8 feet. Violoncello 8 feet. Viola 8 feet. 83. Quint sj feet- 84. Octave 4 feet. 85. Cornett, V ranks 4 feet. 86. Bombardon, free reed 32 feet. 87. Posaune 16 feet. 88. Fagott 16 feet. 89. Posaune 8 feet. Trompette 8 feet. Clarine 4 feet. Corno-basso 4 feet. 90 91 92. 93. Cornettino 2 feet. Second Pedal, 7 Stops. Violin Bass 16 feet. Gedact Bass 16 feet. Flauto 8 feet. Flauto 4 feet. 98. Hohlflote 2 feet. 99. Serpent 16 feet. 100. Bassethorn 8 feet. Couplers. First and second Manual. Second and third Manual. First and third Manual, Fourth and third Manual. Fourth and second Manual. 6. Fourth and first Manual. 7. First Manual and first Pedal. 8. Second Manual and second Pedal. 9. First and second Pedal. Crescendo to the Physharmonica. Crescendo and Decrescendo to the entire work. Among the most striking features of this specification must be classed the great amount and variety of 16, 8, and 4 feet flue-work therein included. Although not comprehending everything — the French harmonic flute and the English dulciana class of stops being absent— yet the double, unison, and octave flue stops on the Manuals, present, on the whole, facilities for tone-colouring such as are to be found scarcely in any other organ in existence. Another point worthy of attention is the composition of the chorus stops. The size, which is given of the longest rank of each of those in the Great organ, clearly indicates that the mixtures are not simply composed of small ranks of pipes, which would do little more than add to the general din of the instrument ; but, are so compounded that while each one is qualified to do its individual share in imparting brightness to the general effect, each can also do its individual share in toning down that brightness by strengthening and giving additional roundness to some of the sounds 414 APPENDIX. which lie below. The Great organ, too, contains, as do all the modern first-class instruments in Germany, a Stop of 32-feet tone (Untersatz), while the great Cornett includes the mutation aliquots of the pitch. The internal, mechanical, and other arrangements present many peculiarities and excellencies which are worth noting. The Bellows are formed after the fashion of gasometers, that is to say, they each consist of an upper cylinder working inside a lower. By this plan side-ribs are done away with, and the strength of the wind produced is absolutely equal at all times. Every stop in the organ is placed on a little sound-board of its own, the object of which is to prevent the possibility of any stops robbing others of wind when they are all in use. Each little sound-board is furnished with as many pallets as there are keys on the controlling clavier ; and the pallets, which may be familiarly described as being of mushroom shape, are arranged vertically, and operate by being lifted up instead of drawn down. To prevent the touch being disagreeably heavy from the concentration of so many pallets on each key, Barker's pneumatic lever is introduced, which removes all unpleasant resistance from the finger. The pipes of most of the Stops are placed in their natural or semitonal order, that is to say, with the largest pipe to the extreme left, and the smallest to the extreme right, Walcker giving the preference to this arrangement over all others on acoustical grounds. As there are numerous small sound-boards instead of one or more large ones, slides, which are only required for securing the use of the Stops independently, are unnecessary, and the Stops are each brought into play, or the reverse, by opening or closing a ventil at one end of the little sound-board. One great merit of this separate sound-board system consists in the facility which it offers for borrowing Stops from one Manual for the use of another. In the present instance no less than thirteen reed Stops, collected from the three Manuals, are concentrated on a fourth, thus forming what the French term a " Bombarde Organ ; " and all this is accomplished mainly by the introduction of an additional ventil placed at the second end of the sound-board of each of the borrowed Stops. One of the most effective and important novelties in this organ is the " Cres- cendo and Decrescendo " to the entire work. This movement draws every Stop in the entire instrument in the best succession, so that a perfectly gradual crescendo can be produced from the most delicate pianissimo up to the most overwhelming fortissimo. The movement can, moreover, be checked at any stage, and there allowed to remain, or it can be reversed, so as to produce a partial piano, then advanced again, and so on. The apparatus itself seems to be the most complete and simple for the purpose that has yet been devised. It is worked by a wheel, of which there are two, one placed on each side of the pedal claviers ; and can, therefore, be controlled by either foot. The instrument stands at the west end of the church, the most favourable lace for it in one respect ; but so far back as to be in the tower (with its front just under the tower arch), which is somewhat damaging to its effect. The cost of the organ was 28,000 florins, or about £'2.fliip sterling. 117. France. The organ in the Cathedral of Carcassaune was built by Cavaille-CoU, and contains 40 Sounding Stops, of which the following is a list : — Grand Orgue. 1. Montre 16 feet. 2. Bourdon 16 feet. 3. Montre 8 feet. 4. Bourdon 8 feet. 5. Flute harmonique 8 feet. 6. Viole de Gamba 8 feet. 7. Prestant 4 feet. 8. Viole d'amour 4 feet. AN ACCOUNT OF FOREIGN ORGANS. 415 Jeux de Gombinaison^ 9. Octave 4 feet. 10. Quinte 3 feet. 11. Doublette 2 feet. 13. Fourniture, TV ranks. Cymbale, III ranks. Bombarde 16 feet. Trompette 8 feet. Clairon 4feet. Positif, 10 Stops. I?' 18, 20. 28, 3i. 3»' 38. 39- 22. Quinte 3 feet. 23. Doublette 2 feet. 24. Plein Jeu, 111 ranks. 25. Trompette 8 feet. 26. Cromorne 8 feet. Flute harmonique Flute douce 8 feet. Montre 8 feet. Bourdon 8 feet. Salicional 8 feet. Prestant 4 feet. Flute douce 4 feet. Recit. Expressif, 4 Stops-. feet. I 29. Viole d'amour 8 feet. 30. Flute octaviante 4 feet. Jeux de Combinaison. Octavin 2 feet. I 33. Bassoon et Hautbois , 8 feet. Trompette harmonique 8 feet. | 34. Voix humaine 8 feet. Clavier Pedales. Contre-basse i6feet. I 37. Octave i 4 feet. Basse • 8 feet. | Jeux de Combinaison. Bombarde , 16 feet. I 40. Clarion Trompette 8 feet. 1 , Eleven Pedals de Combinaison, etc. 4 feet. 118. Paris, Notre-Dame-de-Lorette. This organ was constructed in 1836, by Cavaille-Coll, father and son, and is the first instrument built by them after their establishment in Paris. It has 3 Manuals, a separate Pedal of 6 Stops, and 47 Sounding Stops, of which the following is a list : — Great Organ, 19 Stops; Compass, CC to f, 54 Notes. 12. Grand Cornet, commencing at f, VII ranks. 13. Gross Fourniture, IV ranks. 14. Petite Fourniture, IV ranks. 15. Cymbale IV ranks. 16. Bombarde, the Bass octave in unison with the Trom- pette 16 feet. 17. Trompette 8 feet. 18. Clairon 4 feet. 19. Voix humaine 8feettone. 1. Montre, the bass of wood ... 16 feet. 2. Bourdon ; i6feettone. 3. Montre 8 feet. 4. Salicional 8 feet. 5. Bourdon 8 feet tone. 6. Prestant '. 4 feet. 7. Flute ....y 4 feet. 8. Dessus de Flute conique 4 feet. 9. Nasard 2^ feet. 10. Quatre de Nasard 2 feet. 11. Doublette 2 feet. Choir Organ, 12 Stops; Compass, CC tof", 54 Notes. 20 Bourdon 8feettone. 21. Flute 8 feet. 22. Prestant 4 feet. 23. Flute 4 feet. 24. Nasard 2^ feet. 25. Doublette 2 feet. 26. Tierce 1 4 foot. 27. Plein-jeu, V ranks. 28. Cornet ...V ranks. 29. Trompette 8 feet. 30. Clairon 4 feet. 31. Basson 8 feet. Swell, 10 Stops; Compass, Tenor f to f^, 37 Notes. 32. Bourdon 8feettone. 33. Flute traversiere , 8 feet. 34. Flute "r..... 4 feet. 35. Flute octaviante 4 feet. 36. Flageolet 2 feet. 37. Cornet, III ranks. 38. Trompette 39. Hautbois 40. Voix humaine ... 41. Cor Anglais 8 feet. 8 feet. 8 feet tone. 8 feet. 4i6 APPENDIX. Pedal, 6 Stops; Compass, CCC to Tenor C; 25 Notes. 45. Trompette 16 feet. 46. Trompette 8 feet. 47. Clairon 4 feet. 42. Flute ouverte 16 feet. 43. Flute 8 feet. 44. Flute 4 feet. 119. Paris, Saint Genevieve. The organ in this Church was built by Cavaille-CoU in 1852-3, and contains the 21 Sounding Stops mentioned below :■=— Great, 9 Stops; Compass, CC to f^, 54 Notes. Bourdon 16 feet tone. Montre 8 feet. Salicional 8 feet. Bourdon 8 feet tone. Prestant 4 feet. 6. Gamba 4 feet. 7. Doublette 2 feet. 8. Trompette 8 feet. 9. Clairon 4 feet. Swell, 8 Stops; Compass, Tenor c to /', 42 Notes. i3' Flute harmonique 8 feet . Bourdon 8feettone. Viola di Gamba , 8 feet. Flute octaviante 4 feet. 14. Octavin 15. Trompette 1 6. Cor Anglais et Hautbois 17. Voix humaine ; — 2 feet. 8 feet. 8 feet. 8 feet tone. Pedal, 4 Stops; Compass, C C C to Gamut g, 20 Notes. 18. Sub bass 16 feet. I 20. Trompette 8 feet. 19. Bass 8 feet. | 21. Clairon 4 feet. 120. Elberfeld. The new Church in Elberfeld contains a very fine new organ built by J. F. Schulze & Son, in 1858. It has three Manuals and Pedals, and the Stops mentioned below : — Great Organ, 11 Stops. 1. Principal 16 feet. 2. Bourdon i6feettone, 3. Principal 8 feet. 4. Viola di Gamba 8 feet. 5. Hohlflbte 8 feet. 6. Octave 4 feet. 7. Gemshorn 4 feet. g (Twelfth 2f feet. ■ IFifteenth 2 feet. 9. 'Mixture, V ranks 2 feet. 10. Cornet, III ranks zf feet. 11. Trompette 8 feet. Choir Organ, 9 Stops. 12. Lieblich Bourdon i6feettone. 13. Geigen Principal 8 feet. 14. Gemshorn 8 feet. 15. Rohrflote 8 feet tone. 16. Octave 4 feet. 17. Rohrflote 4feettone. 18. Nasard zf feet. 19. Flautino 2 feet. zo. Oboe 8 feet. Third Clavier. 21. Lieblich Gedact 8 feet tone. z2. Harmonika 8 feet. 23. Vox Angelica 8 feet. 24. Flauto tra verso 8 feet. 25. Viola d'amour 4 feet. 26. Flute harmonique 4 feet. Pedal. 27. Violon 16 feet. 28. Sub-bass iSfeettone. 29. Quinte lof feettone. 30. Violoncello 8 feet. Gedact-bass 8 feet tone. Octave 4feet. Posaune 16 feet. 34. Trompette 8 feet. AN ACCOUNT OE FOREIGN ORGANS. 417 121. Basle. The fine new organ in tlj,e Minster Church at Basle, is the work of Frederick Haas, and contains 60 Sounding Stops, of which the following is a list : — Great, 17 Stops. 1. Principal, Eng. tin, in front 2. Bordun, wood, double mouths, from tenor c pipe 3. Octave, Eng. tin 4. Gemshorn, probe tin 5. Viola di Gamba, Eng. tin ... 6. Bordun, wood, double mouths, from tenor c pipe 7. Flauto, wood, double mouths, from fiddle g pipe 16 feet. 1 6 feet tone. 8 feet, g feet. 8 feet. 8 feet tone. 8 feet. 8. Quint, wood 5^feettone. 9. Octave, Eng. tin 4 feet. 10. Gemshorn, probe tin 4 feet. 11. Hohflote, wood 4 feet. 12. Quint, probe tin 2J feet. 13. Waldflote, probe tin 2 feet. 14. Mixture, probe tin, V ranlis 4 feet. 15. Cornet, probe tin. III ranks 5 J, 4, & 3! ft. 16. Fagotto 16 feet. 17. Trompette, tin 8 feet. 18. >9' 22. 23. 24. 25. Quintaton 16 feet tone. Principal 8 feet Bordun 8 feet tone. Viola d'amour 8 feet. Salicional 8 feet. Dolce 8 feet. Octave 4 feet. Flauto traverso 4 feet. Choir, 15 Stops. 26 Fngara 4feet. 27. Klein-gedact 4 feet tone. 28. Quinte 2f feet. 29. Octave 2 feet. 30. Mixtur, IV ranks 2 feet. 31. Cornet, V ranks. 32. Fagott and Clarinett 8 feet. Swell, 14 Stops. 33. Lieblich Bordun 16 feet tone. 34. .Spitzflote 8 feet. 35. Harmonika 8 feet. 36. Flauto traverso 8 feet. 37. Still Gedact 8 feet tone. 38. Spitzflote 4 feet. 39. Dolcissimo 4 feet. 40. Flute d'amour 4 feet. 41. Quinte ' zf feet. 42. Flautino 2 feet. 43. Physharmonika 16 feet. 44. Physharmonika 8 feet. 45. Vox humana 8 feet. 46. Vox humana 8 feet. Pedal, 14 Stops. 47. Untersatz, open wood 32 feet. 48. Octave-bass, wood 16 feet. 49. Violon- bass, Eng. tin 16 feet. 50. Violon-bass, wood 16 feet. 51. Sub-bass, wood i6feettone. 52. Quinte, stopped wood lojfeet. 53. Octave-bass, proof tin 8 feet. 54. Violoncello, proof tin 8 feet. 55. Flote, wood ' 8 feet. 56. Quintflote, wood 5J feet. 57. Octave 4 feet. 58. Posaune 16 feet. 59. Trompette 8 feet. 60. Clarine 4 feet. Accessory Stops, Sr'c. Coupler, Choir to Great. Coupler, Great to Pedal. Calcantenwecker. Registerzug for the Pedal. Registerzug for the Great Manual. Registerzug for the Choir Manual. 122. QUITTELSDORF. The organ in the village church of Quittlesdorf, near Paulinzelle, was built by Andreas Schulze in the year 1791. It has 21 Sounding Stops, two Manuals, and separate Pedal. Great Organ, 10 Stops. Bordun 16 feet. Principal 8 feet. Viola deGambe 8 feet. Gedact 8 feet. Hohlflote 8 feet. 6. Octave 4 feet. 7. Vogelflote 4 feet. 8. Sesquialtera, 11 ranks. 12, 7, 2J & i-|feet, 9. Mixtur VI ranks 2 feet. 10. Cimbel IV ranks. P P 4i8 APPENDIX. Choir Organ, 7 Stops, II. Lieblich Gedact 8 feet. iz. Quintaton 8 feet. 13. Flauto traverse 8 feet. 14. Principal 4 feet. Pedal, 4 Stops, 15. Rohrflote# 4 feet. 16. Waldflote , z feet. 17. Scharf, III ranlis 2 feet. 18. Violon 16 feet. 19. Sub-bass 16 feet. 20. Octave-bass 8 feet. 21. Posaune-bass 16 feet. Compass. Pedal C C C to tenor c. Manual C C (no C 4) to c (4 octaves). Accessory Stops, Couplers, &^c. Manual to Pedal. I Accord-glocks. Choir to Great. I Tremulant. 123. MiLBEITZ. The organ in the village church of Milbeitz, near PauUnzelle, was made by Andreas Schulze, the grandfather of the present organ-builders ; and contains the 21 Sounding Stops mentioned below : — Great Organ, 9 Stops. \. Bordun i6feettone. 2. Principal 8 feet. 3. Gedact 8 feet. 4. Hohlflote 8 feet. 5. Gamba 8 feet. 6. Octave 4 feet. 7. Flote 4 feet. 8. Sesquialtera 12, 17, 2§ & i| feet. 9. Mixtur, V ranks 2 feet. Choir Organ, 7 Stops. 10. Lieblich Gedact 8 feet tone. 11. Salicet 8 feet tone: 12. Flauto traverso 8 feet. 13. Principal 4 feet. 14. Rohrflote 4 feet. 15. Quint 2f feet. 16. Octave 2 feet. Pedal Oigan, 5 Stops. 17. Violin 16 feet. 18. Sub-bass 16 feet. 19. Octave-bass 8 feet. 20. Violin 8 feet. 21. Posaune-bass 16 feet. Accord-glocks. Pedal, C C C to tenor c. Couplers. I Compass. Tremulant. Manuals, C C to C (no,C C|;). 124. Angstadt. The organ in this church was built by J. F. Schulze, about the year 1838. It contains 21 Sounding Stops, 2 Manuals, and Pedal. The following is a list of its contents : — Great Organ, 8 Stops, 1. Principal, to middle c key, Bordun below 16 feet. 2. Principal 8 feet. 3. Gambe 8 feet. 4. Hohlflote 8 feet. 5. Octave 4feet. 6. Flote 4 feet. 7. Mixtur, V ranks 2 feet. 8. Cymbel, III ranks 2 feet. AN ACCOUNT OF FOREIGN ORGANS. 419 9. Bordun 16 feet tone 10. Principal 8 feet. 11. Flauto traverse 8 feet. 12. Gedact 8 feet. Choir Organ, 8 Stops. 13. Salicional 4 feet. 14. Dolzflote 4 feet. 15. Octave 2 feet. 16. Scharf, III ranks 2 feet. 17. Violin 16 feet. 18. Sub-bass 16 feet. 19. Prindpal-bass .•. 8 feet. Pedal Organ, 5 Stops. D. Octave-bass 8 feet. I. Violon 8 feet. 2 Couplers. 125. Lucerne. The organ in the Cathedral at Lucerne, in Switzerland, was built by Geissler of Salzbourg, in the year 1651. It has 48 Stops, 3 Manuals, and Pedal of 13 Stops, among which is a particularly fine Sub-bass of 32 feet in metal. It is proposed to rebuild this organ very shortly. Over the Manuals is the following quaint account of the organ : — "Organ in the Collegiate Church at Lucerne." " This organ is the masterpiece of John Geissler, native of Salzbourg. It was commenced and finished in the space of 17 years. The first use made of it dates from i6ji, when the son of this famous artist, elected Chaplain of this College, was celebrating his first Mass. TJie whole work consists of 3 Manuals; of a Pedal with two octaves; and 2826 Pipes, composed, for the most part of them, of English pewter. The largest of these measures 2 feet in diameter (qy.), 37 feet in length, and should contain very easily 13-08 French' pints of any liquor. The Mixtures of this admirable work may be varied 7 times, and besides this advantage, there are several registers whereby one may make use of the three Manuals together, or one or two of them separately. This masterpiece was first tried and approved of by four organists belonging to foreign princes, and cost about j 2,000 Rhenish florins, a sum which is esteemed very valuable for that time." The following is a list of the Stops in the Lucerne Organ : — Great, 12 Stops. Nachthorn 16 feet. Prestant 8 feet. Hohlflote 8 feet. Salicional 8 feet. Gemshorn 4 feet. Quint-flote 2J feet tone. Nazard 2f feet. Spitzflote 2 feet. Quiniadena 2 feet tone, Sesquialtera, V ranks- .. — 2^ feet. Trompet 8 feet. Vox hurhana 8 feet. •3' 14. 15- 16. 17 Principal 8 feet. Hohlflote 8 feet. Quint 5i feet. Octave 4 feet. Quint-flote 2f feet tone. 18. Terz-flote jf foot tone. Choir, II Stops. 19. Mixtur...III ranks. 20. Cymbel, 111 ranks. 21. Cornet, V ranks. 22. Schalmei 23. Hornlein, a small reed 8 feet tone, 8 feet. Echo, 12 Stops- 24. 25. 26. *7- 28. 29. Principal 16 feet. Octave 8 feet. Solo Principal 8 feet. Viola 8 feet. Quint 5j feet. Super-octave ■, 4 feet. 30. Gross-terz 3J feet. 31. Diiodecima 2^ feet. 32. Quintadena zfeettone. 33. Klein-terz i|- foot. 34. Sesquialtera, IV ranks 2^ feet. 35. Mixtur Ill ranks. P P 3 420 APPENDIX. Pedal, 13 Stops. 36. Sub-bass, metal 32 feet. ■ 37. Bass, metal 16 feet. 38. Principal, metal 16 feet. 39. Holz-bass, wood 16 feet, 40. Bourdon, wood i6feettone. 41. Octave 8 feet. 42. Klein-octave 8 feet. 43. Super-otcave 4 feet. 44. Mixtur, V ranks. 45. Bombarde 16 feet. 46. Posaune 8 feet. 47. Portune 4 feet. 48. Horn I feet. Accessory Stops, &^c. 1. Echo to Great. I 3. Great to Pedal. 2. Choir to Great. | 4. £cho to Choir. Compass. Manuals, CC to e^ in alt, short octaves. | Pedal, CCC to tenor c, short octaves. 126. WiNTERTHUR. The organ in the principal church at Winterthur, near Zurich, was built partly by Hasse and partly by Moser, of Freiburg. It contains 44 Sounding Stops, 3 Manuals, and a Pedal of 9 Stops. Among the latter is a very fine 32-feet Sub-bass, of wood. The following is a list of the Stops : — Great, 14 Stops. 15- 16. 17- 18. ■9- Principal 16 feet. Bourdon 16 feet tone. Octav 8 feet. Bourdon 8 feet tone. Viol de Gamba 8 feet. Flote, dopp lab 8 feet. Quint Flote 5 J feet tone. 8. Octav 9. Fugara :.. 10. Quinte 11. Wald Flote 12. Mixture, V ranks. 1 3. Cornet, V ranks. 14. Trompette Choir, II Stops. Bourdon ififeettone. Principal 8 feet. Viol de Gamba 8 feet. Bourdon 8feettone. Dolce 8 feet. 20. Gemshorn 4 feet. 21. Rohrflote 22. Flauto-traverso 23. Octave 24. Mixture, IV ranks. (Clarinet Treble) '' (Bassoon Bass...) Swell, 10 Stops. 26. Principal 8 feet. 27. Lieblich Gedact Sfeettone, 28. Harmonica 8 feet. 29. Salicional 8 feet. 30. Lieblich Flote 8 feet tone. 31. Spitz Flote 32. Flauto d'amore 33. Flautino 34. Physharmonica, free reeds 35. Vox humana 4 feet. 4 feet. 2f feet. 2 feet. 8 feet. 4 feet tone. 4 feet. 2 feet. 8 feet. ■ 4 feet. 4 feet. 2 feet. 8 feet. 8 feet tone. Pedal, 9 Stops. 36. Sub -bass, wood 32 feet. 37. Octav-bass, wood 16 feet. 38. Sub-bass, wood i6feettone. 39. Octav-bass, metal 8 feet. 40. Flote-bass, wood 8feettone. 41. Violoncello 8 feet. 42. Octav 4 feet. 43. Posaune 16 feet. 44. Trompette 8 feet. Accessory Stops, Alovements, ^^c. Coupler, Choir to Great. Ditto Swell to Choir. Ditto Great to Pedal. Ditto Choir to Pedal. 6, 7. Three Wind-trunk Valves. Tremulant to Swell. 10. Two Composition Pedals. Manuals, C C to fo in alt, 54 notes. Compass. Pedal, C C C to tenor c, 25 notes. AN ACCOUNT OF FOREIGN ORGANS. 421 127. Constance. The organ in the Cathedral of Constance, in Switzerland, was originally built in the year 1518, which date appears on the case of the instrument. It stands at the west end of the nave, and has the front Pipes richly decorated with diaper and scroll work. The organ has 2 Manuals and Pedal, and 27 Sounding Stops, of which the following is a list : — Great, ii Stops. 1. Bourdon i6feettone. 2. Principal 8 feet. 3. Viola di Gamba 8 feet. 4. Gedact 8 feet tone. 5. Octave 4feet. 6. Flote Gedact 4 feet tone. 7. Quinte 2^ feet. 8. Super-octare 2 feet. 9. Mixtur, V[ ranks 2 feet. 10. Cymbel, IV ranks i foot. 11. Dulcian 8 feet. Choir, 8 Stops. 12. Principal 8 feet. 13. Gemshorn i.... 8 feet. 14. Bourdon 8 feet tone. 15. Salicional 8 feet. 16. Octave 4 feet. 17. Rohrflote 4 feet tone. 18. Quinte 2f feet. 19. Mixtur, Til ranks 2 feet. 20. Principal-bass 16 feet. 21. Nassat-major i2feettone 22. Octave bass 8 feet. 23. Prestant-bass 4 feet. Accessory Stops. 1 . Choir to Great. 2. Great to Pedal. Pedal, 8 Stops. 24. Rausch-quint, II ranks 2f feet. 25. Mixtur IV ranks 2 feet. 26. Posaune.. 16 feet. 27. Trompet 8 feet. Compass. Manuals, C C to fs in alt. Pedal, CCC to Gamut G. 128. Stutgard. An organ was erected in the Stiftskirche, at Stutgard, by Conrad Schott, about the year 1591. The instrument now standing there was built in the year 1737, by Martin, of Hayengen, partner of the celebrated organ-builder, Gabler, for the Benedictine Abbey of Zwiefalten. It has been repaired and enlarged by Walker, of Ludwigsburg, and is a particularly fine instrument. It has 4 Manuals and 2 Pedals, and contains 70 Sounding-Stops, of which the following is a list : — Great Organ, 16 Stops. 1. Bourdon 32 feet tone. 2. Principal, tin, in front 16 feet. 3. Bourdon ififeettone. 4. Octav 8 feet. 5. Gamba 8 feet. 6. Gedact 8feettone. 7. Piffara, II ranks 8 & 4 feet. 8. Quint 5j feet. 9. Octave 4 feet. 10. Dolce 4 feet. 11. Fugara 4 feet. 12. Super-octav 2 feet. 13. Mixturj IV ranks ,.,4, ij, i^, & i feet. 14. Cornet, IV ranks lojfeettone. 15. Tuba 16 feet. 16. Trompette 8 feet. Second Manual, 13 Stops. 17. Bourdon i6feettone. 18. Principal 8 feet. . 19. Gedackt 8feettone. 20. Viola 8 feet. 21. Salicional 8 feet. 22. Piffara 8 feet. 23. Octav 4 feet. 24. Flote 4feet. 25. Rohtfiote 4feettone. 26. Nazard 2§ feet. 27. Super-octave 2 feet. 28. Mixtur, IV ranks 2 feet. 29. Clarinet 8feettone. 422 APPENDIX. Choir, or y^ Organ, 1 1 Stops. 30. Salicional 16 feet. 31. Principal 8 feet. 32. Gedackt 8 feet tone. 33. Viola 8 feet. 34. Harmonica 8 feet. 35. Flote 8 feet. 36. Octav 4, feet. 37. T ravers Flote 4 feet. 38. Flageolet 2 feet. 39. Mixtiir, II ranks. 40. Physharmonica 8 feet. Echo Organ, 9 Stops. 41. Principal 8 feet. 42. Gedackt 8 feet tone. 43. Dolce 8 feet, 44. Viola 4 feet, 45. Octav 4 feet. 46. Flote 4feet. 47. Salicet 2 feet. 48. Super-octav 2 feet. 49. Sesquialtera, II rank-s 2J & i-f-feet.' .50. Sub-bass, wood 32 feet. 51. Principal, metal 16 feet. 52. Octav, wood 16 feet. 53. Violone, II ranks 16 & 8 feet, 54. Quint 10^ feet. 55. Octav 8 feet. 56. Quintadon 8 feet tone First Pedal, 14 Stops. 57- Quint Si feet' 58. Octav 4feet. 59. Posaune 32 feet. 60. Po.saune 16 feet. 61. Trompette 8 feet. 62. Clarion 4 feet. 63. Clarion 2 feet. Second Pedal, 7 Stops. 64. Bourdon 16 feet tone. 65. Violoncello 8 feet. 66. Bourdon 8 feet tone. 67. Flote 4 feet. 68. Flautino 2 feet. 69. Serpent 16 feet. 70. Basset Horn 8 feet. 1. First Pedal to Second Pedal. 2. First and Second Manual. 3. First Manual to First Pedal. Accessory Stops. 4. Second Manual to Second Pedal. 5. Second and Third Manual. 6. Third and Fourth Manual. Compass Four Manuals, C C to d' in alt. | Two Pedals, C C C to tenor d. 129. Stutgard. ThQ organ in the Jews' Synagogue was built by Weigle in the year i860, has 2 Manuals, Pedal, and 23 Stops, of which the following is a list : — Great Organ, 11 Stops. It Bourdon i6feettone Principal 8 feet. Gedact 8 feettone. Viol de Gamba 8 feet. Flaut dolce 8 feet. Octave 4 feet. 7. Rohrflote 4 feet tone 8. Quint 2§ feet. 9. Snper-octave 2 feet. 10. Mixtur, IV ranks. 11. Trumpet 8 feet. Choir Organ, 7 Stops. Principal % feet. Lieblich Gedact 8 feettone. Dolce 8 feet. Salicional ', 8 feet. 16. Gemshorn 4 feet. 17. Traverse 4 feet. .18. Phisharmonica 8 feet. Pedal, 4 Stops. 19. Violon 16 feet. 1 21.. Octave 8 feet. 20. Bourdon 16 feettone. 22. Posaune •. 16 feet. Choir to Great. | Couplers, ^'c Great to Pedal. | Choir to Pedal. Glock. AN ACCOUNT OF FOREIGN ORGANS. 423 130. Weingarten. The central dome and the two west towers of the great church of the Benedictine Monastery, at Weingarten, are seen to great advantage from the Ravensburg Railway. The monastery is approached by a flight of twenty steps leading to a paved " place,*' with the west end of the church in front ; a house with gateway leading to monastic buildings to the right ; a fine prospect of the country to the left, with the steps, the town, and a view of Ravensburg, and country between and beyond in the remaining direction. The organ in the monastery was being cleaned and repaired at the time of our visit, by Weigle, of Stutgard. We could not, therefore, form any opinion of its general effect ; but we tried several of the pipes separately, and obtained a general idea of the scale of some of the stops. The 32-feet pipe, of tin, in front, measures between 15 and 16 inches in diameter; the largest stopped pipe, 32 feet lone, about II by 13 inches inside, of yellow deal. The violoncello, 8 feet, on the Pedal, is harmonic, 16 feet in length, of tin, 3 J inches in diameter ; the violon and octave-bass, 16 feet, are of wood, the latter about lo inches across the mouth. The " Coppel" is of metal, stopped, with sliding cap ; large scale, the C C pipe (4 feet length), being over 4 inches in diameter, probe tin, very thick, with arched lip ; tone full and pure, like that of very good wood pipes. The principal tutti, large scale, C C, 5^ to 6 inches, and very heavy pipes ; tone very strong. The carillon on third Manual, composed of real bells, shaped like those attached to skeleton clocks, of bright metal ; very musical and pure in tone. Bombarde- bass, 32 feet, of wood, like pear tree in the upper part, painted white outside. Scale small, tenor d about 2 inches square inside. Largest pipes have metal boots and sockets, wooden reeds, leathered, and brass tongues. , The Draw Stops are arranged in six horizontal rows on each side, six in a row, with two additional on each side, making 76 Draw Stops in the total. ' Knobs of turned ivory ; the draws also of ivory, f of an inch square. The names of the Stops on plates of ivory let into the fittings. Great, 16 Stops. Prestant 16 feet. Principal 8 feet. Rolirflote 8 feet tone. Piffara 8 feet. Quintaton 8 feet tone. Octave 4 feet. Rohrflote.... 4 feettone. Flote douce ' 4 feet. 9. Querflote 10. Holilflote 11. Super-octave 12. Sesquialtera, VIH ranlis 13. Mixture ...XX ranks.. 14. Cornet VIII ranks.. 15. Trompetten (new) 16. Cymbelstern. 17. Bordun 16 feet tone. 18. Principal tutti (strong) 8 feet. 19. Violoncello 8 feet. , 20. Coppel 8 feet. 21. Hohlflote 8 feet. 22. Unda Maris 8 feet. Choir, 12 Stops. 23. Salcional 24. Octav douce 25. Viola 26. Naoat 27. Mixture, XXI ranks 28. Cymbal, II ranks Echo, 13 StopSK 29. Bordun 16 feettone. 30. Principal 8 feet. 31. Quintaton 8 feettone. 32. Viola douce 8 feet. 33. Flauten 8 feet. 34. Octave 8 feet. 35. Hohlflote 4 feet. 36. Piflaro 37. Super-octave 38. Mixture, XII ranks 39. Cornet ...IV ranks 40. Clarinet (new) 41. Carillon, from tenor f up- wards. 4 feet. 2 feet. 2 feet. 2^ feet. 2 feet. 2 feet. 8 feet. 8 feet. 4 feet. 4 feet. 2 feet. 4 feet. 2 feet. 4 feet. 2 feet. 2 feet. I foot. 8 feet. 424 APPENDIX. fositif, 12 Stops. 4i. 43- 44- 45- 46. 47- Princip. douce, in front 8 feet. Violoncello 8 feet. Quintaton 8 feet. Flute douce 8 feet. Plffaro 4feet. Flauto traverso 4 feet. 48. Rohrflote 4 feet tone. 49. Querflote 4 feet. 50. Flageolet ■.., 4 feet. 51. Cornet, XII ranks 2 feet. 52. Hautbois 8 feet. 53. Voix humaine 8 feet. Pedal, 17 Stops. 54. Contra-bass, tin, in front ... 32 feet. 55. Sub-bass, wood 32feettone. 56. Octave-bass, wood 16 feet. 57. Violon-bass, wood 16 feet. 58. Quintaton-bass 16 feet. 59. Super-octave-bass, in front... 8 feet. 60. Flote douce bass 8 feet. 61. Violoncello-bass 8 feet. 62. Hohlflote-bass 4 feet. 63. Sesquialtera-bass, II and III ranks 64. Mixtureti-bass, V ranks ... 65. Bombarde-bass 6S. Posaune-bass 67. Trompette-bass 68. Fagott bass 69. Cornet-bass 70. Carillon Pedal. 2^ feet. 8 feet. 32 feet. 16 feeti 8 feet. 8 feet. 4 feet. Compass. Manuals, C C to c^ in alt. Pedals, C C C to tenor d. F at pitch. Accessory Stops, Movements, &r^c. 1. Coupler, Echo to Great. 2. Tremulant. 3. Cuckoo. 4. Rosignal. 5. Cymbals. 6. La force. 131. Munich. The organ in the Odeon Concert-room at Munich is a httle gem. It was built in 1 85 1, by Walker, of Ludwigsburg, and contains 20 Stops, distributed among 2 Manuals and Pedal. The Phys-armonica is on a separate wind, and is managed by a new pedal contrivance so as to produce the most exquisite effects of delicate crescendo and diminuendo. The following is the specification of the above-named organ : — Great, 10 Stops. 6. 7- 1. Bourdon, wood 16 feet. 2. Principal, metal 8 feet. 3. Gamba, wood 8 feet. 4. Rohrflote, metal 8 feet tone. J. Gedact, wood 8feettone. Octave, metal 4 feet, Flote, wood 4 feet. Octave, metal 2 feet. 9. Cornet, VII ranks i6feettone. 10. Trompette 8 feet. Echo, 6 Stops. 11. Salicional, metal 8 feet. 12. Flote, wood 8 feet. 13. Gedact, wood 8feettone. Pedal, 17. Sub-bass, wood, open 16 feet. 18. Viol de Gamba, metal 1 6 feet. 14. Spitzfkite, metal 4 feet. 15. Dolce, metal 4 feet. 16. Phys-armonica 8 feet. 4 Stops. Violoncello, metal 8 feet. Fagotto 16 feet. 19- 20. Accessory Stops. 1. Echo to Great. Manuals, C C to fs in alt. 1. Great to Pedal. Compass. Pedal, C C C to tenor d. AN ACCOUNT OF FOREIGN ORGANS. 42s 132. Ratisbon. The organ in the Church of St. Emmeran, at Ratisbon, was built about 250 years ago. It has 28 Stops, distributed among 2 Manuals and Pedal in the following manner : — Great, 10 Stops. 6. Flote 4 feet. 1. Principal 8 feet. 2. Bourdon 8feettone. 3. Gamba 8 feet. 4. Coppel 8 feet. 5. Octave 4 feet. 7. Quint zf feet. 8. Super-octave 2 feet. 9. Mixtur, lil ranks. 10. Mixtur, minor, II ranl^s. Choir, 8 Stops. 11. Coppel 8 feet. 12. Salicional 8 feet. 13. Allemande 8 feet. 14. Principal 4 feet. 15. Octave 4 feet. 16. Flote 4feet. 17. Spitzflote 4 feet. 18. Siiper-octave 2 feet. Pedal, 8 Stops. 19. Gross-bass 16 feet. 20. Violone 16 feet. 21. Principal 8 feet. 22. Violoncello 8 feet. 23. Quint 5^ feet. 24. Octave 4 feet. 25. Super-octave 2 feet. 26. Mixtur, V ranl^s. Accessory Stops. I. Choir to Great. 2. Great to Pedal. Compass. Manuals, C C to c^ in alt. Pedal, C C C to A. 133. BOTZEN. The organ in the Parish Church at Botzen, Tyrol, was built by Hess, and It has 2 Manuals and Pedal, and 30 Stops, of Great, 12 Stops. repaired by Carlo Mauracher. which the following is a list : — 1. Coppel 16 feet. 2. Gamba 8 feet. 3. Flaut amabile 8 feet. 4. Flauto stoppo Sfeettone. 5. Quintadena 8 feet tone. 6. Octave 4 feet. 7. Flauto duodecimo 2|- feet. 8. Super-octave 2 feet, 9. Mixtur. 10. Cornet. 11. Trombe 8 feet. 12. Vox humana Sfeettone. Choir, 10 Stops. 13. Coppel 8 feet. 14. Viola 8 feet. 15. Salicional 8 feet. 16. Principal 4 feet. 17. Flauto 4 feet. 18. Sesquialtera, II ranks 2|- feet. 19. Flageolet 2 feet. 20. Tibia Silvest 2 feet. 21. Cymbal i^ foot. 22. Dulcian 8 feet. Pedal, 8 Slops. 23. Principal-bass 16 feet. 24. Violon-bass 16 feet. 25. Sub-bass i6feettone. 26. Principal '. 8 feet. 27. Octave-bass 8 feet. 28. Mixtur-bass 4 feet. 29. Posaune 8 feet. 30. Clairon 4 feet. Compass. Manuals, C C to f» in alt. . Pedal, C C C to F F. 426 APPENDIX. 134. St. Peter's at Rome. So little is gunerally known in England concerning the organs of Italy, that it is presumed the following accounts of some of the large Cathedral and cele- brated Church organs of that country will be perused with much interest. It will be perceived, from the particulars relating to the subject, appended to the Specifications iu question, that the compass most usually adopted by the Italian organ-builders for the Manuals of their instruments is that descending to the CCC or i6-feet key. Occasionally this range is met with "complete," as in the organ at St. Alessandro, at Milan ; and therefore corresponding almost exactly with the downward compass of the Great organ Manuals at St. Paul's Cathedral ; Westminster Abbey, &c. The Stops of a Manual of such range are just double the size of the usually quoted lengths ; that is to say, the Principak (Open Diapason) is 16 feet actual measurement, and not 8 ; the Ottava (Principal) is 8 feet, and not 4 ; and so on ; and the Pedal organ of such instruments usually consists of but a very few Stops, as the deeper tones of the Manual serve as a sort of substitute for it in general effects. Sometimes the Manuals are of the compass denominated "CCC short ; " that is, they have the 16- feet key for the lowest note, but with certain tones omitted from the scale, and such an arrangement of the remaining keys as is shown in the following scheme : — EEE FF F» GG# - BB!7 CC c :c F] FF DDD G G EI :e AA E B Sometimes the Italian Manuals descend to FFF, as in the two large organs at Milan Cathedral ; corresponding with the compass adopted by Green for his organs at St. George's Chapel, Windsor ; Salisbury Cathedral, Greenwich Hospital, &c. The length of the Stops in all such FFF Manuals is half as large again as the corresponding Stops of CC organs ; thus the Manual and Pedal Diapasons are not simply 8 and 16 f^et in length, but 12 and 24 feet respectively. In a few instances, C C Manuals are met with ; as in two of the Geneva organs ; with, of course, a somewhat larger proportionate Pedal organ, by way of " Bass." Among other peculiarities in the Italian system of organ-building, will be noticed that of placing one more Open Diapason (Principale), in the Treble of the Manual than in the Bass, evidently with the view of preserving an equal strength between the upper and lower tones of the gamut, as in the organs at St. Peter's, at Rome, Milan Cathedral, &c. In some instances, this plan for strengthening the acute sounds will be found extended to the Principal (Ottava), as in organs at Milan, Como, &c. Another feature in connection with the Italian schemes is the plan of making a greater number of the small ranks of Pipes draw separately than is the custom in any other country. Thus we find not only the 19th and 22nd frequently appearing as separate Stops, but also the 26th, 29th, and even the 33rd and 36th, -disposed in a similar manner. Among the' most striking features in the Italian organs, however, is the constant presence of the Octave and Sub-octave couplers, which so materially increase the number of distinct combinations, as well as augment the general power of instruments possessing them. AN ACCOUNT OF FOREIGN ORGANS. 42/ In the Church of St. Peter's at Rome, there are four organs ; all of which, however, are small for so spacious an edifice. The largest one of the number was originally built about 150 years since, but has recently been reconstructed and enlarged by Priori, an organ-builder in Rome. It has 2 Manuals and Pedal, and 27 Stops, of which the following are the names. As, however, many of the names are probably new to many English readers, a list of equivalent terms is placed in parallel columns therewith, which will serve to elucidate their meaning : — Great, 17 Stops. I Principale doppio, Soprano e Basso Double Diapason, Treble and Bass. z. Principale i mo Soprano First Open Diapason, Treble. Principale imo Basso First Open Diapason, Bass. 3. Principale 2ndo Soprano Second Open Diapason, Treble, Principale zndo Basso Second Open Diapason, Bass. 4. Principale 3Z0, Soprano Third Open Diapason, Treble. 5. Flauto Traverse, Soprano e Bass German Flute, Ireble and Bass. 6. Flauto Tedesca, Soprano A kind of Clarabella. 7. Ottava Soprano Octave or Principal Treble. Ottava Basso Octave or Principal Bass. 8. Duodecima Twelfth. 9. Decima-quinta Fifteenth. 10. Ottavini, Basso e Soprano Piccolo, Bass and Treble. 11. Decima-nona Nineteenth or Larigot. 12. Vigesima seconda Twenty-second or Octave Fifteenth. 13. Vigesima-nona Twenty-ninth or Super octave Fifteenth. 14. Ripieno di quattro Chorus or Mixture, IV ranks. 15. Cornetto Soprano, di cinque Cornet, Treble, V ranks. 16. Tromba Soprano Trumpet, Treble. Trombone Basso Trombone, Bass. 17. Corno Inglese, Soprano English Horn, Treble. Fagotto, Basso Bassoon, Bass. Swell, 6 Stops. 18. Principale, Soprano Open Diapason, Treble. Principale, Basso Open Diapason, Bass. 19. Ottava Octave or Principal. 20. Decima-quinta Fifteenth. 21. Ripieur di cinque Mixture, V ranks. 22. Oboe, Soprano Hautboy, Treble. 23. Tromba, Soprano Trumpet, Treble. Corno, Basso Horn, Bass. Pedal, 4 Stops, 24. Contra-Basso, di 16 Open Diapason, wood 16 feet. 25. Principale, di 16 Diapason 16 feet. 26. Principale, di 8 Principal..". 8 feet. 27. Reinforza a lingue Free Reed, without tubes l6feettone. Accessory, Stops, Movements, Sr'c. 1 . Coupler, Swell to Great. 2. Coupler, Great to Pedal. 3. Coupler, Swell to Pedal. 4, 5. Octave and Sub-octave on Great Manual. 6, 7, 8. Three Composition Pedals. 9. Dram Pedal. Co7/ipass. Manuals, C C C, short, to f ' in alt | Pedal, C C C, short, to tenor c. 428 APPENDIX. 135. Rome. The organ that ranks as second in point of size in St. Peter's, at Rome, was built by Priori, of that city, and has I Manual and Pedal, and 21 Stops, of which the following is a list : — Manual^ 17 Stops. I. Contra-Bassi, Soprano e Basso. I. Principale, imo Soprano. Principale, Basso. 3. Principale, zndo Soprano. 4. Flauto Traverso, Soprano e Basso. 5. Flauto Tedesco, Soprano. 6. Ottava, Soprano. Ottava, Basso. 7. Duodecima. 8. Decima Quinta, 9. Ottavini ne Basso, 10. Decima Nona,. 11. Vigesima Seconda. 12. Vigesima Nona. 13. Ripieno di cinque. 14. Cornetto di quattro, Soprano. 15. Voce Umana [not a reed). 16. Tromba, Soprano. Trombone, Basso. 17. Corno Inglese, Soprano. Fagotto, Basso. 18. Contra-Basso, di 16, 19. Principale ...di 8. Pedal^ 4 Stops. Accessory Stop. Drum. Ottava, ...di 4. Bombarde di 16. The Church of St. John of Lateran, at Rome, has an organ of 36 Stops, was first built in 1549, and is the largest instrument in the city. It 136, Milan Cathedral, Iji Milan Cathedral there are two organs, one on each side of the choir ; both of which are! exceedingly effective, and suit admirably the noble building in which they are placed. Neither of them contain any Reed Stops : Stops of that nature being expressly forbidden by the Ambrosian rite. Both instruments were made by the brothers Serassi, of Bergamo. That which stands on the north-side of the choir was completed in 1842, has i Manual and Pedal, and the following Stops : — Manual, 28 Stops. Doppio ne Soprani, di 14 Piedi. (Double Treble.) Contra-Basso, di 24 Piedi ...(Double Bass) Principale imo Soprano ...(Open Treble) Principale imo Basso (Open Bass) Principale zndo Soprano..,. (Open Treble) Principale indo Basso (Open Bass) Principale 3Z0 Soprano (Open Treble) Violone-Soprano (Violin) Violono-Basso (Base) Flautone, Soprano (Met. St. Dn.) Flautone, Basso (Stopped Bass) Flauto Tedesca (Clarabella) Ottava, imo Soprano (Prin. Tre.) Ottava imo Basso (Prin. Bass) Ottava zndo Soprano (Prin, Tre,) Ottava 2ndo Basso (Prin. Bass) Ottavo 3Z0 Soprano (Prin. Tre.) Viola-Soprano (Octave Gambaj Violoncello-Basso (Gamba Bass) Flauto Traverso (German Flute) Duodecimo ( 1 2 th) Decima Quinta, imo ('Sth) 15- 16. 17- 18. 19- 20. 21. 22. »3- 24, 25- 26, 27. 28. Decima Quinta, 2ndo ('5'^) Flautino (Piccolo) Decima nona, e imo. Vigecima Seconda (19 and 22) Decima nona, e 2ndo. Vigesima Seconda (19 and 22) Vigesima sesta, e 1 (26 and 29) Vigesima nona J ^ " Vigesima Quarto, e 1 (24 and .7) Decima Settima ) ^ ^ " TrigesimaTer2a,e-| (33 and 36) Trigesima sesta J *-'■' ■* ' Trigesimaprima,e| _;_ (3, and 36) Trigesima sesta j '■' ■* ' Ripieno di quatro (Mixture IV ranks) Ripieno di tre (Mixture III ranks) Cornetto- Soprano, a cinque (Cornet V ranks) Cornettino-Sop : a quattro (small Cornet IV ranks) Corno dolce, Soprano (Soft Horn) Voce Humana, Sop (not a reed) AN ACCOUNT OF FOREIGN ORGANS. 429 Pedal, 4 Stops: %t). Contra Basso 24 feet. I 31. Ottava 12 feet. 30. Basso Profondo 24 feet. | 32. Principale 12 feet. Accessory Stops, Movements, S^c. 1. Terz» Mano (third-hand, octave Coupler.) I 3. Tremblant. 2. Pedali armonichi (Pedal Coupler.) | 4, 5. Two Composition Pedals. Compass. Manual, FFF to f» in alt, complete. | Pedal, FFF to tenor c, complete. 137. Milan Cathedral. The organ on the south side of the Choir has 2 Manuals and 29 Stops, of which the following is a list : — Great, 21 Stops. 1. Contra-bassi. 2. Principale imo Soprano. Prilicipale imo Basso. 3. Principale znito Soprano. Principale 2ndo Basso. 4. Flauto Traverse. 5. Ottava Soprano. Ottava Bassi. 6. Ottava Soprano. Ottava Bassi. Flauto in Ottava. Duodecima. Quinta Decima. 7- 10. Decima nona. 1 1 . Vigesima seconda. 12. Vigesima sesta. 13. Vigesima nona. 14. Vigesima sesta e nona. 15. Trigesima terza. 16. Trigesima sesta. 17. Trigesima terza e sesta. 18. Quadragesima, e Quadragesima terza. 19. Cornetta primo. 20. Cornetta secunda. 21. Voce Umana. Positif, 8 Stops. 25. Quinta decima. 26. Decima nona. 27. Vigesima secunda. 28. Vigesima sesta. 29. Vigesima nona. Accessory Stops, Movement, b^c. 1. Bassi armonici ne Pedali. [ 3. Sub-octave Coupler. 2. Terzo Mano. | 4. Piano and Forte movement. Compass. Manuals, FFF to gs in altissimo. j Pedal Clavier, FFF to Tenor b. 22. Principale Soprani. Principale Bassi. 23. Flauto Soprani. 24. Ottava Soprani. Ottava Bassi. The organ in the Church of and a Pedal of 10 Stops. The 138. Milan. St. Alessandro, at Milan, has 49 Stops, 2 Manuals, following is its specification : — Great, 24 Stops 1. Principale Soprano imo 32 feet. Principale Basso imo 32 feet. 2. Principale Sop. e Basso 2ndo 32 feet. 3. Violone Basso al CC 32 feet. 4. Principale Soprano imo 16 feet. Principale Basso imo 16 feet. 5. Principale Soprano 2ndo ... 16 feet. Principale Basso 2ndo 16 feet. 6. Viola Soprano 16 feet. Viola Basso 16 feet. 7. Como Flauto 16 feet. 8. Ottava Soprano imo 8 feet. Ottava Basso imo 8 feet. 9. Ottava Sop. e Basso 8 feet. 10. Flauto Soprano 8 feet. Flauto Basso 8 feet. 11. Violino Soprano 8 Basso Viola 8 12. Quinta decima imo 4 13. Quinta decima 2ndo 4 14. Decima nona 3 15. Ottavino 2 1 6. Ripieno di due. 17. Ripieno di quattro. 18. Ripieno di tre. 19 Ripieno di quattro. 20. Corno Inglese 32 21. Tromba Soprano 16 Tromba Basso 16 22. Clarinetto Soprano 16 Fagotto Basso 16 23. Tromba allemanno Basso ... 16 24. Tromba Armoniche 8 feet, feet, feet, feet, feet, feet. feet, feet, feet, feet, feet. feeL feet. 430 APPENDIX. 40. 41. 4Z. 43- 44. Principale, Soprano 16 feut. Principale, Basso 16 feet. Voce flebile, Soprano imo ... 16 feet. Voce flebile, Basso . j 6 feet. Voce flebile. Sop. 2ndo 16 feet. Violetta, Soprano I mo 16 feet. Violoncello Basso 16 feet . Violetta Soprano 2ndo 16 feet. Otlava 8 feet. Swell, 15 Stops. 31. Flauto traverse, Soprano ... 8 feet. 32. Viola Basso 8 feet. 33. Decima quinta 4 feet. 34. Decima nona 3 feet. 35. Vigesima seconda 2 fdec. 36. Vigesima sesta e nona. 37. Clarinetto, Soprano 16 feet. 38. Fagottone, Basso 32 feet. 39. Claroone, Basso 8 feet. Pedal, 10 Stops. Violone profondo 32 feet. Contrabassi e rinforzi 16 feet. Violoncello a lingur in la ... 16 feet. Bassi armonichi e duodecima. Principali e ottava ,... 8&4 feet. 45. Ripieno a tre 8, 6, & 4 feet. 46. Bombard! 16 feet. 47. Tromboni 8 feet. 48. Corni da caccia 4 feet. 49. Timpani. Accessory Stops, Movements, Ss^c. 1. Coupler, Swell to Great. 2. Coupler, Great to Pedal. 3. Seraphine, or Fisarmonica, on a separate wind. 4. Thunder Pedal. 5. Drums. 6. 7, 8. Three Composition Pedals. Compass. Great, C C C to c* in altissimo, six complete octaves. Swell, C C to c* in altissimo, live complete octaves. Pedal C C C to Tenor c, two comple octaves. 139. COMO. There are two organs in the Cathedral at Como. The oldest was built in 1 596, and was afterwards much improved, but is now unplayable. The other was erected in 1650, by Hermann, a Jesuit, and is of exquisite tone. It has 3 Manuals and Pedal, and 48 Stops, of which the following is a list : — Great Organ, 20 Stops. Principale Soprano Principale Soprano e Basso Principale Soprano, imo ... Principale Basso, imo Principale Soprano, 2ndo ... Principale Basso, zndo Principale Soprano, 320 Flauto Soprano Viola, Basso profunda Ottava Soprano, imo Ottava Bass, imo Ottava Soprano e Basso Flauto in ottava, Soprano e Basso 32 fuet. II 32 feet. 12 16 feut. 16 feet. n 16 feet. 14 1 6 feet. i^ 16 feet. t6 16 f-:et. 17 16 feet. 18 8 feet. 8 feet. 19 8 feet. 8 feet. Duodecima Quinta decima Soprano Quinta decima Basso Ottavius Soprano Decima nona Vigesima seconda Ripieno di quattro. Ripieno di quattro. i8. Tromba Soprano Ti'omba Basso Trombe di caccia Soprano Fagotto Basso 20. Voce Umana, Soprano 6 feet. 4 feet. 4 feet. 4 feet. 3 feet. 2 feet. 1 6 feet. 1 6 feet. J 6 feet. 16 feet. 1 6 feet. Choir Organ, 17 Stops. 21. Principale Soprano 16 feet. Principale Basso 16 feet. 22. Principale Soprano 16 feet. 23. Flautn allemanno. Soprano ... 16 feet. 24. Violino Soprano 16 feet. Viloiie Basso 16 feet. 25. Ottava Soprano 8 feet. Ottava Basso 8 feet. 26. Flauto in ottava, Soprano ... 8 feet. Flauto Basso 8 feet. 27. Quinta-decima 4 feet. 28. Flagioletta Soprano 4 feet. 29. Decima nona 3 fee:. 30. Vigesima seconda 2 feet. 31. Vigesima sesta e nona. 32. Trigesima tcrza e sefta. 33. Cornetto Soprano, di cinqne. 34. Cnrno Inglete Soprano 32 feet. 35. Oboe Soprano 16 feet. Violoncello Basso (a reed)... 16 feet. 36. Voce Umana, Soprano 16 feet. 37. Tromba armoniche. Basso 8 feet. AN ACCOUNT OF FOREIGN ORGANS. 431 Swell Organ, 7 Stops. 38. Principale Soprano j6feet. Principale Basso t^feet. 39. Flauto in otcava 8 feet. 40. Ripieno di cinque. 41. Coino dolce, Soprano 32 feet. 42. Corno Bassetto, Soprano... 32 feet. 43. Voce Umana, Soprano 16 feet. 44. Fagottone, Basso 16 feet. 45. Contra Bassi con rinforzi .. 46. Contra Bassi dolci (stopped) Pedal Organ, 4 Stops. 32 & i6feet.l 47. Bombardone j6feet. 16 feet. I 48. Tromboni 8 feet. Accessory Stops, Movements, dr'c. 1. Coupler, Choir to Great, 2. Coupler, Swell to Great, 3. Coupler, Great to Pedal, Manuals, C C C short to f= in alt. 4, 5. Octave and Double Couplers. 6, 7, 8. Three Composition Pedals. 9. Drums. Compass. I Pedal, C C C short, to tenor d. 140. COMO. The organ, in the Church of the Santissimo Crocifisso, at Come, was built by the Brothers Serassi, of Bergamo. It has 2 Manuals, a Pedal of 8 Stops, and 39 Stops, of which latter the following is a list : — 1. Principale Soprano 32 Principale Basso 32 2. Principale Soprano 32 3. Corno dolce 32 4. Principale Soprano, imo ... 16 Principale Basso, inio 16 5. Principale Soprano, 2ndo ... 16 6. Principale Soprano, 320 16 7. Flauto-traverso Soprano 16 8. Violone Basso 16 9. Ottava Soprano e Basso 8 10. Ottava Soprano 8 11. Viola Basso 8 12. Flauto ottava. Soprano 8 Great, 24 Stops. feet. 12. Flauto ottava. Basso 8 feet. feet. 13. Duodecima 6 feet. feet. 14. Quinta Decima, Soprano .. 4 feet. feet. Quinta Decima, Basso 4 feet. feet. 15. Decima nona 3 feet. feet. 16. Vigesima seconda 2 feet. feet. 17. Ripienc di quattro. feet. 18. Ripieno di quattro. feet. 19. Cornetto di cinque. feet. 20. Corno Inglese, Soprano 32 feet. feet. 21. Tromba Soprano 16 feet. feet. 22. Fagotti Basso 16 feet. feet. 23. Voce Umana, Soprano 16 feet. feet. 24. Clarone, Basso g feet. Swell Organ, 8 Stops. ^5 Principale Soprano 16 feet. Principale Basso 16 feet. 26. Corna Musa 16 feet. 27. Ottava Soprano 8 feet. Ottava Basso 8 feet. 28. Flauto in ottava 8 feet. 29. Decima quinta e nona. 30. Ripieno di tre. 31. Cornettino di tre, Soprano. 32. Serpen tino Bass, al C C ... 32 feet. Pedal Organ, 8 Stops. 33- 34- 35- 36. Contra-bassi, al sol (GGG) 32 feet. Contra-bassi con rinforzi ... 16 feet. Ottavo 8 feet. Ripieno di cinque. 37. Bombard! 16 feet. 38. Tromboni 8 feet. 39. Trombe 4 feet. Accessory Stops, Movc/nents, dr'c. 1 . Coupler, Swell to Great. 2. Coupler, Great to Pedal. 3. Coupler, Swell to Pedal. 4. Octave Coupler. 5. Sub-octave Coupler. Manuals, C C C short, to f in alt. Compass. I 6. Timpani. 7. Bells. 8. Thunder. 9. 10. Two Composition Pedals. Pedal, C C C short, to tenor c. 432 APPENDIX. 33 of 141. Florence. The organ in the Church of St. Gaetano, at Florence, has 3 Manuals, embracing Stops, and a very good Contra-basso on the Pedal. The following is a list the Stops : — Great, 14 Stops. Prindpale, Soprano 8 feet. Principale, Basso 8 feet. Otrava 4 feet. Flauto 4 feet. Nasardo 3 feet. Decima quint a 2 feet. Flautino, Soprano e Basso ... 2 feet. Decima nona i^ foot. 1 3. Vigesima seconda i foot. Ripieno di tre. Cornetta di tre. Cornettino di tre. Tromba. Soprano 8 feet. Tromba, Basso ..; 8 feet. Voce Umana 8 feet. \\. Clarone 4 feet. Choir, XI Stops. 26. 27. 28. 29. Corno dolce, Soprano 16 feet. Principale, Soprano 8 feet. Principale, Basso 8 feet. Voce Angelica 8 feet. Flautone (mstal) 8 feet. Ottava 4 feet. Flauto 4 feet. Flautino 2 feet. 22. Corno Inglese, Soprano 16 feet. 23. Tromba, Basso e Soprano... 8 feet. 24. Oboe, Soprano 8 feet. 25. Voce Umana 8 feet. Echo, 8 Stops. Principale 8 feet. Ottava 4 feet. Flauto 4 feet. Nasardo 3 feet. 30. Decima quinta 2 feet. 31. Ripieno di quattro. 32. Cornettino di tre. 33. Tromba '. 8 feet. Pedal, I Stop. 34. Rinforza de Contra-bassi (wood, open) 16 feet. Accessory Stops, Movements, Sr'c. 1 . Coupler, Choir to Great. 2. Coupler, Echo to Great. 3. Great Octave Coupler. Manuals, C C short, to c^ in alt. Compass. 4. Great Sub-octave Coupler. 5. Great to Pedal. 6. 7, 8. Three Composition Pedals. Pedal, C C C short, to tenor c. There are very excellent organs in the Churches of S. Spirito and Santa Croce, at Florence ; the particulars of which, however, are not at hand. That in the Church of S. Spirito has been rebuilt by Ducie, of Florence, and contains some remarkably fine Reeds, and a very effective i6-feet Principale on the Pedal. 142. Genoa. The, organ in the Church of Santa Maria des Vignes, at Genoa, was built by the Brothers Serassi, of Bergamo. It has 28 Stops, of which the following is a hst :— Manual, 27 Stops. II. 12. Soprano Doppio. Contra-basso. Principale imo Soprano. Principale inio Basso. Principale 2ndo Soprano. Principale 2ndo Basso. Flauto Tedesco. Flauto Francese, Soprano. Ottava, Soprano. Ottava, Basso. Traverso ottava. Viola Basso. iJuodecima. Decima Quinta imo. Decima Quinta 2ndo. Ottavini. '3- 14. IS- 16. I?' Decima nona. Vigesima seconda, Vigesima sesta. Vigesima nona. Flagioletti ne Bassi. 18. Trigesima'sesta. 19. Ripieno di quattro. 20. Ripieno di tre. 21. Cornetto di cinque. 22. Cornetto di tre. 23. Tromba, Soprano: Trombone, Basso. 24. Cor Anglais, Soprano. 25. Fagotti, Basso. 26. Timpani. 27. Bells. AN ACCOUNT. OF FOREIGN ORGANS. 433 Pedal, I Sto^. 28. Rinforzo diContra-bassi (open, wood).... 16 feet. Ae'cessory Stops, Movements. &'c. I. Octave Coupler. | 2. Sub-octave Coupler. | 3 to 8. Six' Composition Pedals Compass.- . . . ■ . Manual, C C short, to c* in alt. | ■ Pedal, C C C short,, to tenor c. 143. Genoa. The organ in the. Carigrana Church, at Genoa, was built by. Hermann, contains 3 Manuals and 42 Stops, of which the following is a list :— If 1. Contra-basso, Soprano e Basso. 2. Contra basso,.'Soprano. 3. Principale Soprano i mo'. Principale Basso imo. 4. Principale Soprano 2ndo, Principale Basso 2ndo. S- Principale Soprano 3Z0.' 6. Flauto traversoj Soprano e Basso. 7. Flauto Tedesco, Soprano e Basso, 8. Ottava Soprano imo. Ottava Basso. 9. Ottava Soprano zndo; 10. Flautino. 11. Duodecima. 12. Decima quinta. Great, 25 Stopsi- 26. Principale. 27. Flautino. 31. Principale. 32. Cornodolce, Soprano. 24 25. Stops. 13. Ottavini, Soprano e Basso, 14. Decima nbna.' 1 5 . Vigesima secolida. 16. Vigesima nona. 17. Trigesima sesta. 18. Sesquialtera di quattro. 19. Ripieno di cinq.ue. 2D*- Cornetto di-quattro. 21. Cornetto di tre. 22. Tromba Soprano. Trombone Basso. 23. Tromba Real, Soprano. Fagotto Basso. Voce Umana (a reed). Corna Musa; Soprano, Choir, Ottava. Ripieno di cinque. Echo, 6 Stops. Ottava. 34. Ripieno, di quattrcf. 30. Vox Pueri, Soprano. Vox Tauri, Basso. 35. Oboe, Soprano. 36. Tromba, Soprano. 37. Contra Basso,alLa(tQAAA) 32 feet. 38. Principale 8 feet. 39. Contra Basso ... ; : i6feet. I Coupler, uniting all the Manuals. 2. Coupler, Great to Pedal. 3. 4, 5. Three Composition Pedals. 6. Bells, on Choir Manual. Great, C OC short, to c^in alt. Choir, C C C short, to c» in alt. Pedal, 6 Stops. 40. Principale 8 feet. 41. Tromba 16 feet. 42. Oarone 8 feet. Accessory Stops, Movements, Sr'c. 7, 8. Two Bird Stops, on Echo Manual. 9. Thunder, by means of a Pedal.. 10. Drum, by means of a Pedal Compass. Swell, Pedal, CC to c» in alt. C C C ^ort, to tenor d. 144. Geneva. The orgstn in the Cathedral Church of St. Pierre, at Geneva, was built by Gerger, about 150 years since. It has 4 Manuals, a' Pedal of ■ 2< octaves, and 45 Stops, of which the following is a list : — Great, 1 7 Stops. , I. Montre 16 feet. ~ 2. Grand Bourdon i6feettone. 3. Huit Pieds ouverte 8 feet. 4. Principal 8 feet. Flute 8 feet. Bourdon 8 feet tone. Prestant 4 feet. Nazard 3 feet. Quarte de nazard 2 feet.. Doublette 2 feet. 12. Cymballe. 13. Fourniture. 14. Cornette, V ranks. 15. Trompette des dessus......... 8 feet. Trompette des bassus 8 feet. 16. Clairon 4 feet. 17. Vbix humaine 8 feet tone. QQ 434 APPENDIX. Choir, lo Stops. i8. Bourdon .-. 8 feet. 19. Prestant 4 feet. 20. Flute 4 feet. 21. Doublette 2 feet. Tierce , - foot. 23. Cymballe. 24. Fourniture. 25. Cornette. 26. Trotnpette 8 feet. 27. Crom Horn 8feettone. Echo, 6 Stops. 28. Bourdon Sfeettone. 29. Prestant 4 feet. 30. Flute 4 feet. 31. Cornette, III ranks. 32. Tronipette 8 feet. 33. Crom Horn Sfeettone. Orgue de Recit, 6 Stops. 34. Bourdon Sfeettone. 35. Flute Allemande 8 feet. 36. Prestant 4 feet. 37. Doublette 2 feet. 38. Cornette, IV ratiks. 39. Trompette 8 feet. Pedal, 6 Stops. 40. 16 Pieds ouverte, to G G ... 16 feet. 41. Bourdon i6feettone. 42. Huit Pieds ouverte S feet. 43. Bombarde 16 feet. 44. Trompette 8 feet. 45. Clairon ...'. 4 feet. Accessory Stops, Movements, Sr'c. Coupler, Positif to Great. | z. Coupler, Great to Pedal. Compass. Great, CC to d^ in alt. Positif, CC to d3 in alt. Orgue de Recit. Fiddle g to da in alt. Echo, Middle ci to d^ in alt. Pedal, C C C to tenor c. 145. Siena. The organ in the Cathedral is very small, yet a very effective instrument. It has but I Manual and 14 Stops, of which the following is a list : — 1 . Principale, Soprano. Piincipale, Basso. 2. Flauto Traverso. 3. Ottava. 4. Decima Quinta. 5. Decima nona. Manual, 11 Stops. 6. Vigesima Seconda. 7. Ripieno di quattro: 8. Cornetto di cinque. 9. Tromba, Soprano e Basso. 10. Corno Inglese. 11. Voce Umana (not a Reed). 12. Contra-bassi, al La (AAA) 13. Contra-bassi, al La (AA) . Pedal, 3 Stops. 32 feet. I 14. Rinforza [de Contra-bassi 16 feet. I (Trombone) 16 feet. Compass. Manual, CCC short, tod' in alt. | Pedal, C C C short, to F F. Accessory Stops, Movement, Ssr^c. I, 2. Manual Couplers, octave above and below. | 3. Manual to Pedal. 146. Seville. The large organ in Seville Cathedral has frequently been extolled by tourists for its magnitude and great power. There are several organs in the Cathedral the two principal of which stand, sideways, one on each side of the Choir and opposite each other. Each of these has a complete and beautifully adorned front, both behind as well as before ; and also a handsome " Choir organ in front " not AN ACCOUNT OF FOREIGN- ORGANS. 435 only towards the Choir, but also another towards the Aisle. The Reed Stops, which are unexampled for their number, are placed outside the organs, and project horizontally from the several fronts in 2, 3, and 4 tiers. The largest Pipes are uppermost, and are supported by iron bars. The mouths of the Tubes are Trumpet-shaped. The older of the two chief organs is the largest. According to most accounts, this has no Stops and 5,300 Pipes. It is evident, however, that many of the Stops are, like those in the Italian organs, just described, only " Half Stops." By iio other means could such an aggregation of Stops be accounted to comprise a number of Pipes inferior to that contained in the Rotterdam, Wein- garten, and some other organs which have at the same time 30 or 40 Stops less than the Seville organ. Still less could it otherwise be explained how there can be two " first " Mixtures, two " second " Mixtures, and so forth. The following account and translation of the large Seville organ have been prepared from memo- randums made from the Draw-Stop handles by J. W. Eraser, Esq., of Manchester, and forwarded to Mr. Hill, the eminent organ-builder, who kindly furnished them to the writer. The figures, 13, 26, and 52, attached to certain Stops, seem to correspond with the signs 8, 16, and 32, in the German tablature, in marking the size of the large Foundation Stops : — Great, 42 Stops, 62 Draw-Stops, ' 1. Flauto de 26 Double Diapason. (Treb.) Flauto de 26 Double Diapason. (Bass.) 2. Flauto de 26 Double Diapason. (Treb.) 3. Violonde26 Gamba Major, or Double Gamba. ' (Treb.) ViolondezS Gamba Major; or Double Gamba. (Bass.) 4. Tolosana de 26 Double Stop ; probably either invented or first made at Tolousej and hence named after that place. 5. Baxoncillo Open Diapason. (T.) " Baxon " is a Bassoon and Baxoncillo Open Diapason. (B. ) "iUo" implies diminution ; 6- ^-™'=!;;<' Open Diapason. (T.) ^^^^.^^^^^J^.Z Baxoncilio Open Diapason. (B ) the Englislv Open Diapason. 7. Baxoncillo Open Diapason. (Treb.) 8. Tapadillo Stopped Diapason. (Treb.) Tapadillo Stopped Diapason. (Bass.) 9. Tapadillo Stopped Diapason. (Treb.) 10. Flautadei3 Unison Flute. (Treb.) Flautade 13 Unison Flute. (Bass.) 11. Flautade 13 Uniso-n Flute. (Treb.) 12. Flauta Traversa German Flute. (Treb.) 13. Violon de 13 Gamba. (Treb.) Violondei3 Gamba. (Bass.) 14. Violon de 13 .. Gamba. (Treb.) 15. Tolosana Unison Stop. See No. 6 above. 16. Docena de 26 Twelfth to the 26-feet Stops. Fifth to the 13-feet Stops. Quint. 17. Octava Octave or Principal. (Treb.) Octava Principal. (Bass.) 18. Octava Principal, 19. Doceny 26° Twelfth and 26th {Octave Larigot). 20. Quincena Fifteenth. 21. Lleno i» First Mixture. (Treb.) Llerio 1° First Mixture. (Bass.) 22. Lleno 2° Second Mixture. (Treb.) Lleno 2° Second Mixture. (Bass.) 23. Lleno Mixture. 24. Corneta Cornet. 25. Corneta Cornet. 26. Trompa de J2 Double Double Trumpet. 27. Trompa de 26 '. Double Trumpet. (Treb.) Trompa de 26 Double Trumpet. (Bass.) QQ2 436 APPENDIX. i8. TrompaReal Royal or Grand Trumpet. (Treb.) Trompa Real Royal or Grand Trumpet. (Bass.) 29. Trompa Real Royal or Grand Trumpet. (Treb.) TrompaReal Royal or Grand Trumpet. (Bass.) 30. Trompa de Batalla Battle Trumpet. (Treb.) Trompa Magna Great Trumpet. (Bass.) 31. Trompa 8 Octave Trumpet, probably. 32. Oboe Hautboy. Fagot 1 Bassoon. 33. Cremona Cremona. 34. Vox de 13 Vox humana. 35. Viejos "Viejos," the eyebrows. This Stop takes its Viejos name from the shape of the cover or plug at the top of the Pipe. 36. Clarin Real Royal or Grand Clarion. (Treb.) Clatin Real Royal or Grand Clarion. (Bass.) 37. Clarin Real Royal or Grand Clarion. 38. Clarin de Batalla Battle Clarion. (Treb.) Clarin de Batalla Battle Clarion. (Bass.) 39. Clarin Claro Clear Clarion. 40. Clarineni5 Octave Clarion. (Treb.) Clarinen 15 Octave Clarion. (Bass.) 41. Clarinen 15 Octave Clarion. 42. Orlo Orlo, shawm; " Cink" of Dutch and "Zincke" of German organs. The original instrument ex- ists only in the German saying, " in Heaven the angels only play fiddles and shawms." Forte de Echo, 10 Stops, 12 Draw-Stops. 43. Baxoncillo Open Diapason. 44. Tapadillo Stopped Diapason. . 45. Flauta traverse German Flute. 46. Flauta Flute. 47. Corneta ; Cornet. 48. Trompa Real Grand. T)-umpet. Trompa Magna Great Trumpet. ^9. Trompa Bastarda " Bastarda," a piece of ordnance. [Trumpet. Bombarde or Great Reed. Probably a Double 50. Vox Contralto Contralto Voice. 51. Oboe Hautboy. Fagot Bassoon. 52. Clarin sordina Soft Clarion. Echo, 12 Stops, \\ Draw-Stops. 53. Baxoncillo Open Diapason. 54. Tapadillo Stopped Diapason. J5. Violon de 13 .*. Gamba. $6. Tolosana Unison Stop. 57. Flauta traverse German Flute. ji. Flauta de i3e 8va Flute, of Octave as well as Unison pitch. 59. Docena....: Twelfth. 60. Quincena Fifteenth. 61. Lleno Mixture. 62. Corneta Cornet. 63. Trompa Real Royal Trumpet. Trompa Magna Great Trumpet. 64. Vox de 13 Vox Humana. ^ Vox Contralto •... Contralto Voice. Contra Pedale, 7 Stops. 65. Trompa de 26 Trumpet of 26 feet. 66. Trompa de 26 Trumpet of 26 feet. 67. Trompa de 15 Trumpet of 13 feet. 68. Trompa de Octave Octave Trumpet (6J feet). 69. Trompa de 15. Twelfth Trumpet (4^ feet.) 70. Trompa en 15 Fifteenth Trumpet (3^ feet). 71. Trompa en 17 Tierce Trumpet. Coinpass. Manuals, CC to g3 in altissimo. | Pedal, One Octave. AN ACCOUNT OF FOREIGN ORGANS. 437 The above organ has several more Stops, the names of which are not on the Stop-handles. These are probably Couplers, Wind-valves, and other Accessory Stops. Great 42 Stops. 62 Draw-Stops. Forte de Echo 10 12 Echo 12 14 Pedal 7 7 Couplers, wind-valves, &c. 15 71 no The mode of blowing the belldws of the above organ is peculiar. Instead of working with his hands, a man walks backwards and forwards along an inclined plane of about 15 feet in length, which is balanced in the middle on its axis. These communicate with five other pair, united by a bar ; and the latter are so contrived that, when they are in danger of being overstrained, a valve is lifted up and gives them relief Passing ten times along the inclined plane fills all these vessels ; which are so ample that, when stretched, they supply the full organ fifteen minutes. 147, Seville, The second organ in Seville Cathedral has 71 Draw-Stops, 3 Manuals, and Pedal. The conterits of the several Manual prgans were not placed separately in the memorandum from which the following account was prepared : — Manual Sfops. 1. Violata Small Viol, or Gambette, 2. Baxoncillo ;., Open Diapason. 3. Trompeta de Batalla Battle Trumpet. 4. Viejos See 35 in No. 146. 5. Orlo Cink. A small Reed. .6. Clarin en 22* Super-octave Clarion. 7. Clarineni5'' Octave Clarion. 8. Clarin Claro Clear Clarion. 9. Clarin de Campana , Hunting Horn. 10. Chirimia Clarion. 11. Violata suave '. Soft Viola. 12. Baxoncillc Open Diapason. 13. Trompetaeni5 Octave Clarion. 14. Trompeta en 8 Clarion. 15. Trompeta en 26 Double Trumpet. 16. Mudo Mute. Wind-valve? 17. Nasardo Twelfth. 18. Corneta de 26 ' Double Reed 26 feet. 19. Octava de Nasardo Nineteenth, or Larigot. 20. Quincena Tapada Stopped Fifteenth. Stopped Piccolo. 21. Octava Tapada Stopped Octave. Stopped Flute. 22. Violondei3 Gamba. 23. Lleno de 8 Mixture. ^4. Diezmonovena Nineteenth, or Larigot. 25. Quincena Fiftetnth. 26. Docena Twelfth. 27. Octava Octave, or Principal. 28. Flauta de 13 Unison Flute. 29. Flautada de 13 Large Unison Flute. 30. Flautada de 26 Double Diapason. 31. Violon. 32. Contra-baxo Double Bass. 33. Clarin en 15° = ... Octave Clarion. 438 APPENDIX. 34. Baxoncillo Open Diapason. 35. Trompeta Real Grand Trumpet. 36. Trompeta Real Grand Trumpet. 37. Tolosana Unison Stop. 38. Lleno Mixture. 39. Diezmonovena Nineteenth, or Larigot. 40. Quincena Fifteenth. 41. Docena Twelfth. 41, Octava Octave. 43. Flautadadei3 Large Unison Flute. 44. Preparacion Preparation. Probably a wind-valve ; or a bell to give notice to the blower. 45. Trompa Trumpet. 46. Serpenton Great Serpent. Double Reed. 47. Vox humana Vox humana. 48. CJarin en 15 Octave Clarion. 49. Clarin de sordino Soft Clarion. 50. Clarinete .• Clarinet. 51. Fagot Bassoon. 52. Nasardo en 19" Twelfth and Larigot. 53. Nasardo en 17* Twelfth and Tierce. Sesquialtera. 54. Nasardo en 15" Twelfth and Fifteenth. Rausch-quint. 55. Lleno Mixture. 56. Diezmonovena Larigot. 57. Quincena Fifteenth. 58. Octava Principal. 59. Violondei3 Gamba. Pedal, 9 Stops. 60. Flautada de 26 , Great Flute or Diapason of 26 feet. 61. Contra de 26 Double, of 26 feet. 62. Contra 8 Double Octave. 63. Contra 15 Double 15. 64. Contra 22 , Double 22. 65. Contra 29 Double 29. 66. Bombarda de 26 Great Reed 26 feet. 67. Bombarda de 13 Great Reed 13 feet. 68. Contra de Clarin Great Clarion 2J feet. 69. 70, 71. Three Stops without names. Compass. Manuals, A A to c* ah. in 5 J octaves. 148. St. John's Cathedral, Newfoundland. The organ in St. John's Cathedral, Newfoundland, was built by Robson in 1853. It contains 46 Sounding Stops, as follows : — Great Organ, 16 Stops ; Compass, C C to G in alt, 56 Notes. 1. Double Diapason, Bass) - , Double Diapason j" - 'Sfeettone. 2. Large Open Diapason 8 feet. 3. Open Diapason 8 feet. 4. Stopped Diapason Sfeettone. S- Quint 6 feet. 6. Principal 4 feet. 7- Tenth 3 J feet. Choir Organ, 1 1 Stops; Compass, C C to G in alt. 56 Notes. 16. Dulciana 8 feet. 17. Viol di Gamba 8 feet. 18. Stopped Diapason 8 feet tone. 19. Claribella Flute 8 feet. 20. Celestina Viol 4 feet. 21. Principal 4 feet. 8. Twelfth 3 feet. 9. Fifteenth 2 feet. 10. Sesquialtera, X ranks. 11. Mixture X ranks. 12. Furniture ...X ranks. 13. Contra Fagotto 16 feet. 14. Posaune 8 feet. 15. Clarion 4 feet. 22. Flute 4 feet. 23. Piccolo 2 feet. 24. Mixture, Dulciana Scale, III ranks. 25. Bassoon ) „ _ Clarionetr ,8 feet tone. AN ACCOUNT OF FOREIGN ORGANS. 439 Swell Organ, 13 Stops ; Compass, CC to G in alt. 56 Notes. \ V ranks. 26. Double Diapason, Bass 1 .^ ^^ ' T-, Ki TV f ibteettone. Double Diapason j 27. Open Diapason 8 feet. 28. Stopped Diapason 8 feet tone. 29. Principal 4 feet. 30. Twelfth 3 feet. 31. Fifteenth :.. 2 feet. 32. Sesquialtera > Mixture 33. Horn 34. Oboe 35. Clarion 36. Octave Clarion , 8 feet. 8 feet. 4 feet. 2 feet. Pedal Organ, 6 Stops; Compass, C C C to F, 30 Notes. 40. Basso-Hauto 37. Open Diapason 16 feet. 38. Stopped Diapason i6feettone, 39. Principal 8 feet. 41. Trombpne i 42. Trumpet 8 feet tone. 6 feet. 8 feet. 1. Swell to Great. 2. Ditto to Pedals. Couplers. Great to Pedals. Choir to ditto. 149. Bombay Cathedral. The following is a description of the largfe and fine organ built by Messrs. Bishop & Starr for the Cathedral, Bombay. The case and wood pipes are made of solid mahogany : — Great, 10 Stops; Compass, C C to G in alt. X. Open Diapason 8 feet. 2. Bell Diapason 8 feet, 3. Stopped Diapason, bass 8 feet tone. 4. Claribella Sfeettone. 5. Principal 4 feet. 6. Flute 4 feet. 7. Twelfth 3 feet. 8. Fifteenth 2 feet. 9. Sesquialtera, III ranks. 10. Trumpet 8 feet. 1. Dulciana 8 feet. 2. Stopped Diapason, bass 8 feet tone. 3. German Flute 8 feet tone. 4. Keraulophon 8 feet. Choir, 8 Stops; Compass, C C to G in alt. 5. Metallic Flute 4 feet. 6. Principal 4 feet. 7. Piccolo. i 2 feet. 8. Cremona 8 feet. Swell, 7 Stops; Compass, CC to G in alt. 1. Double Diapason 16 feet tone. 2. Open Diapason 8 feet. 3. Stopped Diapason 8 feet tone. 4. Principal ' 4 feet. 5. Fifteenth 2 feet. 6. Cornopean 8 feet. 7. Hautboy 8 feet. Pedal, 6 Stops; Compass, CC C to E. Open Diapason, Bass, wood 1 6 feet. Ditto, ditto, metal 1 6 feet. Bourdon i6feettone. 4. Principal, metal 8 feet. 5. Fifteenth, metal 4 feet. 6. Prepared for Reed. Accessory Stops, Movements, Gr'c. Great to Pedals. Choir to ditto. Swell to ditto. Ditto to Great. Ditto to Choir. 6. Sub Swell to Choir. 7. Super Swell to Great. 8. Three Composition Pedals to Gr«at. 9. Two ditto ditto to Choir. 10. One ditto ditto to Swell. THE UNITED STATES. 150. Tremont Temple, Boston. The following is an account of the large organ built by Messrs. E. & G. Hook for the Tremont Temple, United States, which is reprinted from the description circulated by the builders at the time of the opening of the instrument, 440 APPENDIX. in i8S4 The swell is throughout ; and there is an indepencii_nt pedal organ. Wind is supplied by three bellows at different pressures. It contains 70 registers, comprising every variety of tone, and embracing all the novelties of the most celebrated European organs. It occupies a space at the end of the hall, 50 feet high, and 50 feet wide, and is concealed by an open-work screen. The following are the Stops in this instrument : — Great, 15 Stops j Cojnpass, C C to A in alt, 58 Notes. I. Tenoroon Open Diapason, I. Grand Open Diapason. Open Diapason. 2^,. 27. iS. 29. 30. 31- 32. .33- 41, 42, 43' Melodia. Stopped Diapason. Grand Principal, Principal, Twelfth, Choir, 10 Stops; Open Diapason. Dulciana. Stopped Diapason. Principal, Fifteenth, Swell, J 5 Stops J Sub Bass. Double Diapason, Open Diapason. Viol di Gamba. Stopped Diapason^ Principal. Night Horn, Twelfth. 9. Grand Fifteenth. 10. Fifteenth. 11. Sesquialtera, II ranks. 12. Mixture Ill ranks. 13. Furniture ...IV ranks. 14. Trumpet. 15. Clarion. Compass, C C to A in alt, 58 Notes. 21. Mixture, HI ranks. 22. Hohl Flute. 23. Viol d'Amour. 24. Clarionet. 25. Bassoon. C-ompass, C C to A in alt, 58 Notes. 34. Fifteenth. 35. Sesqulaltera, III ranks. 36. Trumpet, Bass. 37- Trumpet, Treble, 38. Hautboy. 39.' Clarion. 40. Double Trumpet. Solo, 6 Stops; Compass, C C to A in alt, 58 Notes. Horn Diapason. Gamba, Claribella. 44. Wald Flute. 45. Piccolo. 46. Trumpet. Pedal, 10 Stops ; C-ompass, CCC to D,i'] Notes. 52. Violoncello 8 feet, 53, Quint 6 feet. 54 Principal 4 feet, 55, Trombone 8 feet, 56. Posaune 16 feet. 47. Double Diapason.... 32 feet 48. Bourdon ..1.^... 16 feet, 49. Open. Diapason, wood 16 feet. 50. Open Diapason, metal 16 feet. 51. OpenDlapason 8 feet. Accessory Stops, 1. Swell to Great, Unison. 2. Swell to Great, Super^pctave. 3. Choir to Great, Sub-octave. 4. Swell to Choir, Unison, 5. Swell to Solo, Unisoii. .6. Solo to Great, Unison. 7, Swell to Pedals, ■ ' ■ Movements, Gr'c. 8. Great to Pedals, 9. Choir to Pedals. 10. Pedal Octaves. 11. Pedal Bourdon, Separation. 12. Pedal Open Diapason, Separation, 13. Solo Organ Signal 14. Bellows Signal. 151. Music Hall, Boston. The grand organ in the Music Hall, Boston, United States (described as the "Great Monster Organ of the New . World "), was built by E. F. Walcker & Son, of Ludwigsburg, Wurtemberg. It was begun in 1857, and finished in 1863. Some of the most important stops are the bjfra, in the choir, with its double set of pipes and tremolo ; the physharmonica, in the choir, ? free reed without pipes, AN ACCOUNT OF FOREIGN ORGANS. 441 with a Swell of its own ; the great mixture of 5 ranks in the Pedal, which gives a ground tone of 32 feet in harmonics, Sub-bass r6 feet, Quint lof feet, Octave 8 feet. Tenth Sj feet, and Fifteenth 4 feet ; and a Vox humana in the Solo, with double. Pipes, Swell, and Tremulant of its own. There are six pairs of large bellows-feeders, which gather the wind into a huge reservoir, containing about 400 cubic feet. There are several smaller ones, distributdrs, making in all fifteen pairs of bellows. These are worked by a machine, which is propelled by water, derived from the reservoirs. The case, or orgel-gehause, is of black walnut, and is covered with carved statues, busts, ^ masks, and figures in bold relief. It is about 47 feet in width ; the two projecting central towers are 60 feet high. The following is a synopsis of the contents of this organ : — Gnat, 25 Stops. 1 . Principal, or-Double Diapason Of pure .English tin : tiie 24 largest pipes displayed in front, 2. Tibia Major Of pine wood borrows the lower octave from Principal. 3. Viola Major 4. Basson (Bassoon)^ 5. Ophieleid J Complements to each other. Free reeds, ■ turned by a screw. Chiefly of wood, but bells of upper octaves tin. 6. Principal (Diapason) 7. Flote (Flute) '. Wood, double width, with double mouths. 8. Gemshorn 9. Viola di, Gamba^ pure tin ... 10. Gedackt (Stop Diapason) ... 11. Trombone 12. Trumpet, of proof tin 13. Octave (EngL Principal), pure tin. 14. Fugara, pure tin '. 15. Hohlflote(hollow-tonedflute), metal ..^ 16 feet. 16 feet. 16 feet. 16 feet. 8 feet. 8 feet. 8 feet. 8 feet. 8 feet. 8 feet. 8 feet. 4 feet. 5 feet. 4 feet. 16, 17- 18 19 Flute d' Amour, of pine and pear-wood, slender Clairon (Ciario^i) Reed stop, of proof tin, trum- pet-like ; in the highest octave 2 open flue pipes in unison replace the reeds. Waldflote (Flute of the Woods), proof tin Quint (Fifth), proof tin ... 20. 'I'erz (Tenth), proof tin ... 21. Quintflote (Flute Twelfth), proof tin 22. Terz Discant (Seventeenth), proof tin 23. Cornet, V ranks Harmonics of 16 feet tone ; take their ground tones from Quint. Compass from G to A 3, 38 Notes. Mixtur, VI ranks Harmonics of 8 feet tone. Proof tin. ScharffJ IV ranks Harmonics of 4 feet tone. Proof tin. 24. ^S 4 feet. 4 feet. 2 feet. Sj fsst. 3I feet. 2| feet. if foot. 5i feet. 2j feet. I J foot. Choir, 15 Stops. feet, feet. 26. Gedackt 16 27. Principal Flute 8 Pure Englisil tin ; larger pipes displayed. Spitzflote... 8 feet. Apointed or conical fluteof tin. Bifra, Il.ranks 8 & 4 feet. Of tin : each note has 2 pipes, one stopped, the other (its oc- tave) open and slender. It has also a tremolo. 30. Gedackt, wood 8 feet. 31. Clarin Bass . 8 feet. 32. Clarin Discant 4 feet. Reeds, trumpet-like, of proof tin. 28 29. 33: 34' 35' . Viola, proof tin 8 feet. Of soft intonation, like the piano in Physharmonica. Pliysharmonica , 8 feet. Purely metal reeds with a swell. Hohlpfeife 4 feet. Lowest octaves of maple, the rest of metal. Very bright and 'liquid flute tone Principal Flute, tin ......... 4 feet. Dolce (Dulciana), tin ...... 4 feet. Flautino (Octave Flute) ... 2 feet. ' Sesquialtera, 11 ranks , 2f&i^feet. Super Octave, tin i foot. 41. Bourdon (Double Stop Dia- pason) 16 feet. 42. Principal, proof tin ..... — ? feet. 43. Salicional 8 feet, Proof tin, slender. Tone like a dulciana of reedy quality, .but a little stronger. Swell, \% Stops. 44. Dolce (Dulciana) 8 feet. Of metal ; one of the softest stops. 45. Qiiintaton 8 feet. A stop pipe of tin, sounding its harmonic fifth (or twelfth) with the ground tone. 442 APPENDIX. 46. Gedackt (Stop Diapason) ... '8 feet. Wood; double width; double mouths ill upper octaves. Very full round tone, with other stops. 47. Trombone Bass (Trombone) 8 feet. 48. Trombone Disct. (Trumpet), bells of brass 4 feet. 49. Bassoon Bass (Bassoon) 8 feet. 50. Hautbois (Oboe) 4 feet. 51. Principal Octave, proof tin 4 feet. 5z. Rohrflote 4 feet. What English builders call a "half-stopped pipe," of metal. French : Flute a Cheminee. Solo, 59. Bourdon (Stopped Diapason) 16 feet. Two lowest octaves of wood, the rest of metal. 60. Gamben Principal, pure tin 8 feet.' 61. JEoline 8 feet. _ The softest and most string- like stop of all ; lower octave of wood, continuation, of proof tin, very slender. 62. Concert Flute 8 feet. Of finest pine-wood, square. From C upward double length, pierced, and blowing the octave. 63. Corno Basetto 8 feet. Reed Stop of clarionet-like tone ; bells of tin. •Swell, 18 Stops-T-continued. 53. Traversflote (Traverse Flute) 4 feet. The lowest octaves of fir and pear-wood, square, slender. The rest of maple, turned, like the actual German flute ; double length, pierced in the middle, and overblown, i.e., sounding the octave. 54. Cornettino 4 feet. Soft, trumpet like, of tin, 12 highest pipes doubled, and flue pipes. 5J. Quintflote 5J fe^'- 56. Nasard (Twelfth), tin zf feet. 57. Octave, tin 2 feet. 58. Mixtur, V ranks 2 feet. Stops. 64. Vox humana 8 feet. Of metal, with two pipes to each note, one of them a reed pipe, and partly with double reeds. Also has a -special swell and tremulant. 65. Gemshorn, proof tin 66. PifTaro, tl ranks 67. Vox Angelica A delicate reed stop. 68. Quint .• A covered pipe of metal. 69. Piccolo (Octave Flute), metal Pedal, 70. Principal Bass(DoubleDouble Diapason) 32 feet. Six of the largest pipes of pure English tin, the rest of wood. ■71. Grand Bourdon, V ranks ... 32 feet. A compound stop, having for foundation Sub-bass 16 feet, which, with four ranks of har- monic tones, gives the 32 feet sound. 72. Bombardon 32 feet. A monster reed tone, with screw tuning apparatus. 73. OctaveBass 16 feet. Pure tin ; 13 pipes in front. 74. Sub-bass 16 feet. Strong wood, open, of very wide scale. 75. Trombone 16 feet. Powerful reed tone ; bells of zinc. 76. Contra Violon, wood 16 feet. 20 Stops. 77. Octave Bass, tin 78. Hohlfloten Bass (Hollow Flute Bass) 79. Violoncello, tin 80. Trumpet 81. Corno-Basso 82. Octave, tin 83. Cornettino, tin N.B. — The following Stops are placed in the Swell box. 84. Bourdon (Double Stopped Diapason) 85. Viola Of tin : soft Gamba tone. 86. Flute,wood 87. Flute 88. Basson (Bassoon) A very powerful deep reed tone, tuned with screw. 89. Waldflote, metal 4 feet. 4 & 2 feet. 4 feet. 2f feet. 2 feet. 8 feet. 8 feet. 8 feet. 8 feet. 4 feet. 4 feet. 2 feet. 16 feet. 8 feet. 8 feet. 4 feet. 16 feet. 2 feet. There are 12 Pedal combination movements for producing various changes and connections. Zungen Stimmen, draws all the reeds of the Great organ. Fortissimo Hauptwerk, draws all the Great organ, except Scharff, Cornet, and Reeds. Forte Hauptwerk, draws one 16 feet, five 8 feet, and four 4 feet Stops of the Great organ. 4. Piano Hauptwerk, draws the 8 feet Stops of the Great organ. 5. Solo orgel, draws Corno and Basetto of Solo organ. 6. VoUeswerk, draws Full organ. 7 to 12. Pedal Couplers. There is, situated over the Manuals of the Great organ, within the reach of the thumbs of the performer, a set of small knobs — couplers — which control the couplings of the several Manuals. One of the most important mechanical AN ACCOUNT OF FOREIGN ORGANS. 443 contrivances is the crescendo and diminuendo Pedal, by which the performer is enabled to bring out, one by one, ad. lib., each Stop of the organ to its fullest capacity, and vice versd. Over the manuals, on a tablet of black marble, in letters of gold is this inscription : — E. F. WALCKER & CO. LUD\VIGSBURG, KDM. WDRTEMBERG. o. p. c. c. BEGUN, FEB. 1857. FINISHED, OCT. 1863. 152. New York. The new organ in Trinity Church, New York, was built by Mr. Henry Erben from a Specification prepared by Dr. Hodges. It has 31 Sounding Stops and II Couplers; 3 Manual organs, of 16, 8, and 4 feet compass respectively; a Swell Bass of 2 Stops, and a 32-feet Pedal Stop. The instrument, which stands at the west end of the church, is enclosed in a bold Gothic case, designed by Richard Upjohn, Esq., the architect of the church. The Choir organ is in front, and has an 8-feet speaking front ; while the Great organ has a l6-feet speaking front. The following is a list of the Stops in the above-named instrument : — Great, 12 Stops. 1. Open Diapason. 2. Open Diapason. 3.' Stopped Diapason. 4. Principal. 5. Principal. 6. Large Flute. 7- Twelfth. 8. Fifteenth. 9- Sesquialtera Ill ranks. 10. Mixture .. .III ranks. II. Trumpet. 12. Clarion. 13- 14. 15 Dulciana. Stopped Diapason. Principal. Choir, 7 Stops. 16. Flute. 17. Fifteenth. 18. Clarionet (half Stop). 19. Bassoon (half Stop). 25. Comet, V ranks. 26. Hautboy. 27. Trumpet. z8. Clarion. Swell, 9 Stops. 20. Double Stopped Diapason. 21. Open Diapason. 22. Stopped Diapason. 23. Dulciana. 24. Principal. Swell Bass, 2 Stops. 29. Dulciana. | 30. Serpent. Pedal, I Stop. 31. Double Open Diapason, 32 feet. Couplers. 1 Great to Pedal, 8 feet pitch. Choir to Pedal. Swell Bass to Pedal. Pedal Pipes in 32 feet pitch. Pedal Pipes in 1 6 feet pitch. Swell to Great. Swell and Great at octaves. Swell to Choir. 9. Choir to Great. 10. Choir and Swell at octaves. 11. Oreat to Pedal, 1 6 feet pitch. Compass. Great, C C C to f in alt, 66 keys, 16 feet compass. Choir, C C to f ^ in alt, 54 keys, 8 feet compass. • Swell, tenor c to f* in alt, 54 keys, 4 feet compass. Swell Bass, two octaves. Pedal Stop, C C C C to tenor c, 37 pipes, 32 feet compass. Pedal Clavier, C C C to tenor c, 25 keys. 444 APPENDIX. 153. New York. The organ in the Church of the Annunciation, New York, United States, was built by George Jardine, of New York, in 1853. It contains 3 Manual organs, of 8 feet compass, and a separate Pedal, and also 30 Sounding Stops. The following is a list of its contents : — Great., 9 Stops. 1. Double Diapason 16 2. Open Diapason 8 3. Stopped Diapason 8 4. Melodia 8 5. Principal 4 10. Open Diapason — r... 8 11. Viola di Gamba 8 12. Stopped Diapason 8 13. Principal 4 feet, feet. feet tone, feet, feet. 6. Twelfth 2f feet. 7. Fifteenth 2 feet. 8. Sesquialtera, IV ranks. 9. Trumpet 8 feet. Choir, 8 Stops. feet, feet. feet tone, feet. 14. Flute 4feettone. 15. Fifteenth 2 feet. 16. Clarinet, Treble 8 feet tone. 17. Bassoon, Bass 8 feet. Swell, 10 Stops. 28. 29. Bourdon 16 Open Diapason 8 Stopped Diapason -8 Dulciana 8 Principal 4 feet tone, feet. feet tone feet, feet. 23. Fifteenth 2 feet. 24. Mixture, III ranks. 25. Trumpet 8 feet. 26. Oboe 8 feet. 27. Clarion 4 feet. Pedal, 3 Stops. Open Diapason 16 feet. | 30. Octave 8 feet. Bourdon i6feettone. I Couplers. 1. Swell to Great. 2. Swell Octave to Great. 3. Swell to Choir, 4. Choir to Great. 5. Choir Sub-octave to Great. Great, C C to f = in alt Choir, C C to fa in alt. Compass, 6. Great to Pedal. 7. Choir to Pedal. 8. Swell to Pedal. 9. Pedal Organ Octave. Swell, C C to P in alt. Pedal, C C C to tenor c. By means of Mr. G. Jardine's Pallet, the touch is relieved from all. disagreeable stiffness, although there arp 5 Manual Couplers, upwards and downwards as well as in the unison. A LIST OF FOREIGN AND ENGLISH EQUIVALENT TERMS. As many of the names which appear in the foregoing accounts of Continental organs maynot be familiar to some readers, the following tabl-e of the chief Foreign Stops, with their English equivalents, when they exist, and a brief notice of them when they do not, has been prepared ; which, it is hoped, may assist those who may not be able to decipher the foreign nomenclature. Manual Stopi. Grosse Principal, 32 feet. — Double Double Open Diapason, 32 feet. Montre, 32 feet. — The same, "mounted," or in "front." Sub Bourdon, 32 feet tone.-r^Double Double Stopped Diapason, 32 feet tone. Manual-Untersatz, 32 feet tone. — The same. Bourdon, or Bordun, 32 feet tone. — The same. Principal, 16 feet.^Doiible Open D'apason, 16 feet. Montre, 16 feet. — The same, "mounted," or " in front." FOREIGN AND ENGLISH EQUIVALENT TERMS. 445 Prestant, 16 feet. — The same. Gamba Major, 16 feet. — Great, or Double Gamb a ; 16 feet. Salicional, 1 6 feet.— Reedy Double Dulciana, 16 feet. Bourdon, or Bordun, 16 feet tone. — Doable Stopped Diapason, 16 feet tone. Tibia Major, 1 6 feet tone. — The same. Gross-Gedact, 1 6 feet tone. — The same. Lieblich Gedact, 16 feet tone. — Double Stopped Diapason, of slender scale and sweet intonation. Rohr-Flote, 1 6 feet tone. — Double Stopped Diapason, of metal pipes with chimneys. Quintaton, 16 feet tone. — Double Stopped Diapason, of rather small scale, producing the Twelfth of the fundamental sound, as well as the ground- tone itself, i.e. sounding the 16 and 5^ feet tones ; 16 feet tone. Octave, 8 feet. — Octave to the "Principal" or Double Open Diapason of 16 feet, and therefore identical with the Unison Open Diapason ; 8 feet. Principal, 8 feet. — Open Diapason, 8 feet. Montre, 8 feet The same. Flute, 8 feet, — The same.- Geigen Principal, 8 feet.— Violin dr crisp-toned Diapason, 8 feet. Gamba, or Viol da Gamba, 8 feet. — Bass Viol. Unison Stop, of smaller scale and thinner but more pungent tone than the Violin Diapason ; 8 feet. Fugara, 8 feet. — A species of small-scale Gamba, of bright and cutting tone, and slow speech; 8 feet. Salicional, 8 feet. — Dulciana of Reedy quality, 8 feet. Flauto Traverso, 8 feet. — German Flute, formed of cylindrical Pipes, of Pear-tree wood, and sounding their octave in the Treble ; 8 feet. Hohl-Flote, 8 feet — Hollow-Flute, a kind of Clarabella; 8 feet. . Harmonica, 8 feet. — A unison open wood Stop, sometimes smaller in the treble and larger in the bass than the Hohl-Flote ; 8 feet. Spitz-Flote, 8 feet. — Spire or Taper Flute, a unison open metal Stop, formed of Pipes with conical bodies ; 8 feet; Gemshorn, 8 feet. — Goat-Horn, a unison open metal Stop j mote conical than the Spitz-Flote ; 8 feet. Coppel, 8 feet. — Coupling-flute, a kind of Stopped Diapason or Clarabella, intended to be used chiefly in combination with some other Stop — as the Stopped Diapason is used with the Clarinet in England — hence its name ; 8 feet. Portunal-flaut, 8 feet. — An open wood Stop, of the Clarabella species, the Pipes of which are larger at top tiian at bottom, and producing a tone of Clarinet quality ; 8 feet. Bifara, 8 feet. — A unison open Stop, formed of Pipes having two mouths, the speech of which is accompanied by a pleasing undulation ; 8 feet. Unda Maris, 8 feet. — Wave of the Sea. A unison open Stop, tuned rather sharper than the other Stops, and producing an undulating or waving effect, when drawn in con- junction with another Stop ; 8 feet. VoiK-celeste, 8 feet. — A Stop of II ranks, resembling Dulcianas, one of which is tuned sharper than the other, producing an undulating effect like that of the Unda Maris ; 8 feet. Block-flote, 8 feet. — Common or ordinary Flute, formed of Pipes larger than Diapason scale : 8 feet. Portunal, 8 feet. — An open wood Stop, of the Clarabella species, but with the Pipes larger at top than at bottom, and producing a tone like that of the Clarinet ; 8 feet. Flauto Dolce, 8 feet. — A unison Flute-Stop, of tranquil and agreeable tone ; well adapted for cantabile music, for which an' Open Diapason would be both too strong and too full ; 8 feet. Gedact, 8 feet tone. — Covered Stop.- Stopped Diapason, 8 feet tone. Lieblich Gedact, 8 feet tone. — Stopped Diapason, of slender scale and sweet intonation ; 8 feet tone. Still Gedact, 8 feet tone. — Stopped Diajjason, of quiet tone ; 8 feet tone. Rohr-Flote, 8 feet tone. — Reed-Flute. Metal Stopped Diapason, with reeds, tubes,, or chimneys; 8 feet tone. Quintaton, 8 feet tone. — ^Stopped Diapason, producing the Twelfth as well as the ground- tone, /. e., sounding the 8 and zf . feet tones ; 8 feet tone. Nacht-Horn, 8 feet tone — Night-Horn. Nearly identical with- the foregoing;- but of larger scale, and more horn-like- in tone ; 8 feet tone.- 446 APPENDIX. Quint, 5* feet.— Fifth Soundifeg Stop. In this case producing the Fifth above the Diapason ; Sj fset. Grosse Nazard, Nasard, Nassat, Nasat, 5j feet. — Fifth to the Unison Diapason, jj feet. Gemshorn-quint, 5J feet. — Fifth, composed of Gemshorn Pipes ; 5 J feet. Quint gedact, 5J feet tone. — Stopped Fifth, 5J feet tone. Roer-quint. 5J feet tone. — Stopped Fifth, formed of Metal Pipes with chimneys, 5J feet tone. Super octave, 4 feet.— The second octave or Fifteenth above the "Principal" or Double Open Diapason of 16 feet, identical with the English Principal ; 4 feet. Octave, 4 feet. — The Octave to the Open Diapason of 8 feet. The English Principal ; 4 feet. Principal, 4 feet. — Principal, 4 feet. Prestant, 4 feet. — The same, 4 feet. Spitz-flote, 4 feet. — Octave Stop, formed of Conical Pipes ; 4 feet. Geigen Principal, 4 feet, — Violin Principal, 4 feet. Gambette, 4 feet. — Small Gamba, or Octave Gamba ; 4 feet. Salcional-octave, 4 feet. — Octave Salcional, 4 feet. Flauto Traverso, 4 feet — German Flute, the Treble Pipes sounding their harmonic, or octave, 4 feet. Hohl-flote, 4 feet. — A kind of octave Clarabella 4 feet. Flaut a becq, 4 feet. — Flute with beak or mouth-piece at one end. The old English Flute ; 4 feet. Klein-Gedact, 4 feet tone. — Small covered Stop. Stopped Flute, 4 feet tone. . Rohr-Flote, 4 feet tone. — Stopped Metal Flute, with reeds, tubes, or chimneys ; 4 feet tone. Grosse Tierce 3f feet. — Great Third-sounding Stop. In this case producing the Third above the Principal. Tenth or Decima ; 3f feet. Quinte, 2f feet. — Fifth-sounding Stop when of this size, producing the Fifth above the Principal Twelfth, or Duodecimo ; zj feet. Gemshorn-quint, zf feet. — Twelfth, formed of Gemshorn Pipes; z| feet. Nasard, zf feet. — Twelfth, zf feet. Sedecima, z feet. — The third octave, Octave Fifteenth, or Twenty-second, above the " Princi- pal" or Doubli Open Diapason of 16 feet. Identical with the English "Fifteenth;" z feet. Super-octave, 2 feet. — The second octave above the unison " Principal." The Fifteenth, 2 feet. Octave, z feet. — Octave to the Principal of 4 feet, z feet. Doublette, z feet. — ^The same, 2 feet. Quarte de Nazard, 2 feet. — The same. Quinta-decima, z feet. — The Fifth above the tenth ; i.e. the Fifteenth ; 2 feet. Gemshorn, 2 feet. — Gemshorn Fifteenth, 2 feet. Waldflote, z feet — Forest-flute, 2 feet. Hohlflote, z feet, — Hollow-flute, of Fifteenth pitch ; z feet. Rausch-pfeif, zf feet. — ^Twelfth and Fifteenth on one slider, z| feet. Rausch-quint, z| feet. — The same. Flageolet, z feet. — Flageolet, z feet. Terz, i|- foot. — Tierce ; when of this size, sounding the Third above the Fifteenth ; if teet. Sexte, zf feet Sixth. A II rank mutation stop, sounding the interval of a major sixth. A Twelfth and Tierce on one slider ; zf feet. Sesquialtera, zf feet. — Sesquialtera, II ranks ; the same ; zf feet, Quinta, ij foot. — Fifth sounding Stop, producing the Fifth above the Fifteenth. The Nine- teenth or Larigot ; i^ foot. Tertian, if foot. — A II rank Mutation Stop, sounding the interval of a minor third. A Tierce and Larigot on one slider ; if foot. Sedecima, i foot. — Twenty-second or Octave Fifteenth ; i foot. Mixture, 2 feet. — A mixed Stop, i.e., consisting of Foundation and Mutation ranks of Pipes, compounded together ; the largest rank being usually a Fifteenth ; z feet. Scharf, ij foot. — Sharp, also a mixed Stop, composed of smaller Pipes than the Mixture, or on a smaller Scale ; and sometimes containing a Tierce, particularly if the Mixture has not one ; ij foot. Cymbel, i foot. — The most acute of the bright Stops, being very small in scale, and high in pitch. It is sometimes formed exclusively of octave ranks ; i foot. FOREIGN AND ENGLISH EQUIVALENT TERMS. 44/ Cornet. — Cornet, frequently a Compound Stop, formed of Pipes several scales larger than Diapason measure, and producing a " horny " tone ; hence its name. Sometimes the Cornet is a large Manual Reed, as at Freiburg and Seville ; in other examples it is a small Pedal Reed, as at Muhlhausen, Merseburg, &c. Contra-fagott, 32 feet. — Double Double Bassoon, 32 feet. Tromba, 16 feet. — Double Trumpet, 16 feet. Tuba, 1 6 feet. — The same. Trompet, 1 6 feet. — The same. Dulcian, 16 feet. — Dulcian means, literally, a small Bassoon. In this case, a Double Bassoon ; 1 6 feet. Fagotto, 16 feet. — Double Bassoon, 16 feet. Bombarde, 16 feet. — Double Reed, 16 feet. Euphone, 16 feet. — Double Reed, 16 feet. Phiparmonica, 16 feet. — Double Reed, with Free Reeds, and Tubes of half length ; 16 feet tone. Grand Cornet, 16 feet. — Double Reed, 16 feet. Corneta — Double Reed. Trompette, 8 feet. — Trumpet, 8 feet. Trompette Harmonique, 8 feet. — Harmonic Trumpet, 8 feet. Hautbois, 8 feet. — Hautboy, 8 feet. , . Cor Anglais, 8 feet. — English Horn, 8 feet. Dulcian, 8 feet. — Bassoon, 8 feet. Fagotto, 8 feet.. — The same, Krum-Horn, 8 feet tone. — Clarinet, 8 feet tone. Crom-horn, 8 feet tone. — The same. Schalmay, 8 feet tone. — The same. Vox Humana, 8 feet tone. — Human Voice, 8 feet tone. Clarin, 4 feet. — Clarion, 8 feet tone. Pedal Stops. Sub -Principal, 32 feet. — "Under Principal," i.t., below the Pedal Diapason pitch. Double Open Bass ; 3 2 feet. Gross Principal, 32 feet. — Great or Double Diapason Bass, 32 feet. Prestant, 32 feet.i — The same. Flute Ouverte, 32 feet. — ;The same. Untersatz, 32 feet tone. — " Below position," I'.f., under the Pedal unison pitch. Double Stopped Bass; 32 feet tone. Sub-bass, 32 feet tone. — " Under Bass," or Double Stopped Bass ; 32 feet tone. Quintaton, 32 feet tone. — Double Stopped Bass, sounding the Twelfth as well as the ground tone ; in this case producing the 32 and io§ feet tones. Grand Bourdon, 32 feet tone. — Great or Double Bourdon ; 32 feet tone. Gross-Quinten-Bass, 21J feet tone. — Fifth to the Great Ba,ss of 32 feet, 21J feet tone. Principal Bass, 1 6 feet. — Open Diapason Bass, 1 6 feet. Octave, 16 feet.— The same. Prestant, 16 feet. — ^The same. Where there is a Metal "Principal" of 16 feet on the same Pedal, the name Prestant is applied to a ivood Open Bass of the same size. Flute ouverte, 1 6 feet. — The same. Violone, 16 feet — Double Bass. A unison open wood Stop, of much smaller scale than the Diapason, and formed of Pipes that are a little wider at the top than at the bottom and furnished with ears and beard at the mouth. The tone of the Violone is crisp and resonant, like that of the orchestral Double Bass; and its speech being a little slow it has the Stopped Bass alvvays drawn with it; 16 feet. Gamba, 16 feet. — Gamba Bass, 16 feet. Salicet, 16 feet. — Dulciana Bass, 16 feet. Sub-bass, 16 feet tone. — Stopped Bass, usually, but sometimes Open wood, 16 feet, 16 feet tone. Bourdon, 16 feet tone. — This name is very rarely applied to a Pedal Stop. When it is so, it is generally to a Stopped Bass, though occasionally to a wood open Bass, 16 feet, 16 feet tone. 448 APPENDIX. Quintaton, i6 feet tone. — A small scale unison Covered Stop, sounding the Twelfth as well as the ground-tone, i.tf., producing the i6-feet and 5,^ feet tones ; 16 feet tone. Gross Quint, Stopped, lof feet tone. — Great Fifth, Stopped ; loj feet tone. Roer-quint, 10^ feet tone. — Stopped Fifth, formed of pipes with reeds, tubes, or chimneys ; 10^ feet tone. . . .; Octave, 8 feet. — Octave, or Principal to the Diapasori of 16 feet; 8 feet. ' . Violoncello, 8 feet. — Crisp-toned Open Stop, of small scale. The " Octave " to the' Violone of 16 feet 8 feet. : Bass Fliite, 8 feeftone.^ — Flute Bass. The Stopped Octave to the Stopped Bass 6l 16 feet tone; 8 feet tone. Terlia, 6| feet. — Tenth, or Great Tierce; 6| feet. Quint, 5j feet. — Twelfth, 5J feet. Rohr-quint, 5j feet tone. — Stopped Twelfth, 5J feet tone.- . Super-octave,; 4 feet., — Fifteenth, 4 feet. Mixtur, V ranks. — Mixtur, V ranks ; 4 feet. Cornet, VIII ranks. — Pedal Cornet. Contra Posaune, 31 feet. — Double Trombone, jifeetL Posaune, 16 feet. — Tronibone, 16 feet; Bombarde. — Large Unison Pedal Reed, 1 6 feet.' Fagotto, 16 feet. — Bassoon, 16 feet. Dulcian, 16 feet. — Small Bassoon, 16 feet. Trompet, 8 feet. — Trumpet, 8 feet. Trombone, 8 feet. — Large Octave Reed, 8 feet Bassot), 8' feet.^— Octave Bassoon, 8 feet. Krummborn-; 8 feet. — Cremona, 8 feet totke. Clairon, 4 feet. Cornet, 4 feet. Cinq, z feet. Cornet, 2 feet. Clarion, 4 feet. , , Cornelia' small Reed Clairon ; 4 feet. Octave Clarion, 2 feet. Octave Ciairon, 2 feet. BRITISH ORGANS'. LOND-ON AND ITS ENVIRONS.^ 154'.- St. Paul's Cathedral. The Transept Organ. The largest and by far the most complete organ in London is that- built for the Royal Panopticon of Science and Art, Leicester Square, now in the transept of St. Paul's Cathedral. It was built by Messrs. Hill & Co. in 1853. It comprises not only all the usual modern improvements, but several new inventions in mechanism ; among which are an entirely new method of drawing the Stops, by pneumatic agency ; an improved system of Composition Pedals ; and a Pedal for first drawing out the Stops one by one, in gradual successioh, and afterwards of reducing them in a similar manner, so as to produce a perfect Crescendo and Diminuendo ; disiderata which have hitherto been considered unattainable by mechanical means, except by the aid of a Swell-box. The organ contains 60 Sounding Stops, all of wliich' are complete or whole Stops, excepting the Vox Angetku'va. the Solo organ; which oWly goes to Tenor c. AN ACCOUNT OF BRITISH ORGANS. 449 It has 4 Manual organs, all of the C C or 8-feet compass ; a separate Pedal of ID Stops ; 6 Bellows, at different pressures, worked by steam power ; and is 'furnished with duplicate Manuals to the Swell, Choir, and Solo organs, ranged to the right and left of the chief tiers of Manuals, and acting on separate pallets in the corresponding Sound-boards. The auxiliary Manuals are designed to allow of several performers playing on the instrument at the same time, if ever thought desirable. All the musical scales have alike been rendered available to the performer on this instrument, by the adoption of the admirable system of equal temperament. The following is a list of the Stops in this organ : — Great Orga: Double Open Diapason, metal and wood i6 feet. Open Diapason, metal % feet. Open Diapason, No. 2, metal 8 feet. Stopped Diapason, wood ... 8 feet tone. Quint, metal 6 feet. Octave, metal 4 feet. Wald Flute, wood 4 feet. Octave Quint, metal 3 feet. W, 16 Stops. 9. Super Octave, metal 2 feet. ID. Sesqnialtera, III ranks, met. 11. Mixtur Ill ranks, met. 12. Furniture ...III ranks, met. 13. Trumpet, metal 16 feet. 14. Posaune, metal 8 feet. 15. Trumpet, metal... 8 feet. j6. Clarion, metal 4 feet. Double Stopped Diapason, wood i6feettone. Gamba, metal 8 feet. Dulciana, metal 8 feet. Stopped Diapason, metal and wood 8feettone. Gemshorn, metal 4 feet. Octave Quint, metal 3 feet. Choir Organ, 12 Stops. Super Octave, metal 2 feet. Cymbal, II ranks, metal ... Stopped Flute, metal 4 feet tone. Piccolo, wood 2 feet. {Bassoon Bass, wood .I, Clarionet, Treble, wood J 28. Trumpet, metal 8 feet. ■ 8 feet. Solo *9- M c r I. Grand Tuba Mi- "a 3i .( rabllis, metal ... 8 feet. 30. ^o ( 2. Do. Clarion, metal 4 feet. 31. Claribel, wood ' 8 feet. 32. Harmonic Flute, metal 4 feet. 33. Flageolet, metal 2feet. 9 Stops. 34. Doublette, II ranks, metal 2 feet. 35. Vox Angelica, II ranks, metal 8 feet. 36. Krum Horn, metal 8 feet tone. 37. Vox Humana, metal Sfeettone. 38. 39- 40. 41. Bourdon and Double Diapa- son, wood and metal 16 feet. Open Diapason, metal 8 feet. Salicional, metal 8 feet. Stopped Diapason, wood ... 8 feet, 42. Octave, metal 4 feet. 43. Octave Quint, metal 3 feet. 44. Super Octave, metal 2 feet. Swell Organ, 13 Stops. 45. Sesquialtera, V & IV ranks, metal. 46. Suabe Flute, wood 4 feet. 47. Cornopean, metat 8 feet. 48. Trumpet, metal 8 feet. 49. Hautboy, metal 8 feet. 50. Clarion, metal 4 feet. 51. Double Open Diapason, Wood 32 feet. 52. Open Diapason, wood 16 feet, 53. Open Diapason, metal 16 feet. 54. Bourdon, wood i6feettone. 55. Octave, metal 8 feet. 56. Octave Quint : 6 feet. Accessory . Stops, 1. Coupler, Swell to Great. 2. Choir to Great. 3. Solo to Great 4. Pedal to Great. 5. Pedal to Choir. 6. Pedal to Swell. Pedal Organ, 10 Steps. 57. Super Octave, metal 4 feet. 58. Sesquialtera, V ranks, metal , 3 feet. Jg. Trombone, metal 16 feet. 60. Octave Trombone, metal ... 8 feet. 61. Drums C C— C. Movements, Sr'c. 7. Pedal to Solo. 8 to 1 6. Nine Composition Pedals. 17, 18. Two Tremulants. 19. Pneumatic Lever attachment. 20. Crescendo and Diminuenda Pedal. RR 4SO APPENDIX. No. of Sounding Stops. Great Organ i6 Choir IJ Swell 13 Solo 9 Pedal 10 60 No. of Pipes. Great Organ 1276 Choir 754 Swell •. 932 Solo 626 Pedal 416 Total 4004 155. St. Paul's Cathedral. The Chancel Organ. This organ was built by Father Smith in 1697. It originally consisted of a "Great and Chair Organ," the former ranging from CCC (16 feet compass) to c^.in alt; the latter descending to FFF (12 feet compass). Towards the latter part of the last century, a Swell of seven Stops, to tenor c (4 feet compass) was added by Crang ; but being the first made by that builder, it proved less successful than that subsequently added by him to the organ at St. Clement Danes. At the beginning of the present century, the pitch of the organ, which had till then been very high, was lowered, by the whole of the Pipes being transposed upwards a semitone, and an entirely new series of Pipes introduced for the CCC key. This change was effected by the Messrs. Orchman & Nutt. In 1826, considerable alterations were made in the instrument by the late Mi-. Bishop, who extended the Manuals up to f ' in alt ; introduced a Clarion into the Great organ in place of the Nason ; put in a Clarabella in lieu of the Stopped Diapason Treble ; placed a second Trumpet Treble on the Cornet slider ; and also put new Trebles to the Chorus Stops. In the Choir organ, he substituted a Dulciana and an Open Diapason for the Vox Humana and III rank Mixture; and added an octave of large Pedal Pipes, as well as Horizontal Bellows in place of the 4 Diagonal Bellows, 8 feet by 4, by which the organ had previously been supplied. He also first introduced the Concussion ' Bellows into this organ at this period. In 1849, Mr. Bishop put in a new Swell to Gamut ('53- feet compass), the available room within the case unfortunately neither allowing of the adoption of the more complete compass, nor of the introduction of any Double Stops. At the same time he substituted a Viol da Gamba for the Metal Flute in the Choir oi'gan, and a Clarabella for the Stopped Diapason,; and also put in new keys and Pedals. The organ originally stood over the screen at the entrance of the choir at St. Paul's. When the screen was about to be removed, it was taken down by Hill & Son, in i860, and erected by them under one of the arches on the north side of the choir, the keys being placed in the stalls. The alterations then made proved generally so unsatisfactory, that it was resolved to rebuild the organ from its foundation, Mr. Henry Willis being entrusted with the work, which has given great satisfaction to Mr. John Goss, the organist, who considers it vastly improved in tone and touch ; the action of the draw-Stops being most luxuriantly easy. The following is a list of the Stops as the organ stands at the present time. Great Organ, CCC to F, 16 Stops. 1. Double Diapason (prepared for) 16 feet. 2. Open Diapason 8 feet. 3. Open Diapason 8 feet. 4. Stopped Diapason 8 feet. 5. Principal 4 feet. 6. Harmonic Flute (prepared for) 4 feet. 7. Twelfth 3 feet. 8. Fifteenth 2 feet. 9. Harmonic Piccolo (prepared for) 2 feet. ID. Sesquialtera, III ranks. 11. Mixture ...III ranks. 12. Orchestral Hautboy (pre- pared for) 8 feet. 13. Posaune 8 feet. 14. Trumpet (prepared for) ... 8 feet. 15. Another reed (prepared for) 8 feet. 16. Clarion 4 feet. AN ACCOUNT OF BRITISH ORGANS. 451 Choir Organ, FFF to E, 8 Stops. 17. Open Diapason (from gamut G) 8 feet. 18. Viol d'Amore (from gamut G) 8 feet. 19. Dulciana (from gamut G) ... 8 feet. 20. Stopped Diapason 8 feet. 21. Harmonic Plate 4 feet. 22. Principal 4 feet. 23. Fifteenth 2 feet. 24. Clarionet 8 feet. Swell Organ, CC to F,?, Stop. 25. Double Diapason 16 feet. 26. Open Diapason 8 feet. 27. Stopped Diapason 8 feet. 28. Principal 4 feet. 29. Sesquialtera, 111 ranks. 30. Horn 8 feet. 3t. Trumpet 8 feet. 32. Hautboy '.. 8 feet. Pedal Organ, C C C to F, 2 Stops. 33. Open Diapason 16 feet. .| 34. Violone 16 feet. Couplers. 1. Swell to Great, Super Octave. 2. Swell to Great, Unison. 3. Swell to Great, Sub Octave. 4. Swell to Choir. 5. Choir to Great. 6. Swell to Pedals. 7. Great to Pedals, 16 feet. 8. Great to Pedals, 8 feet. 9. Choir to Pedals. The pneumatic lever is applied to the Great organ Manuals, and the Great and Choir couplers act without adding weight to the touch. The patent pneumatic combination movement for the hands is applied to the Stops of the Great and Swell organs. Those for the Great organ are also acted upon by Pedals. The pressure of air (which had been reduced half an inch, when the organ was removed from the screen) has been restored to 3 inches on the flute work and augmented to 5 inches upon the reed work of the Great and Swell organs. The Swell reeds originally constructed by Bishop have been revoiced upon this pressure, and the reeds of the Great organ are quite new ; as are the viol d''amo?e and Hute-harmonique, which have been substituted by IVIr. Willis for the Choir twelfth and flute. Mr. Willis has also substituted new metal Pipes below gamut G, for the wooden ones which Messrs. Hill had used in carrying down the Open Diapason in the Swell. The whole organ has been revoiced by Mr. Willis. .156. Westminster Abbey. The present organ in Westminster Abbey was originally built, in 1730, by Schreider & Jordan. It then consisted of Great and Choir, ranging from GG (lof feet compass), up to d^ in alt, and a Swell with 4 Unison Stops to. Fiddle g (2f feet compass). A Pedal-board from G G to Gamut A, with an octave of Unison Open Pipes, were added by Avery during the time Dr. Cooke was organist. In 1828, an octave of G G G Pedal Pipes, and a new (soft) Trumpet and Clarion, in place of the old Reeds, were introduced by Elliott. Subsequently a new Swell to Tenor c, with 8 Stops, was added by Hill ; and a Dulciana and Open Diapason put into the Choir organ in place of the Fifteenth and Cremona. In 1848, the organ was entirely reconstructed by Mr. Hill, and divided ; the Great organ, with new and larger sound-boards, movements, &c., being placed on the south side of the screen, and the Swell on the north ; leaving the centre unoccupied, so that an uninterrupted view of the upper part of the Minster may be obtained from one end to the other. The Choir organ remains in its old place over the doorway leading from the nave into the choir, and the 32 feet Pedal Diapasons are laid horizontally along the screen. The Claviers are placed, crossways, behind the Choir organ. R R2 452 APPENDIX. . The alterations in 1848 comprised an extension of the Great organ down to CCC (16 feet compass), with the addition of a new Open Diapason; the conversion of one of the old Diapasons into a Double ; the insertion of a Quint ; a Posaune, and three additional ranks of Mixture. The compass was also extended up to f '^ in alt. An entirely new Swell to C C (8 feet compass) was introduced ; a Hohl Flute and Cromorne added to the Choir, and two Open Diapasons, 16 and 32 feet, appropriated to the Pedal ; — such of the old Pedal Pipes as were available being used in the latter. The organ now contains 32 Sounding Stops, of which the following is a list : — Great CCC (16 feet compass), 14 Stops. 1. Double Diapason, to C C key. 2. Open Diapason, through, 3. Open Diapason to C C. 4. Stopped Diapason. 5. Quint, to CC Icey. 6. Principal, through. 7. Stopped Flute to C C Itey. 8. Twelfth. 9. Fifteenth. 10. Sesquialtera, V ranlcs. 11. Mixture, III ranlis. 12. Double Trumpet to Tenor c key. 13. Posaune, through. 14. Clarion. Swell, C C {ifeel compass), 10 Stops. 1 5 . Double Diapason, 1 6. Open Diapason. 17. Stopped Diapason. 18. Principal. 19. Fifteenth. 20. Sesquialtera, III ranks. 21. Contra Fagotto, to Tenor c key. 22. Cornopean. 23. Hautboy. 24. Clarion. Choir, G G (lof feet compass), 6 Stops. 25. Open Diapason to Gamut G. 26. Hohl Flute. 27. Stopped Diapason. 28. Principal. 29. Flute. 30. Cromorne. Pedal, CCC {ibfeet compass), 2 Stops. 31. Great Open Diapason, 32 feet. | 32. Open Diapason, 16 feet. Accessory Stops, Movements, Sr'c. 1. Coupler Swell to Great. 2. Great to Pedal, t6-feet pitch. 3. Great to Pedal, 8-feet pitch. 4. Choir to Pedal, i6-feet pitch, j. Swell to Pedal, i6-feet pitch, 6, 7, 8. Three Composition Pedals. 157. Temple ^Church. The fine organ in the Temple Church was built by Father Smith, in 1688. It presents a great peculiarity in regard to the number of sounds which it contains in the octave. Most organs have only twelve in that compass, but this has fourteen : that is, in addition to the common number of semitones, it possesses an " A flat " and a " D sharp," quite distinct from the notes G sharp and E flat. The general temperament of the instrument is the same as that of most English instruments — unequal ; — but the real beauty of the quarter tones is discoverable by playing in the key of E and A flat, where, in consequence of the thirds being so true, we have that perfection that cannot be met with in common organs. It gives a pacuHar brilliancy also to the key of A and E in three or four sharps.* These quarter tones are produced by the ordinary G sharp and E flat keys being divided, crossways, in the middle ; the back halves of which rise as much above the front portions, as do the latter above the naturals. When the organ was first built, the pipes were crowded together in a most inconvenient and irregular manner, rendering the process of tuning one of great • * christian E emetnbrancer, vol. xv., 1833, p. 623. AN ACCOUNT OF BRITISH ORGANS. 453 danger to the instrument ; but this arrangement was unavoidable on account of the limited dimensions of the site destined for its position, under the centre arch separating the round church from the choir. The following is a copy of Father Smith's original disposition of the Stops- — which, however, does not seem to have been strictly adhered to by him. The document itself is preserved amongst the papers belonging to the Middle Temple :— "THE SCHEDULE. Great Organ. 1. Prestand, of mettle 6 1 pipes iifootetone. 2. Hohlflate, of wood and mettle 6 1 pipes 12 foote. 3. Principall, of mettle 61 pipes 06 foote. 4. Quinta, of mettle 61 pipes 04 foote. J. Super Octavo 61 pipes 03 foote. 6. Cornett, of mettle 112 pipes 02 foote. 7. SesqUialtera, of mettle 183 pipes 03 foote. 8. Gedackt, of wainescott 61 pipes 06 foote. 9. Mixture, of mettle 226 pipes 03 foote. 10. Trumpett, of mettle 61 pipes 12 foote. 948 pipes Choir Organ. 11. Gedackt, of wainescott 61 pipes 12 foote. 12. Holflute, of mettle 61 pipes 06 foote. 13. A Sadt, of mettle 61 pipes 06 foote. 14. Spitzflute of mettle 61 pipes 03 foote. 15. A Violl and Violin, of mettle 61 pipes 12 foote. 16. Voice humane, of mettle 61 pipes 12 foote. 366 pipes, Ecckos. 17. Gedackt, of wood ; 61 pipes 06 foote tone. 18. Sup. Octavo, of mettle 61 pipes o 5 foote tone. 19. Gedackt, of wood 29 pipes 20. Flute, of mettle 29 pipes 21. Cornett, of mettle 87 pipes. 22. Sesqnialtera 105 pipes. 23. Trumpett 29 pipes. 401 366 948 1 71 5 pipes. With three full setts of Keys and Quarter Notes. " lut June, i6li. (Signed) BER. SMITH." The internal arrangements being, as already stated, most objectionable, and the mechanism moreover being decayed and imperfect, the Choir Committee, in the year 1856, recommended to the parliaments of the two Hon. Societies of the Inner and Middle Temple that the organ should be entirely reconstructed stipulating, of course, that the old pipes should be carefully preserved ; and Mr Robson was instructed to carry out the work, under the superintendence of the organist. New and more extensive sound-boards,* admitting of a more orderly and systematic arrangement of the Pipes, were constructed, larger and more capacious bellows were provided, and entirely new mechanism was introduced throughout the instrument. • A great misnomer, as the y soitHd-iaards'^ possess no acoustic property whatever. 4S.4 APPENDIX. At the same time, arrangements were made for the addition of several desirable new Stops, including a Pedal organ of proportions suitable to the rest of the instrument, and more particularly for the extension of the swell (which had been inserted in the organ' in place of the original " Eccho ") to its full and proper compass. In 1859 the Societies decided that the organ should be completed in every respect, aiid the requisite grant was made for that purpose. For the execution of the greater portion of the work supplied in pursuance of this resolution, Mr. Robson was again appointed ; but among the new Stops proposed to be inserted were included several of fine and sweet tone, which at present are either not generally or not at all made in England. These Stops have mostly been obtained from Germany, and Mr. Edmund Schulze, of Paulinzelle, near Erfurt, visited London with the express purpose of voicing, regulating, and finishing them in the organ. Among them are the Hohl-Flote (No. 5 in the hst of Stops printed below), Lieblich Bordun (29), Violin Diapason (31), Liebhch Gedact (33), Flauto- traverso (34), Lieblich-Flote (37), Nazard and Flautino (38). In describing the German Flute (Flauto-traverso) in Hildebrand's large thirty- two-feet organ in St. Michael's Church, Hamburg, Dr. Burney, in his Musical Tour in Germany (vol. ii. p. 273), says, "The German Flute is composed of as many real flutes as there are notes." In like manner, the upper two octaves of the Flauto- traverso included in the list of new Stops just given, are formed of wooden cylin- ders, and the tone, as the outward form, is an exact imitation of the real flute. A "Voice Humane" formed one of the original Stops of the organ (Noi t6. in first list), and is described in an interesting paper in a MS. volume preserved in the Library of the Inner Temple, as having been "set to Mr. Gaskell's voice," who could "reach one of the deepest basses in England." This Stop, however, became entirely worn out many years since, and the present Stop (No. 28 in the following list) has been obtained from Paris, where the builders are famous for the manufacture of this class of Stop. All the Stops in the Pedal organ were made and voiced by Mr. Robson, with the exception of the Violin and the Violoncello, which were voiced by Mr. Schulze. It is a curious coincidence that, in adding certain ranks of pipes to the mixtures, with the twofold object of correcting some pre-existing misproportions, and of giving increased fulness and .volume of tone to the full organ, to compensate for the pre- sent acoustically less advantageous position of the instrument, the plan devised by the organist has proved to be identical with that originally proposed by Father Smith, who, from some cause not now to be ascertained, but most probably from lack of room, was compelled to depart from his first intentions. It may be further observed, that the "Viohn Diapason" (No. 31) and "Hohl-Flote" (No. 5) were included in the list of " desirable new Stops," in entire unconsciousness of their having been included in that portion of Smith's original design which was left unexecuted. The bellows of the organ are blown by two of Joy's patent hydraulic engines. Great Organ, 16 Stops. 1. Double Diapason 16 feet tone. 2. Open Diapason, smooth and mellow 8 feet. 3. Open Diapason, clear and strong 8 feet, 4. Stopped Diapason, metal to Tenor C sliarp 8 feet tone. 5. Hohl-Flote, bass octave, Gedact 8 feet. 6. Viola da Gamba 8 feet. Principal, smooth and mellow 4 feet. Octave, clear and strong ... 4. feet. Nason Flute, stopped 4 feet. Twelfth 2|ftet. Fifteenth 2 feet. Full Mixture, HI ranks ... 2 feet. Sharp Mixture, V ranks ... 2 feet. SmallTrumpet,old,revoiced 8 feet. Large Trumpet, new 8 feet. Clarion 4 feet. AN ACCOUNT OF BRITISH ORGANS. 455 Swell Organ, 12 Stops. 17. Bourdon i6feettone. 18. Open Diapason 8 feet. 19. Rohr Gedact ..'. 8 feet tone. 20. Principal 4 feet. 21. Rohr Flote 4feettone. ^^ f Twelfth 2|feet. ■ 3 Fifteenth 2 feet. 23. Mixture, IV ranks ij feet. 24. Double Bassoon 16 feet. 25. French Horn 8 feet. 26. Hautboy 8 feet. 27. Clarion 4 feet. 28. Voix Humaine 8 feet tone. Choir Organ, 1 1 Stops. 29. Lieblich Bordun 16 feet tone. 30. Spitz-Flbte 8 feet. 31. Violin Diapason 8 feet. 32. Dulciana 8 feet. 33. Lieblich Gedact 8 feet tone. 34. Fiauto-traverso 8 feet. 35. Gemshorn 4 feet. 36. Violino 4 feet. 37. Lieblich-Flote 4 feet tone. o f Nazard '. 2f feet. 3 I Flautino 2 feet. 39. Corno di Bassetto 8 feet tone. Pedal Organ, 8 Stops. 40. Sub-Bass 32 feet tone. 41. Open Bass 16 feet. 42. Stopped Bass i6feettone. 43. Violon 16 feet. 44. Quint lo^feettone. Compass of all the IVIanuals, CC to G^ in alt. Compass of Pedals, CCC to Tenor f. 45. Violoncello 8 feet. , f Twelfth Bass Sj &"• ''■ ■ I Fifteenth Bass 4 feet. 47. Trombone 16 feet. Accessory, Stops, Movements, Sr'c. 1. Swell to Great. 2. Choir Sub-octave to Great. 3. Swell to Choir. 4. Great to Pedal. 5. Swell to Pedal. 6. Choir to Pedal. 7. 8, 9, 10, 11. Five Composition Pedals, acting on the Great and Pedal Organs in combination. 12, 13, 14. Three Composition Pedals, acting on the Swell Organ. 15. Soft Pedal Organ. 1 6. Pedal acting on " Swell to Great." 17. Pedal acting on " Great to Pedal." 18. Tremulant. 19. Manual Engine, 20. Pedal Engine, Number of Pipes. In Great Organ 1384 In Swell loii In Choir 668 In Pedal 270 Total., 3333 158. Christ Church, Newgate Street. The fine organ in Christ Church, Newgate Street, was originally built by Harris in 1690. After receiving various additions, it was entirely remodelled by Mr. Hill about the year 1835, when all the Manual organs were reconstructed to the C C compass ; but at that time the Pedal organ had but one octave of pipes to each stop, and the Pedal Reeds only four notes to each stop ; the Open Diapason in Choir ceased at Gamut G ; and the organ had no . Composition Pedals. The touch was extremely heavy ; the number of Speaking Stops then being 39. ^^ ^ In the 'years 1867-68, extensive improvements were suggested by the present organist, Joseph Thomas Cooper, F.R.A.S., and by the liberality of the united parishes of Christ Church, Newgate Street, and St. Leonard's, Foster Lane, the work was executed by Messrs. Hill & Son. The instrument now justly ranks as 4S6 APPENDIX. one of the largest, finest, and most complete in England, ing Stops : — Great Organ, 13 Stops. It contains the foUow- 1. Double Open Diapason 1 5 feet. 2. Open Diapason 8 feet. 3. Open Diapason 8 feet. 4. Stopped Diapason 8 feet tone. 5. Principal 4 feet. 6. Twelfth ijfeet. 7. Fifteenth 2 feet. 13 Sesqnialtera, V ranks. Mixture ...V ranks. Doublette ...II ranks 2 feet. Double Trumpet 16 feet. Posaune 8 feet. Clarion 4feet. Swell Organ, I'l Stops. 14. 15- 16. •7- 18. 19- Double Diapason 16 feet tone. Open Diapason 8 feet. S topped Diapason 8 feet tone. Principal 4 feet. Flageolet 4 feet. Fifteenth z feet. 20. Mixture, V ranks, 21. Corno 8 feet. 22. Trumpet 8 feet. 23. Hautbois 8 feet. 24. Clarion 4 feet. Choir Organ, 8 Stops. 25.*Open Diapason (now ex- tended to CC) 8 feet. 26. Stopped Diapason 8 feet tone. 27.*Dulciana 8 feet. 28.*Clarionet (to CC). 8 feet. 2g. Principal 4 feet. 3o.*Lieblich Flute 4 feet. 31. Fifteenth 2 feet. 32.*Flute Piccolo (converted from the previous Stopped Flute) 2 feet. Pedal Organ, 10 Stops. 33.*Sub-Bass (converted from the previous Double Open Diapason, and now carried throughout) 32 feet, 34. Open Wood 16 feet. 35. Montre, open metal 16 feet. 36.*Bourdon i6feettone. 37. Principal 8 feet. 38. Twelfth : Sjfeet. 39. Fifteenth 4 feet. 40. Larigot Mixture, V ranks. 41. Trombone 16 feet. 42. Octave Trombone 8 feet. Accessory Stops, Movements, S^c. 1. Coupler, Great to Pedal. 2. Coupler, Swell to. Pedal. 3. Coupler, Choir to Pedal. 4. Coupler, Swell to Great. 5. Coupler, Choir to Great. 6. Coupler, Choir to Swell. Composition Pedq.ls. Three to Great Organ. | Tyvo to Choir Organ. Compass. Great C C to f^ in alt. Swell C C to fs in alt. Choir C C to f» in alt. Pedal Organ, CCCC, to Tenor f. Pedal Clavier, C C, to f ' ; two . octaves and a half. The improvements made in 1867-68, were :— New Manuals, new radiating Pedal Board; the Pneumatic action applied to the Great organ and all the Couplers ; a new Dulciana, Clarionet and Lieblich Flute added to Choir ; the Open Diapason Choir extended from gamut G to C C ; the old Stopped Flute in Choir converted into a Piccolo ; a new Bourdon Stop added to Pedal organ ; one of the open wood, 1 6- feet Pedals converted into a Sub-Bass, 32-feet (these' new Stops and conversions are marked *). All the Pedal Stops extended to the complete compass, two octaves and a half; and the five Composition Pedals. AN ACCOUNT OF E^.ITISH ORGANS. 457 159. St. Sepulchre's. The organ in St. Sepulchre's Church, Snow Hill, was originally built by Renatus Harris, in 1670, and is supposed to be the oldest instrument of his make now existing in London. It consisted, at first, of a Great and Choir organ only ; the compass being from G G, short octaves, to d' in alt. On the instrument under- going an extensive repair by the elder Byfield, about the year 1 730, a small Tenor f Swell was added ; and a new Trumpet, Clarion, and Open Diapason Bass put to the Great organ. In 1817, the Compass was carried up to e^ in alt, and made " long octaves " in the Bass,' by Mr. Hancock ; another Open Diapason was added throughout the Great organ ; a Dulciana put in the Choir organ, in place of the Vox Humana ; and an Octave of G G Pedals and Unison Pedal Pipes applied. In 1827, the Swell was extended in compass down to Gamut G, by Mr. Gray, and two octaves of C C C Pedals laid down ; also two Couplers, Great and Choir to Pedal introduced; In 1835, Mr. Gray made a further extension of the Swell, and added the Great Pedal Diapason, which is the identical one that was used in the organ erected for the Festival in Westminster Abbey, in 1834. A new sound-board was also made to the Great organ, for facilitating the tuning, and for improving and preserving the instrument. The organ has since been considerably enlarged and improved by Gray & Davison, through the liberality of the parish and the munificence of a private gentleman. The new work consisted of an independent Pedal organ of 10 Stops ; the Keraulophon and Clarionet Stops in the Choir organ ; an extension of the Swell Double Diapason ; new Manuals, &c. ; and " it now requires only a Double Diapason and new Open Diapason in the Great organ, the Double Diapason in the Swell to be completed, and a Contra Fagotto or Double Reed throughout the same Manual, with new Draw- Stop Action, Composition Pedals, &c., to make this truly magnificent instrument complete."* It contains 41 Sounding Stops of which the following is a list : — Great Organ, 15 Stops. 1. Open Diapason, No. 1 ...... 8 feet. 2. Open Diapason, No. 2 8 feet. 3. Stopped Diapason 8 feet. 4. Clarabella Treble 8 feet. 5. Principal, No. i 4 feet. 6 Principal, No. 2 4 feet. 7. Twelfth 3 feet. 8. Fifteenth 2 feet. 9. Tierce if foot. 10. Larigot i^ foot. 11. Sesquialtera, III ranks iX foot. 12. Mixture II ranks | foot. 13. Furniture ...III ranks \\ foot. 14. Trumpet 8 feet. 15. Clarion 4 feet. Swell Organ, 10 Stops. 16. Double Diapason, Bass 16 feet. 17. Open Diapason 8 feet. 18. Stopped Diapason 8 feet. 19. Principal 4 feet. lo. Fifteenth 2 feet. 21. Sesquialtera, III ranks i -I- foot. 22. Horn 8 feet. 23. Trumpet 8 feet. 24. Hautboy 8 feet. 25. Clarion 4 feet. Choir Organ, 7 Stops. 26. Stopped Diapason 8 feet. 27. Dulciana 8 feet. 28. Keraulophon 8 feet. 29. Principal 4 feet. Pedal Organ, 10 Stops. 30. Flute 4 feet. 31. Fifteenth 2 feet. 32. Clarionet, 8 feet. 33. Grand Open Diapason, wood 16 feet. 34. Grand Violon, metal 16 feet. 35. Grand Bourdon 16 feet. 36. Grand Principal 8 feet. Grand Twelfth 6 feet. 34 35 36 37 38. Grand Fifteenth 4 feet. 39. Grand Mixture, V ranks. 40. Grand Posaune 16 feet. 41. Grand Trumpet 8 feet. 42. Grand Clarion > 4 feet. * Advertisement to liiLv. Cooper's Organist's Man-ual. 458 APPENDIX. Accessory Stops, Movements, Grc. 1. Coupler, Great to Pedal, i6 £pet pitch. 2. Coupler, Great to Pedal, 8 feet pitch. 3 Coupler, Choir to Pedal, 8 feet pitch. 4. Coupler, Swell to Pedal, 1 6 feet pitch. 5. Coupler, Swell to Great. 6. Coupler, Swell to Choir. Great, G G to e» in alt. Choir, G G to 6= in alt. 7. C-tioir, Sub-octave to Great. 8. Sforzando Coupler, Great to Swell, g to 15. Seven Composition Pedals. 16. Pneumatic Lever attachment. 17. Tremulant Swell. Two Horizontal Bellows. Compass. Swell, G G to e» in alt. Pedal, C C C to Tenor f. 160. St. Andrew's, Holborn. The organ in St. Andrew's, Holborn, was originally built by Renatus Harris, in 1699, and consisted of Great and Choir organs, comprising 22 Stops. A Swell of 8 Stops to Piddle g was afterwards added by Byfield. A new inside was put to the instrument, soon after the commencement of the present century, by Russell ; and, in 1841, the whole was entirely remodelled, revoiced, and a new Swell added, by Hill. The organ now contains 27 Stops, of which the following is a list : — Great, 10 Stops. 1. Double Open Diapason 16 feet. 2. Open Diapason 8 feet. 3. Clarabella Treble and Stopped Diapason Bass 8 feet. 4. Principal 4 feet. 5. Twelfth 2f feet. 6. Fifteenth : 2 feet. 7. Sesquialtera, III ranks 1^ foot. 8. Mixture II ranks f- foot. 9. Trumpet 8 feet. IP. Clarion 4 feet. Choir, 6 Stops. 11. Open Diapason to Gamut G. 8 feet. 12. Stopped Diapason 8 feet tone. 13. Principal 4 feet. 14. Flute 4feettone. 15. Fifteenth 2 feet. 16. Cremona to Tenor c 8 feet tone. 17. Double Dulciana 16 feet. 18. Open Diapason 8 feet. 19. Stopped Diapason 8 feet tone. 20. Principal 4 feet. 21. Flageolet 4 feet. Swell, 10 Stops. 22. Doublette, II ranks 2 feet. 23. Hautboy 8 feet. 24. Trumpet 8 feet. 25^ Cornopean 8 feet. 26. Clarion 4 feet. Pedal, I Stop. 27. Open Diapason (C C C to Gamut G) 16 feet length. Accessory Stops, Movements, S^c. 1 . Coupler, Great to Pedal. 2. Coupler, Swell to Great. 3. 4, J. Three Composition Pedals. Couplers. Great and Choir, G G to fa in alt. Swell, Tenor c to f ^ in alt. Pedal Clavier, two octaves. 161. St. Peter's, Cornhill. The organ in St. Peter's Church, Cornhill, was originally built by Father Smith, in i68i, at a cost of .£210, inclusive of painting and gilding. It then contained the following 13 Stops ; compass, G G, short octaves, to d in alt ; viz. : — Great, 9 Stops. 4. Twelfth. I 5. Fifteenth. 6. Sesquialtera, III ranks. Open Diapason. Stopped Diapason. Principal. 10. Stopped Diapason. Choir, 4 Stops. II. Principal. Mixture II ranks. ' Trumpet. Cornet to Middle cij, V ranks. 12. Fifteenth. | 13. Cremona. AN ACCOUNT OF BRITISH ORGANS. 459 To which Crang added a Tenor f Swell of 6 Stops. The " Choriis " of Smith's organ was originally a very fine one, but had been in very, bad hands. A new inside was put to the organ, and the case widened, by the insertion of a centre tower, by Mr. Hill, about the year 1840. On removing the old instrument, it was found to contain many wooden Pipes of Smith's construction, which the mellowing hand of time had rendered of more than ordinary value ; which were accordingly incorporated with the new work. The present organ, which is considered one of the finest in London, contains the following Stops ; — Great, 20 Draw Stops. 1. Tenoroon Diapason, to Tenor c key 16 feet. 2. Bourdon, to meet No. i 16 feet tone. 3. Principal Diapason ,.- 8 feet. 4. Stopped Diapason, Treble ... 8 feet tone. 5. Stopped Diapason, Bass 8 feet tone. 6. Dulciana, to Tenor c 8' feet. 7. Claribel Flute, to Tenor c... 8 feet. 8. Principal Octave 4 feet. 9. Wald Flute 4 feet. 10. Oboe Flute 4 feet. 11. Stopped Flute 4feettone. 12. Twelfth 2j feet. 13. Fifteenth 2 feet. 14. Tierce if foot. 15. Sesquialtera, II ranks i4 foot. 16. Mixture II ranks ffoot. 17 Doublette ...II ranks 2 feet. 18. Corno Trombone 8 feet. 19. Corno Clarion 4 feet. 20. Cremorne, to Tenor c 8 feet tone. Swell, 18 Draw Stops. 21. Tenoroon Dulciana, to Tenor c key 16. feet. 22. Bourdon, to meet No 21 ... 16 feet tone. 23. Principal Diapason 8 feet. 24. Stopped Diapason, Treble ... 8 feet tone 25. Stopped Diapason, Bass 8 feet tone. Principal Octave 4 feet. Suabe Flute, to Tenor c 4 feet. Flageolet, to Tenor c 4 feet. Twelfth 2ffeet. 26. 28 »9 Fifteenth 2 feet. Piccolo, to Tenor c 2 feet. Sesquialtera, III ranks if foot. Mixture II ranks ffoot. Echo Dulciana Cornet, V ranks 35. Cornopean 8 feet. 36. Tromba 8 feet. 37. Hautboy 8 feet. 38. Clarion 4 feet. Pedal, 2 Draw Stops. 39. Great Diapason 16 feet. | 40. Contra Posaune ififeet. Accessory Stops, Movements, &^c. 1. Coupler, Swell to Great. 2. Coupler, Great to Pedal. 3. Coupler, Swell to Pedal. Great Organ, C C to f3 in alt, 54 notes. Swell Organ, C C to fs in alt, 54 notes. 4. Octave Pedal. 5, 6, 7, 8. Four Composition Pedals. Compass. Pedal Organ, C C C to B B, 12 notes. Pedal Clavier, C C C to Tenor a, 27 keys. 162. St. Michael's, Cornhill. The organ in St. Michael's Church, Cornhill, was originally built by Renatus Harris, A.D., 1684. In the year 1789, a Swell was added, and other improve- ments made, by Green; and, in 1849, the organ was entirely reconstructed by Messrs. Robson, under the direction of Mr. Limpus, the present organist, and now ranks as one of the finest instruments in the metropolis. The electric action has lately been applied to the instrument. Great Organ, 12 Stops. Feet. Pipes. 1. Double Open Diapason, metal 16 56 2. Large Open Diapason 8 56 3. Open Diapason 8 56 4. Stopped Diapason 8 56 5. Principal 4 56 6. Wald Flute 4 56 Feet. 3 7. Twelfth 8. Fifteenth 9. Sesquialtera, IV ranks 2 10. Mixture. IV ranks i 11. Trumpet 8 12. Clarion a Pipes. 56 256 224 24 56 56 460 APPENDIX. Choir Organ, 8 Stops. •3' 14. 15- 16. 21. 22. 23. 24. 25. 26. Feet. Pipes. Dulciana 8 64 VioldiGamba 8 54 Stopped Diapason Stone. 56 Principal 4 56 Feet. Pipes. 17. Flute, metal 4 tone. 56 18. Fifteenth 2 56 19. Bassoon 8 56 20. Clarionet 8 tone. 44 Feet. Pipes. Double Open Diapason 16 tone. 56 Open Diapason 8 Dulciana 8 Stopped Diapason Stone. Principal 4 Fifteenth 2 Swell Organ, 12 Stops. . . Feet. 27. Piccolo 2 28. Sesquialtera, III ranks i| 29. Mixture 11 ranks f 30. Oboe 8 31. Horn 8 32. Clarion 4 56 56 56 Pedal, 3 Stops. 35. Trombone 16 Feet. Pipes. Open Diapason 16 30 Stopped Diapason 16 tone. 30 Accessory Stops, Movements, Gfc. 5. Swell to Pedal. Feet. Pipes. 168 112 56 56 85 Pipes. 30 1. Swell to Great. 2. Swell to Choir. 3. Great to Pedal. 4. Choir to Pedal. Octave Pedal. 8, 9, 10. Four Composition Pedals. Compass. All the Manuals, C C to ga in alt. | Pedal, C C C to Tenor f. Summary of Stops. Stops. ' Pipes. Stops. Great Organ 12 1008 Pedal Organ 3 Swell Organ 12 828 Copulas 6 Choir Organ 8 424 — 41 Pipes. 90 2350 163. St. Stephen's, Walerook. The organ in St. Stephen's Church, Walbrook, was built by George England, about the year 1760 ; and was paid for out of funds raised by subscription. The quality of tone of the instrument is very good throughout. The touch, however, is disagreeable. England's organs, like Schmidt's, were always remarkable for the brightness and brilliancy of their chorus. This was one of the distinguishing attributes of the organ under consideration, — esteemed the best of England's made in London ; — consequently, when the organ was repaired, in 1825, by Mr. Gray, a second Open Diapason was added to the Great organ, on the Cornet slider, and an octave of Unison Pedal Pipes introduced, which additions considerably enriched the chorus of the Great organ. The organ now contains 26 Stops, of which the following is a list : — • Great, 11 Stops. 1. Open Diapason, 2. Open Diapason. 3. Stopped Diapason. 4. Principal. <. Nason. 6. Twelfth. 12. Stopped Diapason. 13. Principal. 14. Flute. 7. Fifteenth. 8. Furniture, III tanks. 9. Mixture, II ranks. 10. Trumpet. 11. Clarion. Choir, 6 Stops. 15. Fifteenth. 16. French Horn. 17. Vox Humana. AN ACCOUNT OF BRITISH ORGANS. 461 Swell, 8 Stops. 18. Open Diapason. 19. Stopped Diapason. 20. Principal. 21. German Flute. 22. Comet, III ranks. 23. Hautboy. 24. Trumpet. 25. Clarion. Pedal, I Stop. 26. Open Pipes GG to Gamut G, one octave, lof feet length. Compass. 1. Great, GG toe' in alt. 2. Choir, GG o e= in alt. 3. Swell, Fiddle g to e' in alt. 4. Pedal Stop, one octave. 5. Pedal Clavier, GG to Tenor c, octave and a half. Accessory Stop. Coupler Great to Pedal. 164. St. Edmund the King, Lombard Street. The organ in the Church of St. Edmund the King, Lombard Street, said to have been originally built by Harris, was entirely reconstructed by Bishop, in 1833.. It is the first instrument' that had a Swell descending so low as EE; the deepest compass previously adopted being to F F, in Green's organ at Greenwich. The following is a list of the Stops in the above-named instrument ; — Great, 7 Stops. 1. Open Diapason. 2. Stopped Diapason, Clarabella Treble. 3. Principal. 4. Twelfth. 5. Fifteenth. 6. Sesquialtera, III ranks. 7. Trumpet. g. Dulciana to FF. 9. Stopped Diapason. 10. Principal, 13. Open Diapason. 14. Stopped Diapason. 15. Principal. 16. Twelfth. Choir, 5 Stops. II. Flute. 11. riute. 12. Cremona to Tenor e. Swell, 7 Stops. 17. Fifteenth. 18. Hautboy. 19. Trumpet, Pedal, I Stop. 20. Open Wood Pipes, G G G to C C, 21J feet length. 1. Coupler, Swell to Great 2. Coupler, Swell to Choir. 3. Ciiupler, Choir to Great. 4. Coupler, Great to Pedal. Accessory Stops, Movements, Qr'c. 5. Coupler, Choir to Pedal. 6, 7, 8, 9 Four Composition Pedals, 10. Shifting Movements to Swell. Compass. Great G G to fa in alt. Choir, G G to fa in alt. Swell, E E to f3 in alt. Pedal, G G to Tenor c. This organ has a fourth Manual, which acts either on the Pedal Pipes, or on the Great or Choir organs. 462 APPENDIX. 165. St. Mary-at-Hill. The organ at St. Mary-at-Hill is a very fine instrument, and was built in 1849, by Messrs. Hill & Co. It contains 30 Sounding Stops, distributed among two Manuals and Pedal, in the following manner : — Great, 15 Stops. — Every Stop throughout. 1. Bourdon and Open Diapason... 16 feet. 2. Open Diapason 8 feet. 3. Gamba 8 feet. 4. Stopped Diapason 8 feet. 5. Quint 6 feet. 6. Octave 4 feet 7. Octave, Quint 3 feet! 8. Super Octave z feet. 9. Walde Flute 4 feet. 10. Flageolet 2 feet. 11. Sesquialtera, III ranks. 12. Mixture... Ill ranks. 13. Posaune 8 feet. 14. Clarion 4 feet. 15. Krum Horn 8 feet. Swell, 12 Stops. 16. Bourdon and Open Diapason... 16 feet. 17. Open Diapason 8 feet. '8- 3 Stopped Diapason, bass ) 3 j.^^^^ \ otopped Diapason, treble ...j 19. Hohl Flute 8 feet. 20. Octave 4 feet. 21. Suabe Flute 4 feet. 22. Octave Quint 3 feet. 23. Super Octave 2 feet. 24. S'esquialtera, III ranks. 25. Cornopean 8 feet. 26. Hautboy 8 feet. 27. Clarion 4 feet. Pedal, 3 Stops. 28. Open Diapason 16 feet. | 29. Octave 8 feet. | 30. Trombone. Accessory Stops, Movements, &»f. 1. Coupler, Swell to Great. I 3. Coupler, Swell to Pedal. 2. Coupler, Great to Pedal. | 4, 5, 6. Three Composition Pedals. Compass. Great, C C to f 3 in alt. | Swell, C C to f 3 in alt. | Pedal, C C C to Tenor e. 166. St. Stephen, Coleman Street. The Church of St. Stephen, Coleman Street, contains a very good organ, built by Avery, in the year 1775. It has 21 Sounding Stops, of which the following is a list :- 1. Open Diapason. 2. Stopped Diapason. 3. Principal. 4. Twelfth. 5. Fifteenth. Great, 10 Stops. 6. Sesquialtera, III ranks. 7. Mixture, II ranks. 8. Trumpet. 9. Clarion. 10. Cornet to middle c', V ranks. 11. Stopped Diapason. 12. Principal, 13. Flute. These Stops are all throughout, except the Cornet. Choir, 5 Stops. 4. Fifteenth. 15. Cremona to Tenor c. Swell, 6 Stops. 16. Open Diapason. 17. Stopped Diapason. 18. Principal. 19. Cornet, III ranks. 20. Trumpet. 21. Hautboy. Great, G G to e' in alt, no G G t. Choir, G G to 6= in alt, no G G|. Compass. Swell, Fiddle g to e^ in alt. Pedal Clavier, G G to Tenor c. AN ACCOUNT OF BRITISH ORGANS. 463 167. St. Ann's, Limehouse. The new organ in St. Ann's, Limehouse, was made by Gray & Davison, and is the same which those builders erected in the Great Exhibition building in 185 1. It contains 34 Stops, of which the following is a list : — Great, 13 Stops. 1. Double Open Diapason 16 feet. 2. Open Diapason 8 feet. 3. Open Diapason 8 feet. 4. Stopped Diapason 8 feet tone. 5. Octave 4 feet. 6. Stopped Flute 4feettone. 7. Twelfth zffeet. 8. Fifteenth 2 feet. 9, Flageolet, Open 2 feet.. 10. Sesquialtera, III ranks i|- foot. 11. Mixture... II ranlu f foot. 12. Posaune 8 feet. 13. Clarion 4 feet. 14. Dulciana 8 feet. 15. Keraulophon 8 feet. 16. Clarinet Flute 8 feet tone. 17. Stopped Diapason Bass 8 feet tone. Choir, 8 Stops. Octave ; 4 feet 18 19. Flute, Open 4 feet. 20. Fifteenth 2 feet. 21. Clarinet 8 feet tone. Swell, 9 Stops. 22. Bourdon i6feettone. 23. Open Diapason 8 feet. 24. Stopped Diapason 8 feet tone. 25. Octave 4 feet. 26. Fifteenth 2 feet. 27. Sesquialtera, III ranlcs. 28. Cornopean 8 feet. 29. Oboe 8 feet. 30. Clarion 4 feet. Pedal, 4 Stops. 31. Grand Open Diapason 16 feet. 32. Grand Bourdon i6feettone. Grand Octave 8 feet. Grande Bombarde 16 feet. 1. Swell to Great. 2. Swell to Choir. Accessory Stops, Movements, &r'c. I 3. Great to Pedal. | 7 to 4. Choir to Pedal. | 1 2. Six Composition Pedals. Compass. J. Swell to Pedal. 6. Sforzando Pedal. Great, C C to f ' in alt. Choir, C C to fa in alt. Swell organ Tenor c (4 feet compass to f' in alt. Swell Clavier down to C C, acting on Choir organ below Tenor c. Pedal, C C C to Tenor e. 168. Christ Church, Spittalfields. The organ in this fine church is one of the largest and best in the metropolis. It was originally built by Bridge in 1730, for the sum of ^600, scarcely half its real value. In 1822, it was repaired by Mr. Bishop, who introduced the Dulciana into the Choir organ, in place of the Ill-rank Mixture. The instrument after- wards suffered materially from water, during the fire that occurred in the steeple, and was subsequently repaired and enlarged by Lincoln, in 1837, who added the Pedal Pipes to GGG, and extended the Swell to Tenor c, besides adding several new Stops. In 1852, the organ underwent further enlargement, owing to the spirit and musical taste of the Rev. Mr. Stone, the Rector, which amplification was effected by Messrs. Gray & Davison, under the direction of Mr. J. S. Noble, the 464 APPENDIX. organist of the church. The Spitalfields organ now contains 45 Sounding Stops, distributed among 3 Manuals and Pedal, in the following manner : — Great Organ, i6 Stops. 9. Fifteenth. 1. Open Diapason. 2. Open Diapason. 3. Stopped Diapason. 4. Clarabella. 5. Principal. 6. Principal. 7. Twelfth. 8. Fifteenth. Tierce. Sesquialtera, V ranks. Mixture Furniture . Posaune. Trumpet, 11 ranks. . Ill ranks. 1 7. Double Diapason. 18. Bourdon. 19. Open Diapason. 20. Open Diapason, to Tenor c. 21. Stopped Diapason, to Tenor c, 22. Stopped Diapason Bass. 23. Principal. 16. Clarion. Swell Organ, 14 Stops. 24. Fifteenth. 25. 26. 27. Sesquialtera, III ranks. Mixture ... II ranks. Contra Fagotto. Cornopean. Oboe. 29, 30. Clarion, Stops. Open Diapason. Stopped Diapason. Dulciana. 34. Principal. 42. Open Diapason. | 43. Choir Organ. 35. Flute. 36. Fifteenth. 37. Flageolet. 38. French Horn, to Tenor c, Pedal Organ, 4 Stops. Bourdon. | 44. Principal. 39. Trumpet, to Tenor c. 40. Cremona. 41. Bassoon. I 45. Trombone. Accessory Stops, Movements, Qr^c. 7 Great Sub-octave to Pedal. Choir to Pedal. 9. Swell to Pedal. 10. Octave Pedal Coupler. II to 17. Seven Composition Pedals. 1 . Coupler, Swell to Great. 2. Coupler, Choir to Great. 3. Coupler, Swell to Choir. 4. Coupler, Great to Swell (Sforzando). 5. Coupler, Choir Sub -octave to Great. 6. Coupler, Great to Pedal. Compass. Great, G G to f 3 in alt 59 notes. I Swell, C C to f3 in alt 54 notes. Choir, G G to f 3 in alt 59 notes. | Pedal, partly G G to middle e ... 34 notes. Summary of Stops and Pipes. Great 16 stops 1328 pipes. Choir II stops 551 pipes. Swell 14 stops 798 pipes. Pedal * 4 stops 92 pipes. 45 stops. Couplers 9 2769 pipes. 169. St. Luke's Church, Old Street Road. The organ in St. Luke's Church, Old Street Road, was originally built by Bridge, but has been remodelled and almost entirely reconstructed by Gray & Davison. It now consists of 3 Manual organs of complete compass ; an indepen- dent Pedal ; and 32 Stops, of which the following is a hst : — Great, 14 Stops. 1. Sub-octave, Stopped 16 feet tone. 2. Principal, Open 8 feet. 3. Principal, Open 8 feet. 4. Stopped Principal 8 feet tone. 5. Octave. 4 feet. 6. Piccolo Flute 4 feet. 7. Twelfth 3 feet. 8. Fifteenth 2 feet. 9. Ottavina... 2 feet. 10. Seventeenth if foot. 11. Sesquialtera, Il'ranks i| foot. 12. Mixture ... II ranks | foot. 13. Trumpet g feet. 14. Clarion 4 feet. AN ACCOUNT OF BRITISH ORGANS 465 Choir, 7 Stops. 15. Stopped Flute, Treble 8 feet tone. 16. Stopped Bass 8 feet tone. 17. Duiciana 8 feet. 18. Octave 4 feet. 19. Flageolet 4 feet. 20. Fifteenth 2 feet. 21. Clarinet 8feettone. Swell, 9 Stops. 22. Sub-octave, Stoppefl 16 feet tone. 23. Principal 8 feet. 24. Concert Flute .. 8 feet. 25. Octave 4 feet. 26. Fifteenth 2 feet. 27. Sesquialtera, III ranks iSfoot. 28. Hautboy 8 feet. 29. Cornopean 8 feet. 30. Clarion 4 feet. Pedal, 2 Stops. 31. Grand Principal iSfeet. | 32. Grand Octave 8 feet. Accessory Stops, Movements, Sr'c. 1 . Coupler, Swell to Great. 2. Coupler, Swell to Great, Sub-octave. 3 Coupler, Swell to Great, Super-octave. 4. Coupler, Great to Pedal. 5. Coupler, Choir to Pedal. 6. Coupler, Sw«ll to Pedal. 7. 8, 9, 10. Four Composition Pedals. II. Tremulant Swell. Compass. Great, C C to f 3 in alt. I Swell, C C to f a in alt. Choir, C C to f3 in alt. I Pedal, C C C to Tenor e. 17a Hackney. The fine organ in St. John's Church, Hackney, was originally built by Snetzler. It was made for the old church, in which edifice it was first erected ; but, on the completion of the new church, it was removed thither, and underwent an extensive repair by Mr. England, in 1797. The compass of the instrument was extended, by being made "long octaves;" a second Open Diapason was introduced into the Great organ ; also a Tierce ; the Great and Choir organs were both provided with new and larger sound-boards y and the entire instrument was completely remodelled and enclosed in a new case of mahogany. When the church was beautified in 1828, the organ underwent further enlargement and improvement at the hands of the late Mr. Gray, who added an octave of Double Open Pedal Pipes to C C C ; a Duiciana to the Choir organ, in place of the Vox Humana ; extended the Swell from Tenor f as far as Tenor c ; introduced two Manual Couplers to unite the Swell and Choir to the Great organ ; applied three Composition Pedals to the Great organ ; laid down an Octave and a half of Pedals ; and provided the instrument with a new pair of horizontal Bellows. In 1863, it was entirely rebuilt by Mr. Willis, who has made several additions, such as some Couplers, extended the Pedals to C C C, and added a Double Diapason and a Claribella. The whole of the Reeds are also new, the old ones having been quite worn out. The Reeds and Diapasons are very fine ; but nothing remains of Snetzler's work, except a beautiful Open Diapason. Great Organ, GG to F in alt. 1. Double Diapason. 2. Open Diapason, No. i. 3. Ditto ditto No. z. 4. Claribella. 5. Principal. 6. Twelfth. 7- Fifteenth. 8. Tierce. 9- Sesquialtera, III ranks. 10. Mixture ... II ranks. II. Trumpet. 12. Clarion. S S 466 APPENDIX. Choir Organ, G G to F in alt. 1 6. Flute. 17. Fifteenth. 18. Corno di Bassetto. 13. Dulciana. 14. Stopped Dapason. 15. Principal. Swell Organ, Tenor C to F in alt. 23. Trumpet 19. Open Diapason, No. i 20. Ditto ditto No. 2 21. Principal. 22. Fifteenth. 24. Hautboy. 25. Cornet, III ranks. Pedal Organ. 26. Open Diapason C C to C C C, 16 feet in length. Accessory Stops, Sr^c. 4. Great to Pedals, Sub-octave. 5. Choir to Great. 6. Composition Pedals. 1. Swell to Great. 2. Ditto to Choir. 3. Great to Pedals, Unison. 171. St. Mary's Catholic Chapel, Moorfields. The organ in St. Mary's Catholic Chapel, Moorfields, was built by Bevington & Son. It contains 31 Sounding Stops, of which the following is a list :— Great, 13 Stops. Open Diapason, metal. No. i. Open Diapason, ditto, No. 2. Open Diapason, small, No. 3. Stopped Diapason, No. i. Stopped Diapason, No. 2. Principal, large. No. i. Principal No. 2. 14. Open Diapason. 15. Stopped Diapason. 16. Dulciana. 17. Principal. 23. 24. 25. 26. Double Diapason. Open Diapason. Stopped Diapason. Claribel, Principal. Choir, 8 Stops. Swell, 9 Stops. 8. Twelfth. 9. Fifteenth. 10. Sesquialtera, IV ranks. 11. Mixture... Ill ranks. 12. Trumpet. 13. Clarion. 18. Flute. 19. Fifteenth. zo. Mixture, III ranks. 21. Cremona. 27- 28. 29 30, Cornet, III ranks. Trumpet. Clarion. Oboe. Pedal, I Stop, 31. Open Pipes from CC down to FFFF 24 feet length. I, 2, 3. Three Couplers. Great, FFF to P in alt. Choir, FFF to f= in alt. Accessory Stops, Movements, dr'C. Compass. I I 4 to 12. Nine Composition Pedals, Swell, F F to P in alt. Pedal, FFF to Tenor c. 172. St. Dunstan's in the West, Fleet Street. The organ in St. Dunstan's Church, Fleet Street, was built by T. R. Robson, in 1834. It contains 24 Sounding Stops, of which the following is a list : — Great, g Stops. I. Open Diapason, large. 2. Open Diapason, small. 3. Stopped Diapason. 4. Principal. 5. Twelfth. 6. Fifteenth. 7. Sesquialtera, III ranks. 8. Mixture II ranks. 9. Tnimpet. AN ACCOUNT OF BRITISH ORGANS. 467 10. Dulciana, all through, 11. Stopped Diapason. iz. Principal. 13. Flute. 17. Double Diapason. 18. Open Diapason. 19. Stopped Diapason. 20. Principal. Choir^ 7 Stops. 14. Fifteenth. 15. Cremona. 16. Bassoon. Swell, 7 Stops. 21. Flute. 22. Trumpet. 23. Oboe. 1. Coupler, Swell to Great. 2. Coupler, Great to Pedal. 3 . Coupler, Choir to Pedal Pedal, I Stop. 24. Open Pipes, C C down to G G G 21J feet. Accessory Stops, Movements, b^c 4. Choir to Great, Sub -octave. 5, 6, 7. Three Composition Pedals. Great, G G with G G | to f » in alt. Choir, the same. Compass. Swell, Tenor f to fa in alt. Pedal, G G to Tenor c. 173. Foundling Hospital. The new organ at the Foundling Hospital was built by Bevington, from a Specification prepared by Mr. Willing, the organist to the chapel. It consists of 49 Sounding Stops, 3 Manuals, and Pedal. The following is a list of the Stops which it contains : — Great, Pipes. Feet. 1 . Double Open Diapason to ' the Tenor c Itey 49 ... 2. Bourdon, CCC to BB... 12... 3. Open Diapason, No. i ... 61 ... 4. Open Diapason, No. 2 ... 61 ... 5. Open Diapason, No. 3, large scale 61 ... 6. StoppedDiapason,through 61 ... Clarabella, to Fiddle g ... 42 8. Principal, No. 1 61 Pipes. 19. Dulciana Treble 49 . 20 Dulciana Bass 12 . 21. Viol da Gamba, Tenor c 49 . 22. Stopped Diapason 61 . 23. Principal 61 . 24. Wald Flute, Tenor c 49 . Pipes. 30. Double Open Diapason, to Fiddle G key 42 . 31. Bourdon Bass, C C C to FFl 19 . 32. Open Diapason 61 . 33. Stopped Diapason, Treble 49 . 34. Stopped Diapason, Bass... 12 . 35. Dulciana, Tenor c 49 . 36. Viol da Gamba, Tenor c 49 . 16 16 tone. 8 tone. 5 Stops. Pipes. 9. Principal, No. 2 61 . 10. Wald Flute, to Tenor c 49 . 11. Twelfth 61 . 12. Fifteenth 61 . 13. Sesquialtera 244 . 14 Mixture 183 . 15. Furniture 183 . 16. Trumpet 61 . 17. Tromba, Solo Stop 49 . 18. Clarion 61 . Choir, II Stops. Feet. . 8 tone. • 4 • 4 Swell, I Feet. . 16 . 1 6 tone. . 8 . 8 tone. . 8 tone. . 8 . 8 Pipes. 25. Suabe Flute, Tenor c ... 49 .. 26. Fifteenth 61 .. 27. Piccolo, Tenor c 49 .. 28. Double Bassoon, Tenor c 49 .. 29. Clarionette, Tenor c ... 49 .. 5 Stops. Pipes. 37. Principal 61 .. 38. Open Flute, Tenor c ... 49 .. 39. Triplet 183 .. Doublette 122 .. Trombone 61 .. Cornopean 61 .. Oboe 61 .. Clarion 61 .. 40. 41. 42. 43- 44. Feet. ■ 4 4 2 IV ranks. Ill ranks. Ill ranks. 16 8 tone. Feet. • 4 ■ 4 . Ill ranks. . II ranks. . 16 , 8 . 8 , 4. S S : 468 APPENDIX. Pedal, 5 Stops, Feet. . l6 . l6 . 1 6 tone. Pipes. Feel. 48. Principal, metal 3a .•• ^ 49. Trombone, metal 30 ... 16 Pipes. 45. Open Diapason, wood ... 30 . 46. Open Diapason, metal ... 30 . 47. Bourdon, wood 3° ■ Also, by means of an octave coupler, and an additional octave of Pipes above Tenor f : — Feet. Pipes. a. Octave, wood 12 ••• b. Principal, metal 12 ••■ c. Bass Flute, wood ii ... 8 tone. Pipes. Feet. d. Fifteenth, metal 12 .■• 4 e. Trumpet, metal 12 ... ^ Swell to Great. Swell to Choir. Pedal to Great. Pedal to Swell. Accessory Stops, Movements, Sr'c. 5. Pedal to Choir. 6. Octave up to Great. 7 to ij. Nine Composition Pedals. Compass. Great, C C to c* in altissimo, 5 complete octaves. Choir, C C to C in altissimo, ditto. Swell, C C to c* in altissimo, ditto. Pedal organ, C C C to Middle fi, 3J octaves. Pedal Clavier, C C C to Tenor f, zj octaves. 1. 174. St. Clement Dane's, Strand. A good organ, built by Schmidt, and altered by Hill. Great, G G to D. 1. Open Diapason. 2. Open Diapason, Gamut G. 3. Stopped Diapason. 4. Principal. 5. Flute. 11. Stopped Diapason. 12. Principal. 13. Flute. 16. Open Diapason, 17 Stopped Diapason. 18. Principal. 1 9. Cornet, IV ranks. 6. Twelfth. 7. Fifteenth. 8. Sesquiakera, IV ranks. 9. Mixture ...III ranks. 10. Trumpet. Choir, G G to D. 14. Fifteenth. 15. Cremona. Swell, Tenor F to D. 20. Trumpet. 21. Oboe. 22. Clarion. Pedal, I Stop. 23. i^ octave of Pedal Pipes, G G (unisons). 175. Gerivian Lutheran Church, Savov, Strand. The organ in the German Lutheran Church in the Sayoy, Strand, was built by Snetzler. It contains 18 Stops, of which the following is a list :' 1. Open Diapason. 2. Stopped Diapason, 3. Principal. 4. Twelfth. 9. Open Diapason. 10. Stopped Diapason. 11. Principal. Great, 8 Stops. 5. Fifteenth. 6. Sesquialtera, III ranks. 7. Trumpet. 8. Cornet, mounted, V ranks. Choir, 6 Stops. 12. Flute. 1 3. Fifteenth. 14.. Bassoon. AN ACCOUNT OF BRITISH ORGANS. 469 Swell, 4 Stops. 15. Open Diapason. 1 17. Hautboy. 16. Principal. | 18. Trumpet. Accessory Stops, Movements, &^c. I. Coupler, Choir to Great. I 3. Tremulant; part of Snetzler's z. Coupler, Swell to Great. | original work. Compass. Great, F F F to e^ in alt. I Swell, Fiddle g to e^ in alt. Choir, G G to e= in alt. Pedal Clavier, F F F to Tenor c. 176. Exeter Hall. The large organ in Exeter Hall was built expressly for the Sacred Harmonic Society, in the year 1839, by Mr. Joseph William Walker, of Francis Street, Tottenham Cburt Road. The exterior, which corresponds with the architecture of the Hall, was designed by Mr. Robert R. Banks. The width of the instrument is 30 feet, and the height 40 ; the depth in the lower part is 4 feet 6 inches only, the Directors of the Hall having limited the builder to these dimen- sions, to prevent a loss of space on the platform when public meetings are held. Within this lower part, the bellows, 4 in number, are placed ; while above, at the height of 12 feet from the floor, comes the main body of the organ, carried out on projecting cantilions or consoles. Over each console rises a circular turret of gilt pipes, surmounted by an ornament imitative of that beautiful ancient specimen, the choragic monument of Lysicrates. The two centre towers are considerably higher than the outer ones, and project 5 feet each beyond the body of the instrument; the longest pipes in these towers measure 20 feet from the base, and 16 from the body (C and C sharp) ; the circumference is 45 finches, the diameter 15 inches, and the weight of each 4 cwt. The whole front of the organ, including the circular ends (which are novel features in the design), is divided into eleven compartments of gilt pipes. The keys are so arranged that the organist, when playing, faces the conductor and the audience, instead of sitting with his back towards them. In 1849, the Pneumatic action for lightening the touch was added to the organ, this being the first instance of its employment by any of the London builders. Larger and more powerful Reed Stops were at the same time introduced into the Great organ and Swell. Still more recently, the instrument was enlarged and partly remodelled, under the direction of Mr. Brownsmith, organist to the Society for which it was built. Two Reeds on a heavy pressure of wind were added to the Swell, and the Double Diapason turned into a Second Unison Open ; the compass of the Swell was extended from FF down to CC ; a third Open Diapason and a Second Principal were introduced into the Great organ, and the system of equal temperament adapted for the tuaing ; the latter improvement at the suggestion of Sir M. Costa. The organ now contains 41 Sounding Stops, of which the following is a list : — 1. Open Diapason. 2. Open Diapason, large. 3. Open Diapason, small. 4. Stopped Diapason. 5. Principal, large. 6. Principal. 7. Twelfth. Great, 13 Stops. 8. Fifteenth. 9. Sesquialtera, III ranks. 10. Mixture ... 11 ranks. 11. Furniture ... II ranks. 12. Trumpet. 13. Clarion. 47° APPENDIX. Choir, 7 Stops. 14. Open Diapason. 15. Stopped Diapason. 16. Dulciana to FF. 17. Principal. 21. Open Diapason. 22. Open Diapason, large. 23. Stopped Diapason. 24. Dulciana. 25. Principal. 26. Metal Flute. 27. Fifteenth. 18. Metal Flute. 19. Fifteenth. 20. Cremona to Fiddle g. Swell, 13 Stops. 28. Sesquialtera, III ranks. 29. Horn. 30. Oboe. 31. Clarion. 32. Ophicleide, 8 ftet, 1 on a ■ 33. Ophicleide, 4 feet, J heavywind. Pedal, 9 Stops. 34. Double Open, to FFF 32 feet. 35. Open Diapason, wood 16 feet. 36. Open Diapason, metal 16 feet. 37. Bourdon 16 feet. 38. Principal 8 feet. Fifteenth 8 feet. Sesquialtera, HI ranks. Trombone 16 feet. Trumpet 8 feet. Accessory Stops, Movements, &^c. 1 . Swell to Great. 2. Choir to Great. 3. Great to Pedal. 4. Choir to Pedal. 5 to II. Seven Composition Pedals ; viz., 3 to Great, 2 to Swell, and 2 to Pedal. 12. Pneumatic attachment. Compass. Great and Choir, FFF to g» in alt. | Swell, C C to g' in alt. Pedal, C C C, to Tenor e. 177. Crystal Palace. The following is a description of the large organ built by Messrs. Gray & Davison, expressly for the Great Handel Festival at the Crystal Palace in 1857. The space it occupies in the centre transept is 40 feet in width by 24 in depth, exclusive of the platform for the two principal reservoirs. Of these reservoirs there are altogether 16, by which a great variety of pressure is obtained, which gives increased brilliancy to the treble portion of the register, and brings out the tone of some of the more commanding stops. The weight of the instrument is about 20 tons. Great Organ, C C to A in alt., 19 Stops. 1. Flageolet Harmonique 2 feet. 1. Double Open Diapason 16 feet. 2. Double Dulciana 16 feet. 3. Open Diapason 8_feet. 4. Flaut a Pavilion 8' feet. 5. Claribel Flute 8 feet. 6. Flute Harmonique 8 feet. 7. Quint 6 feet. 8. Flute Octaviante 4 feet. 9. Twelfth 3 feet. 10. Super Octave 2 feet. Mixture, IV ranks. 13. Furniture, HI ranks. 14. Cymbal ... V ranks. 15. Contra Trombone 16 feet. 16. Posaune 8 feet. 17. Trumpet Harmonique 8 feet. 18. Clarion ^ 4 feet. 19. Octave Clarion 2 feet. Choir Organ, C C to A in alt., 12 Stops. 22. 23. 24. 25- Bourdon 16 feet. Gamba 8 feet. Salciohal 8 feet. Voix Celeste 8 feet. Clarinet Flute 8 feet. Gemshorn 4 feet. 16. Claribel Flute 4 feet. 27. Spitz Flute 2 feet. 28. Piccolo 2 feet. 29 Mixture, III ranks. 30. Cor Anglais and Bassoon ... 8 feet. 31. Trumpet 8 feet. AN ACCOUNT OF BRITISH ORGANS. 4;i 32. Bourdon 16 feet. 33. Open Diapason 8 feet, 34. Vox Humana 8 feet. 35. Keraulophon 8 feet. 36. Concert Flute 8 feet. 37. Octave 4 feet. 38. Flute Octaviante 4 feet. 39. Twelfth 3 feet. 40. Super Octave 2 feet. Swell Orf;an, CC to A in alt., 17 Stops, 41. Mixture, IV ranks. 42. Furniture, III ranks. 43. Piccolo Harmonique 2 feet. 44. Contra Fagotto 16 feet. 45. Cornopean 8 feet. 46. Oboe 8 feet. 47. Clarion 4 feet. 48. Echo Tromba 8 feet. 49. Flute Harmonique 8 feet. 50. Flute Octaviante 4 feet. 51. Mixture, H ranks. Solo Organ, 5 Stops. Corni di Bassetto 8 feet. Grand Tromba 8 feet. 54. Contra Bass 32 feet. 5J. Contra Bombarde 32 feet. 56. Open Diapason, wood 16 feet. 57. Open Diapason, metal 16 feet. 58. Vjolone 16 feet. 59. Bombarde 16 feet. Pedal Organ, C C C to F, 12 Stops. 60. Octave 8 feet. 61. Twelfth Sjfeet. 62. Super Octave 4 feet. 63. Mixture, IV ranks. 64. Trumpet , 8 feet. 65. Clarion 4 feet. Swell to Great Swell, Octave, Octave. and Sub- Couplers. 3. Swell to Choir. 4. Choir to Great. 5 . Choir to Octave. 6. Solo to Great. Each Manual to Pedals. Tremulant. Total number of Stops 6} | Total number of Pipes 456S 178. St. Martin-in-the-Fields. This organ, built by Messrs. Bevington, for the Parish Church of St. Martin- in-the-Fields, erected by voluntary subscription, 1854, cpntains 3 Manuals, from C C to G in alt. (56 keys), and Pedal organ, i\ octaves .C30 keys) ; 2 pairs of double-action Bellows, with inverted rib, 10 feet long by 7 feet wide, and 59 Register Stops. The whole is enclosed in two richly carved cases of solid wainscoat oak, from the designs of Thomas AUom, Architect, M. I. B. A. The large case, 29 feet in height by 19 in width, contains the Great, the Swell, and the Pedal organs, all the gilt front Pipes, forming the lower notes of the Diapasons, the centre Pipe, C C C, being 18 feet in length. The smaller ease in front of the the lower gallery, 10 feet wide by 12 feet in height, contains the Choir organ, the front gilt Pipes also forming a portion of the interior Stops. Great Organ, C C to G, 18 Stops Stops. 1. Double Diapason, metal, C C C i6feet."| 2. Double Diapason, metal, C C 16 feet. J 3. Open Diapason, metal, large scale. No. i 8 feet. 4. Open Diapason, metal. No. 2 8 feet. 5. Hohl Diapason, metal, Tenor c 8 feet. 6. Stop Diapason, wood 8 feet tone. ) 7. Claribel, wood 8 feet. J 8. Principal, No. i 4 ^et. 9. Quint, double twelfth 6 feet. Pipes. . 12 ■ 44 • 56 • S6 • -44 . 12 • 44 56 56 10. Decima, tenth 11. Twelfth 3 feet. 12. Fifteenth * ««'• 13. Sesquialtera, IV ranks 14. Furniture ...III ranks ,■ 15. Mixture Ill ranks • 16. Wald Flute, Tenor c 4 feet. 17. Trumpet, CC « f ". 18. Clarion 4 fee'- 3 feet, 6 inches 56 S6 56 224 168 168 44 56 S6 4/2 APPENDIX. Swell Organ, CC to G, 15 Stops. y 19. Bourdon, Double Diapason, wood 16 feet tone. "I i,g zo. Double Diapason, metal, C 16 feet. J 21. Open Diapason, metal, C C 8 feet. $(> 22. Dulciana, small scale, metal, Tenor c 8 feet 44 23. Stop Diapason, Bass 8 feet tone. I g 24. Stop Diapason, Treble 8 feet tone. J 25. Flute 4 feet tone. 56 26. Principal 4 feet. 56 27. Twelfth ; 3 feet. 56 28. Fifteentli 2 feet. 56 29. Sesquialtera, IV ranks 280 30. Trombone, Double Reed, C C C i6feet. 56 31. Cornopean, C C 8 feet. 56 32. Oboe, CC 8 feet. 56 33. Clarion, CC 4 feet. 56 Choir Organ, C C to G, 12 Stops. 34. Bourdon Double Diapason, wood 16 feet tone. I , 35. Double Diapason, wood. Tenor c 16 feet. J ^ 36. Open Diapason, metal, C C , 8 feet. 56 37. Viol de Gamba, Tenor c , 8 feet. 44 38. Dulciana, Tenor c 8 feet. 44 39 Claribel, C "| 8 feet tone. 1 g 40. Stop Diapason Bass j 8 feet. J ^ 41. Principal 4 feet. 56 42. Flute 4 feet. 56 43. Mixture, III ranks, Dulciana Scale ' 2 feet. 168 44. Clarionet, Tenor c 8 feet. 44 45. Bassoon, double reed. Tenor c 16 feet. 44 Pedal Organ, C C C to F, y> Notes, 9 Stops. 46. Great Open Diapason, wood 16 feet. 30 47. Bourdon, wood , , 16 feet tone, 30 48. Unison Open Diapason, metal 8 feet. 30 49. Unison Stop Diapason, wood 8 feet tone. 30 50. Principal, metal 4 feet. 30 ;i. Great Trombone, metal 16 feet. 30 52. Trumpet, metal 8 feet. 30 53. Quint and Decima, metal 60 54. Twelfth and Fifteenth, metal 60 Movements. Nine Composition Pedals — Three to each organ. 3 to Great Organ ^ 3 to Choir Organ V to shift the Stops. 3 to Swell Organ} Couplers. 1. Pedals to Great Organ Keys. 4. Swell Manual to Great Manual. 2. Pedals to Choir Organ Keys. 5. Swell Manual to Choir Manual. 3. Pedals to Swell Organ Keys. The Stops belonging to the Great organ have their names engraved in white letters on a blue ground. Those of the Swell, white letters on a red ground. The Choir organ, black letters on Mother-of-Pearl. The Pedal organ, red letters on plain Ivory. The Couplers, black letters on plain Ivory. Summary of Stops and Pipes. Draw Stops. Pipes. Great Organ 18 1264 Swell Organ 15 g^o Pedal Organ 9 330 Choir Organ .* 12 624 Couplers 5 59 3'58 AN ACCOUNT OF BRITISH ORGANS. 473 179. Chapel Royal, Whitehall. This organ was originally built by Father Schmidt. The case and some of the original wood Pipes remain to this day. It is in oak, of noble design, with four towers, and most elaborately carved, about 24 feet high by 10 feet in breadth, surmounted with the royal arms. It was rebuik in 1814, by Elliott ; it then had 20 Stops. In 1844, Messrs. Hill & Son added an entire new Swell, of large dimensions, and other improvements, at the suggestion of the officiating organist, Mr. Massey. The organ now contains 4 Manuals and 33 Sounding Stops. Com- pass, from G G to F in alt. Pedal Pipes from F F F up, twenty-one notes to D, with Choir organ in front of the gallery. Greats 8 Stops. 1. Open Diapason. 2. Stopped Diapason 3. Principal. 4. Twelfth. . 5. Fifteenth. 6. Sesquialtera, III ranks. 7. Mixture ...II ranks. 8. Trumpet. Choir, 6 Stops. g. Open Diapason. 10. Stopped Diapason 11. Stopped Diapason (Treble). (Bass). 12. Viol da Gamba. 13. Principal. 14. Bassoon. Swell, 14 Stops. — Down to F F. 15. Bourdon. 22. Fifteenth. 16. Tenoroon. 23. Sesquialtera. 17. Open Diapason. 18. Claribella. 24. Mixture. 25. Corno (Basso). 19. Stopped Diapason (Bass). 20. Flageolet. 21. Principal. 26. Cornopean. 27. Clarion. 28. Hautboy. Solo, 4 Stops. 29. Open Diapason. 30. Stopped Disapaon. | 31. Flute. | 32. Cromorne. Pedal, I Stop. 33. Open Pipes to F F F, 12 feet. I. Pedals to Great. Couplers. 1 ■ 3. Swell to Great. 2. Pedals to Choir. 4. Swell to Choir (octave below). 180. St. Margaret's, Westminster. The fine organ in St. Margaret's Church, Westminster, was built by Avery, in 1804, and cost eight hundred guineas and the old organ by Father Smith, for which Avery allowed two hundred pounds^ It stood thus in 1858 : — 1. Open Diapason. 2. Stopped Diapason. 3. Clarabella, in place of Cornet. 4. Principal. 5. Nason. 6. Twelfth. Great, ii Stops. 7- 9- 10. II. Fifteenth. Tierce. Sesquialtera, III ranks. Mixture II ranks. Trumpet. 12. Stopped Diapason. 13. Dulciana. 14 Principal. 15. Flute. Choir, 1 Stops. 16. Fifteenth. 17. Furniture, II ranks, 18. Cremona. 474 APPENDIX. 19. Open Diapason. 20. Stopped Diapason. 21. Principal. Swell, 6 Stops. 22. Cornet, III ranlts. 23. Trumpet. 24. Hautboy. Pedal, I Stop. 25. Open Pipes, one Octave, Gamut G down to G G, io| feet length. 1. Swell to Great. Great, G G to P in alt. Choir, G G to P in alt. Couplers. 2. Great to Pedal. I 3. Choir to Pedal. Compass. Swell, Fiddle g to f in alt. Pedal, G G to Gamut G, one octave. The organ was rebuilt in 1859 by Mr. G. description of the organ as it now stands :■ — M. Holditch. The following is a Great Organ,.C C to F in alt. I. Open Diapason, front 8 feet. 2.*Open Diapason 8 feet. 3. Stopped Diapason and Clari- bella 8 feet. 4. Principal 4 feet. 5. Twelfth 3 feet. 6. Fifteenth 2 feet. 7. Tierce if feet. 8. Sesquialtera. 9. Mixture. 10. Trumpet 8 feet. 11. Dulciana 8 feet. 12. Stopped Diapason 8 feet. 13. Stopped Diapason (Bass) ... 8 feet. 14. Principal 4 feet. Choir Organ, C C to F in alt. 15. Flute i6.*Slide for Unison Stop. i7.*Cremona. 4 feet. Swell Organ, C C to F in alt. i8.*Bourdon 16 feet. ig.^Double Diapason 16 feet. 20.*0pen Diapason (Bass) 8 feet. 21. Open Diapason (Treble) 8 feet. 22. Stopped Diapason 8 feet. 23. Principal 4 feet. 24. Twelfth 3 feet. 25. Fifteenth 2 feet. z6.*Sesquialtera. 27.*Double Trumpet ..- 16 feet. z8.*Cornopean 8 feet. 29. Hautboy 8 feet. Pedal Organ, extending to C C C, 16 Feet. Open Diapason 16 feet. Stopped Diapason 1 6 feet. Principal 8 feet. Fifteenth 4 feet. 34. Sesquialtera. 35. Mixture. 36. Trumpet 16 feet. There are only 4 notes at present in the Pedal organ extending to G G, but not including G G sharp. 1. Pedals to Great. 2. Pedals to Choir. 3. Pedals to Swell 4. 16 feet Pedals to Great, 5. Swell to Great. Accessory Stops, Movements, dr'c. 6. Choir to Swell. Three Composition Pedals to Great. Three Composition Pedals to Swell. Two Octaves and a third of German Pedals. The Stops marked thus (*) are not at present in the organ, but the mechanism for them is provided. None of the Stops extend through in the Swell organ. The old Swell organ had only 35 notes in compass ; the present one has 54 notes compass. The bellows are of peculiar construction, very large, and will aiford an ample supply of wind when the organ has all the Stops of Pipes completed. AN ACCOUNT OF BRITISH ORGANS. 475 i8i. St, James's, Piccadilly. The organ, by Harris, that was placed in this Church immediately after its erection, was given by Queen Mary, in 1691, having been before " in y' Create Chappell at Whitehall, which heretofore y" Papist possessed." In 1852, an entirely new inside was put to the instrument, with the exception of a fine Metal Stopped Diapason and the front Open Diapason, which are retained. The handsome old case is also preserved ; the new Choir organ being enclosed in a new and separate case, placed in front of the Gallery. The present instrument contains 36 Sounding Stops, distributed among 3 Manuals and Pedal in the following manner : — , Great, 12 Stops. 1. Open Diapason 8 feet. 2. Open Diapason 8 feet. 3. Stopped Diapason, — metal Treble 8 feet tone. 4. German Flute 8 feet. 5. Principal 4 feet. 6 "■ " Flageolet 4 feet. Swell, II Stops. 7. Twelfth zf feet. 8. Fifteentli 2 feet. 9. Sesquialtera, III ranlis if foot. 10. Mixture Ill ranlis -tfoot. 11. Posaune 8 feet. 12. Clarion 4 feet. 13- 14. 15- 16. 17- 18. Bourdon i6feettone. Open Diapason 8 feet. Stopped Diapason 8 feet tone. Principal 4 feet. Fifteenth 2 feet. Sesquialtera, III ranks if- foot. ■9 23 Mixture, III ranks ffoot. Contra Fagotta 16 feet. Cornopean 8 feet. Hautboy 8 feet. Clarion 4 feet. Choir, 9 Stops. 29. Flute 4 feet. Fifteenth 2 feet. Piccolo 2 feet. ( Cremona Treble ■ 8 feet. 24. Open Diapason 8 feet. f Clarabella Treble I „ . . 30. ^5- i Stopped Bass j ^ ^""- 3>. 26. Dulciana 8 feet. 27. Viol de Gamba 8 feet. ^ ' 1^ Bassoon Bass 28. Principal 4 feet. Pedal, 4 Stops. 33. Open Diapason 16 feet. ' I 35. Principal 8 fei t. 34. Bourdon 16 feet tone. I 36. Fifteenth 4 feet. Accessory Stops, Movements, dr'c. 1. Coupler, Swell to Great. 2. Coupler, Choir to Great. 3. Coupler, Swell to Choir. 4. Coupler, Great to Pedal. All the Manuals, C C to P in alt. Compass. 5. Coupler, Swell to Pedal. 6. Coupler, Choir to Pedal. 7 to 15. Nine Composition Pedals. Pedal, C C C to Tenor e. 182. St. George's, Hanover Square. The organ in St. George's Church, Hanover Square, was built by Gerard Smith, and since repaired by Bishop. In 1865, it underwent extensive alterations by Hill & Son. Great, 11 Stops. 1. Open Diapason. 2. Open Diapason. 3. Stopped Diapason, 4. Double Diapason. 5. Principal. 6. Twelfth, 7. Fifteenth 8. Sesquialtera ...III ranks. 9. Sharp Mixture, II ranks. 10. Trumpet. 11. Clarion. 476 APPENDIX. Choir, 6 Stops. 12. Stopped Diapason Bass, Clarabella ij. Flute. Treble. i6. Piccolo. 13. Diilciana. 17. Cremona. 14. Principal. ^^ Swell, 9 Stops. 18. Bourdon. ig. Open Diapason. 20. Stopped Diapason. 21. Principal. 24. Hautboy. 22. Fifteenth. 25. Cornopean. 23. Mixture, II ranks. 26. Clarion. Pedal, one Pipe, viz., C C C to F. Accessory Stops, Movements, &=€. J. Coupler, Swell to Great. 2. Coupler, Great to Pedals. 3. Coupler, Swell to Pedals. 4. Coupler, Chair to Pedals. 5, 6, 7. Three Composition Pedals. Compass. Great, C C to G in alt. I Choir, C C to G in alt. I Swell, C C to G in alt. 183. The Queen's Concert Rooms, Hanover Square. The new organ has been built by Messrs. Thomas C. Lewis & Co., of Shepherd's Lane, Brixton, London, and fully sustains the reputation they have achieved for high-class work. . The Queen's Concert Rooms, Hanover Square, so long associated with the progress of classical music in this country, exhibits a welcome innovation on the usual treatment accorded to organs in London, concert rooms. The instrument newly erected here is not only a fine work of ornamental art, but is in every sense satisfactory to the musician — grandeur of tone and charming variety in quality consorting with elegance of appearance and chasteness of style. An organ so admirably carried out both ih external design and in tonal character, is a standing protest against the false economy of setting up instruments merely for show, regardless of, or indifferent to, the purposes of musical usefulness. In building this organ, Mr. Lewis has given special consideration to the demands of the classical concert room ; power, richness, and variety are the three essential requisites for rendering true service in aid of orchestral effects, and in accompanying solo and choral singing in the many and varied styles which characterize the musical art. The specification to this end has been compiled under suggestions from three of the most eminent organists. The case of the instrument has been executed from the designs of Mr. John F. Bentley, in the style of- the modern French renaissance, and harmonizes well with the general decorations of the Rooms and the orchestral accessories. The whole front is ebonized and highly polished, its dark surface lit up with the reflected lights of the multitude of sharply defined lines of the mouldings on cornice, frieze, and panels ; the silvered glass with old Venetian bevel filling the upper compartments, the lower panels ornamented with choice inlay of gold and colour, and the bright array of spotted metal pipes intersected with fluted ebony pillars, all combine to give an imposing dignity and richness of effect. The centre composition of the case stands on a bold dado extending the entire length of the front, and rising several feet above the highest seat of the orchestra, and is divided intp three compartments by columnar fluted balusters resting on a richly panelled and moulded plinth. Each of the lateral compart- ments is filled with pipes raking inwards, whilst those of the intermediate division advance forward on a circular corbel, breaking the line of the frieze and AN ACCOUNT OF BRITISH ORGANS. 477 cornice. A cluster of balustrades on a square pilaster makes the outer angle of this portion of the design. These balustrades are connected with others in. the return ends by a moulded stay, following the line of the dado below, and supporting a series of pipes raking towards an angle ; an enriched cornice and a pierced frieze take a quadrantal curve, against which rest the pipes of the Open Diapason. The sides are treated similarly to the front. Completing the design, the cornice and panelled frieze cap the sides and front and mitre round the blocks of each division, and at the angles ; the cornice is still further emphasized with a segmental pediment over the centre cluster of the pipes of the Diapason. Great, CCto A,^?, Notes. 1. Open Diapason 8 feet 2. Lieblich Gedact 8 feet. 3. Flute Harmonique 8 feet. 4. Salicional 8 feet. J. Vox Angelica 8 feet. 11. Fliite d' Amour 8 feet. 12. Viole de Gambe 8 feet. 13. Voix Celestes, Tenor c « . 8 feet. 6. Octave 4 feet. 7. Lieblich Gedact 4 feet. 8. Quint Flote 2f feet. 9. Flautina 2 feet. 10. Trumpet ; 8 feet. Swell. 14. Flute d'Amour 4 feet. 15. Horn .....' 8 feet 16. Bassoon and Oboe 8 feet. Pedal, CCC to F,y2 Notes. 17. Open Diapason, Bass , 16 feet. I 19. Octave Bass "8 feet. 18. Sub-Bass 16 feet. | 20. Flute Bass 8,feet. Couplers. I. Great to Pedals. | Swell to Pedals. | Swell to Great. Seven Pedals of Combination. It is worthy of notice that contrary to all custom of organ building in this country, the whole of the wood Pipes, including the open Bass of 16 feet, are varnished, as a protection against damp, and display a choiceness of wood rarely seen in connection with organ work ; the trackers are also saturated with varnish, thereby preventing changes of temperature influencing their length and disturbing the accuracy of the manual touch. Although the organ is of medium size it possesses the advantages of a separate air reservoir for the Manual sound-boards, on the system introduced so effectively by Mr. Lewis in his large organ at St. Mary's Cathedral, Newcastle-on-Tyne. The main reservoir is "weighted to half an inch heavier than the upper reservoir ; consequently, the wind from the feeders passes through the main reservoir without expanding it, and by means of flexible trunks ascends to the upper reservoir, which, when full, immediately closes itself with an auton^atic valve, and then the lower reservoir takes up its supply : by this arrangement the Pedal sound-board, which draws only from the heavier supply, leaves the upper Manual quite unaffected by its changes of activity, and a perfect steadiness of wind is secured for the Manual Stops. An entirely new form of pallet has been introduced into this organ for the first time ; it combines lightness of touch with complete soundness. Under the name of " Flute d'Amour " a new Stop will be found. ' It has been devised by Mr. Lewis for the special requirement of this instrument, and possesses a strikingly characteristic quality between the stringiness of the Gamba and the roundness of the Flute, with either of which Stops it blends admirably, yet with a distinctness of its own which marks it with individuality as a new Stop.. The Flute d'Amour is a valuable addition to the resources of the organist, and is distinguished as much by the body of tone it gives in support of the lighter Stops, as by its sympathetic and singularly beautiful quality. 478 APPENDIX. 184. St. Katherine's, Regent's Park. The organ in St. Katherine's Church, Regent's Park, removed from the demohshed Collegiate Church of the same name near the Tower, is one of Green's finest instruments. It was built in 1778, under the direction of Joah Bates; and comprises Great and Choir organs from GG (lof feet compass) up to e" in alt. ; and a Swell down to Gamut G (55 feet compass), a most extensive and excellent range for the period. Below G, the Swell-keys act on the Choir organ. The following is a list of the Stops in the above-mentioned instrument : — Great, 10 Stops. 1. Open Diapason. 2. Open Diapason. 3. Stopped Diapason. 4. Principal. 5. Twelfth. 6. Fifteenth. 7. Sesquialtera 8. IVIixture ... 9. Trumpet. 10. Cornet .... Ill ranks. ..II ranks. .IV ranks. 11. Stopped Diapason. 12. Principal. 13. Flute. Choir, ; Stops. 14. Fifteenth. 15. Bassoon 16. Open Diapason. 1 7. Stopped Diapason. 18. Principal. Swell, 5 Stops. 19. Cornet, III ranks. 20. Trumpet. 21. Hautboy. Pedal, I Stop. 22. An Octave of Open Pipes to C C C, 16 feet length. Pedal Clavier to G G. 185. Chapel Royal, St. James's. The organ in the Chapel Royal, St. James's, was a present from his late Majesty William the Fourth, and was built by Hill & Davison in 1837. It contains 30 Sounding Stops, of which the following is a list : — Great, II Stops. 7. Fifteenth, wood. 1. Open Diapason, No. 2. Open Diapason, No, 3. Stopped Diapason. 4. Principal, metal. 5. Principal, wood. 6. Twelfth, metal. Fifteenth, metal. 9. Sesquialtera, IV ranks. 10. Trumpet. 1 1. Octave Trumpet or Clarion. Choir, 8 Stops. 16. Principal. 17. Fifteenth. 18. Cromorne. 19. Bassoon. Swell, 10 Stops. 25. Fifteenth. 26. French Horn. 27. Oboe. 28. Trumpet. 29. Clarion. Pedal, I Stop. 30. Unison Open Pipes to G G lof feet. Accessory Stops, Movement, &^c. I to 4. Four Couplers. | 5 to 7. Three Composition Pedals. Compass. Great, G G to f » in alt. I Swell, Gamut G to P in alt. Choir, G G to f3 in alt. | Pedal, from G G, an octave and a half. 12. Open Diapason. 13. Dulciana. 14. Stopped Diapason 15. Flute. 20. Open Diapason. 21. Dulciana. 22. Claribella. 23. Stopped Diapason. 24. Principal. AN ACCOUNT OF BRITISH ORGANS. 479 186. St. Paul's, Wilton Place, Knightsbridge. This fine organ, built by Gray & Davison, is one of the largest and best instruments in the metropolis. It consists of four rows of keys, 43 Sounding Stops, and has an independent Pedal organ, an octave lower than the Manuals, of two octaves and three notes in compass, CCC, 16 feet, to E, with nine ranks of pipes throughout. The following is a list of the Stops : — Great, 13 Stops. 3. Double Diapason, bass 16 feet. 2. Double Diapason, treble 16 feet. 3. Open Diapason 8 feet. 4. Open Diapason 8 feet. 5. Stopped JJiapason 8 feet. 6. Principal 4 feet. 7. Twelfth 3 feet. 8. Fifteenth 2 feet. 9. Sesquialtera, IV ranks. 10. Mixture II ranks. 11. Furniture II ranks. 12. Trumpet 8 feet. 13. Clarion 4 feet. Choir, II Stops. 14. Dulciana , 8 feet. 15. Keraulophon (new Stop) ... 8 feet. 16. Stopped Diapason, Bass 8 feet. 17. Stopped Diapason, Treble ... 8 feet. 18. Claribella Flute 8 feet. Flute 4 feet. 1 9. 20. Principal 4 feet. 21. Piccolo 2 feet. 22. Fifteenth 2 feet. 23. Mixture, II ranics i^ foot. 24. Clarionet 8 feet. Swell, 13 Stops. 25. Double Diapason, Bass 16 feet. 26. Double Diapason, Treble ... 16 feet. 27 Open Diapason ^ 8 feet. 28. Stopped Diapason 8 feet. 29. Principal 4 feet. 30. Flute 4 feet. 31. Fifteenth 2 feet. 32. Sesquialtera, III ranks. 33. Mixture II ranks. 34. Hautboy 8 feet. 35. Cornopean 8 feet. 36. Trumpet 8 feet. 37. Clarion 4 feet. Pedal, 6 Stops. 38. Open Diapason 16 feet. 39. Stopped Diapason 16 feet. 40. Principal 8 feet. 41. Fifteenth 4 feet. 42. Sesquialtera, IV ranks. 43. Trombone 16 feet. Couplers. 1 . Swell to Great Manual. 2. Swell to Choir Manual. 3. Swell Manual to Pedals. 4. Great Manual to Pedals. 5. Choir Manual to Pedals. The Swell organ is of the same compass as the Great and Choir organs — C C, 8 feet — and is of an improved construction. The four reed Stops, Hautboy, Cornopean, Trumpet, and Clarion, as well as the Double Diapason of 16 feet, are throughout the whole compass of this part of the instrument. In the Choir organ are five Solo Stops ; amongst them one of quite a new description, which was introduced for the first time in this instrument. There are eight Composition Pedals, to change the Stops in the various organs. 187. St. Michael's, Chester Square. This instrument, built by T. J. Robson, in 1847, is designed upon the German principle, witlj especial reference to the requirements of an organ intended for the accompaniment and support of congregational singing. It consists of three Manual organs, viz., Swell, Great, and Choir, together with an independent Pedal organ. The Manuals are of the orthodox range, from C C, ascending from 48o APPENDIX. thence to g^ in altissimo, 56 notes. The pedal board, with the Pedal organ running throughout, extends from CCC to Tenor f, 30 notes, being the first Pedal organ erected in London of this complete compass. Great, 12 Stops. 7. Fifteenth 2 fdet. 8. Piccolo (wood, open) 2 feet. 9. Sesquialtera, III ranks i| foot. 10. Mixture II ranks f foot. 11. Trumpet 8 feet. 12. Clarion 4 feet. 1. Double Stopped Diapason ... 16 feet tone. 2. Open Diapason 8 feet. 3. Stopped Diapason 8feettone. 4. Principal 4 feet. 5 . Flute (open, wood) 4 feet. 6. Twelfth 2jfeet. Choir, 10 Stops. 13. Dulciana 8 feet. 19. Fifteenth 2 feet. 14. Viol di Gamba 8 feet. 20. Furniture, II ranks ijioot, 15. Stopped Diapason, treble ... 8 feet tone. 21. Bassoon throughout ......... 8 feet. 16. Stopped Diapason, bass 8 feet tone. 17. Principal 4 feet. 18. Flute 4 feet. Swell, 12 Stops. 22. Clarionet and Corno di Bassetto 8 feettone. 23. Double Dulciana 16 feet. 24. Open Diapason 8 feet. 25. Stopped DiapUson 8 feettone. 26. Principal 4 feet. 27. Celestina ! 4 feet. 28. Twelfth 2|feet. Pedal, 35. Open Diapason 16 feet. 36. Stopped Diapason 16 feet tone. Accessory Stops, Movements, 6-»c. Fifteenth 2 feet. Mixture, in ranks if foot. Double Bassoon 16 feet. Horn 8 feet. Hautboy 8 feet. Clarion 4 feet. 29, 30 31 3». 33 34 3 Stops. I 37. Trombone (metal) 16 feet. 1. Swell to Great. 2. Swell to Choir. 3. Great to Pedals. 4. Choir to Pedal. 5. Pedal Octave. 6. 7, 8. Three Composition Pedals. ■ 188. St. Gabriel's Church, Pimlico. This organ was built by Bevington, from a Specification prepared by the late Mr. Brownsmith, organist to the church. It contains 32 Draw Stops, commanding the Sounding Stops, and 6 Couplers. The following is a list of its contents ; — Great, II Stops. Pipes. Open Diapason 59 Open Diapason 59 Stop Diapason 59 Principal : 59 Flute 59 Twelfth 59 Fifteenth 59 Pipes. Sesquialtera 177 Mixture 118 Trumpet 59 Clarion 59 826 Swell, II Stops. Double Diapason, bass ") Double Diapason, treble j ^' Open Diapason 47 Dulciana 47 Stop Diapason 47 Principal 47 Flute 47 Choir, 8 Stops. Dulciana 47 Stop Diapason 59 Principal 59 Flute, bass 1 Flute, treble J 59 19. Mixture 94 20. Horn 47 21. Oboe 47 22. Clarion :. 47 517 28. Fifteenth 59 29. Bassoon 30. Cremona :l" 342 AN ACCOUNT OF BRITISH ORGANS. 481 Pedal, 2 Stops. Pipes. Pipes. 31. Open Diapason to CCC, 16 feet \.yi. Trombone to C C C, 16 feet length 20 length 20 40 Accessory Stops, Movements, dr'C. 1. Swell to Great. 2. Octave down. Choir to Great. 3. Octave up. Great. 4. Octave down, Choir. 5. Pedals to Great. 6. Pedals to Choir. 7 to II. Five Composition Pedals Compass. Great, G G, with G G J, up to f= in alt. Choir, G G, with G G I, up to f= in alt. Swell Organ, Gamut G, up to f^ in alt. Swell Clavier, down to G G, acting on Choir Organ below Gamut G. Pedal Organ, Gamut G down to CCC, 16 feet length, then repeating. Pedal Clavier, G G to Fiddle g, two octaves. The organ is enlosed in a Gothic screen case of solid oak, with gilt Speaking Pipes, designed by Thomas Cundy, Esq. the architect of the Church. 189. St. Luke's, Chelsea. The organ in St. Luke's, Chelsea, was built by Nichols, but completed and erected by Gray. It contains 33 Sounding Stops, of which the following is a list :— i Great, 14 Stops. 1. Open Diapason. 2. Open Diapason. 3. Open Diapason. 4. Stopped Diapason. 5. Clarabella. 6. Principal. 7. Principal. 15. Open Diapason. 16. Open Diapason. 17. Stopped Diapason. 18. Dulciana. 19. Dulciana. 20. Principal. 27. Dulciana. 28. Stopped Diapason. 29. Principal. Swell, 12 Stops. Choir, 6 Stops. 8. Twelfth. 9. Fifteenth. 10. Fifteenth. 11. Tierce. 12. Sesquialtera. 13. Trumpet. 14. Clarion. 21. Prindpal. 22. Flute. 23. Cornet. 24. Trumpet. 25. Hautboy. 26. Clarion. 30. Flute. 31. Fifteenth. 32. Cremona. Pedal, I Stop. 33. Open Pedal Pipes from Gamut G down to C C C, 16 feet length ; then repeating below. '■Accessory Stops, Movements, dr'C. 1. Swell to Great. I 3. Choir to Pedal. 2. Great to Pedal. I 4> 5i S- Three Composition Pedals. Compass. Great, G G to P in alt. I Swell, to Fiddle g only, 2f feet compass. Choir, G G to f» in alt. I Pedal Clavier, G G to Fiddle g, two octaves. T T 482 APPENDIX. 190. St. John's, Wateriioo Road. This organ was built by Bishop, and presented to the Church by Thomas Lett, Esq., in 1824. It has 3 Manuals and Pedal, and 26 Sounding Stops. Compass of Great and Choir, G G to f " in alt. ; Swell, to Gamut G. 1. Open Diapason. 2. Open Diapason. 3. Stopped Diapason. 4. Principal. , 5. Twelfth. Great, ) Stops. 6. Fifteenth. 7. Sesquialtera, III ranks 8. Mixture II ranks 9. Trumpet. 10. Clarion. 11. Duiciana. 1 2. Stopped Diapason. 13. Principal. 14. Fifteenth. Choir, ' 1 Stops. 15. Flute. 16. Cremona, treble. 17. Bassoon, bass. 18. Open Diapason. 19. Stopped Diapason. 20. Duiciana. 21. Principal. Swell, ; ' Stops. 22. French Horn. 23. Trumpet. 24. Hautboy. Pedal, 25. Double Open Pipes to C C C, then | Unisons to the bottom. Stops. 26. Trombone, 7 Pipes F F F J to C C C. Accessory Stops, Movements, Qr'c. 1. Great to Swell. I 3. Choir to Pedal. 2. Great to Pedal. ) 4 to 7- Four Composition Pedals. 191. St. Peter's, Walworth. A fine organ, built by Lincoln about 1826, containing 27 Stops. 1. Open Diapason. 2. Open Diapason. 3. Stopped Diapason. 4. Principal. 5. Twelfth. 6. Fifteenth. Great, i I Stops. 7. Tierce 8. Sesquialtera 9. Mixture. 10. Trumpet. 11. Clarion. 12. Open Diapason. 13. Stopped Diapason'. 14. Duiciana. 15. Principal. Choir, 8 Stops. 16. Flute. 17. Fifteenth. 18. Cremona. 19. Bassoon. Swell, 1 Stop 20. Open Diapason. 21. Stopped Diapason. 22. Double Diapason. 23. Principal. s, to Tenor c. 24. Hautboy. 25. Trumpet. 26. Clarion. Choir to Great. Pedal, I Stop. 27. Unison Open Pedal Pipes to GG. Couplers. I Pedals to Great. I Pedals to Choir. AN ACCOUNT OF BRITISH ORGANS. 483 192. St. George's, Camberwell. This Church has a fine organ, built by Lincoln, containing 25 Stops. I. Double Diapason, z. Open Diapason. 3. Opt:n Diapason. 4. Stopped Diapason. 5. Principal. 6. Twelfth. iz. Dulciana. 13. Stopped Diapason. 14. Principal. 18. Dulciana. 19. Stopped Diapason. zo. Open Diapason, zi. Principal. Great, n Stops. Choir, 6 Stops. Swell, 7 Stops. Pedal, I Stop. 7. Fifteenth. 8. Sesquialtera, V ranks. 9. Mixture ...IV ranks. 10. Trumpet. 11. Clarion. 15. Flute. 16. Fifteenth. 17. Cromorne and Bassoon. zz. Cornet. Z3. Trumpet. Z4. Hautboy. zj. Open Pipes to C C C. 193. St. Giles, Camberwell. The organ at this Church was built by Mr. J. C. Bishop, in 1844, from a Specification prepared by Dr. S. S. Wesley. It contains 41 Sounding Stops. Great, 14 Stops. I. Open Diapason 8 feet. z. Open Diapason 8 feet. 3. Open Diapason, wood, large. 8 feet. 4. Claribella 8 feet. 5. Principal 4 feet. 6. Principal 4 feet. 7. Twelfth zffeet. Fifteenth z feet. 9. Sesquialtera, III ranks. 10. Mixture Ill ranks. 11. Furniture ...II ranks. 12. Doublette ...II ranks. 13. Trumpet - 8 feet. 14. Clarion 4 feet. Open Diapason, metal throughout 8 feet. Dulciana, metal throughout. 8 feet. Stopped Diapason 8 feet tone Claribella 8 feet. Principal 4 feet. Choir, 10 Stops. zo. Flute 4 feet. z I. Fifteenth z feet. zz. Mixture, II ranks ij foot. z 3. Cremona 8 feet tone. 24. Bassoon 8 feet. Z5. Bourdon i6feettone. 26. Double Diapason 16 feet. Z7. Open Diapason 8 feet. z8. Open Diapason 8 feet. 29. Stopped Diapason 8 feet tone. 30. Principal 4 feet. 31. Fifteenth z feet. Pedal, 39. Double Diapason 16 feet. 40. Open Diapason {large scale, metal) 8 feet. Swell, 14 Stops. Sesquialtera, III ranks if foot. Mixture ...II ranks | foot. Doublette ...II ranks 2 feet. Horn 8 feet. Trumpet 8 feet. Hautboy 8 feet. Clarion 4 feet. 3 Stops. 41. Double Trumpet 16 feet. 1. Swell to Pedals. 2. Great to Pedals. 3 Choir to Pedals. Accessory Stops, Movements, Ssr'c. 4. Swell to Great. 5 . Wood open to Pedals separately. 6 to 13. Eight Composition Pedals. T T 2 484 APPENDIX. 194. St. Saviour's, Southwark. The organ in St. Saviour's Church, Southwark, possesses a fine bold tone, and, originally, was enclosed in a splendid case, with the 16 feet metal Double Diapason in front. The instrument was built in the year 1703, and has been attributed to Schrider and to Schwarbrook ; but the work appears more like that of Harris. The Great and Choir organs were originally " short octave, G G," and ascended to e' in alt ; the Swell to Fiddle g was a subsequent addition, having been made by Byfield. In 1818, the organ was considerably enlarged by Davis, who made the Great and Choir organs "long octaves," and added the f^ in alt. above. The Swell was extended to Tenor c ; an octave and a half of G Pedals were laid down ; a similar compass of G G G Pedal Pipes applied ; a Swell and two Pedal Couplers were also introduced. Subsequently, Mr. Bishop put in a Cremona in place of the Vox Humana in the Choir organ ;. a Clar-abella in the room of the 5 -rank Cornet in the Great organ; a new Twelfth and Fifteenth; and a Pedal Octave Coupler. In 1841, the organ was removed from its previous position between the Transepts, to the west end of the new Nave, just then rebuilt on the site of the old one. The Swell was then extended down to Gamut G, by Bishop, and two Horizontal Bellows provided. At the same time the magnificent old case was superseded by the present one, designed and provided by the architect of the building ; and the largest Pipes of the original front were placed inside. The organ now contains 28 Sounding Stops, of which the following' is a list : — 1. Double Open Diapason. 2. Open Diapason. 3. Open Diapason. 4. Stopped Diapason. 5. Clarabella. 6. Principal. 7. Stopped Flute. Great, 13 Stops/ 8. Twelfth. 9. Fifteenth. 10. Sesquialtera, IV ranks, 11. Furniture ...III ranlts, 12. Trumpet. 13. Clarion. 14. Open Diapason. 15. Stopped Diapason. 16. Principal. 17. Stopped Flute. Choir, 7 Stops. 18. 19- 20. Fifteenth. Mixture, III ranks. Cremona. 21. Open Diapason. 22. Stopped Diapason. 23. Principal. 24. Sesquialtera, IT! ranks. Swell, 7 Stops. 25. Trumpet. 26. Oboe. 27. Clarion. Pedal, I Stop. 28. Open wood Pipes, C C to Gamut G G G 21J feet length. Compass. Great, G G to f in alt. Choir, G G to fs in alt. Swell Gamut G to f ' in alt. Pedal, G G to Tenor c. Accessory Stops, Movements, b'c. I. Swell to Great. | 2. Choir to Great. | 3. Great to Pedal. | ' 4. Choir to Pedal. AN ACCOUNT OF BRITISH ORGANS. 48s 195. St. Olave's, Southwark. " This organ, of a 32 feet Manual Gamut, was designed by Mr. H. J. Gauntlett, commenced by Mr. Lincoln, 1844, and perfected by Mr. William Hill, 1846." The foregoing inscription appears on a brass plate between the Manuals. The organ at St, Olave's contains 40 Sounding Stops, of which the following is a list : — Great, 27 Stops. Sub Bourdon, to Tenor c key Tenoroon, to Tenor c key ... Bourdon Unison, open Unison, Treble, closed Unison Bass, closed Viol di Gamba, to Tenor c... Salcional, to Tenor c Ciarabella, to Tenor c Quint Octave Wald Flute, to Tenor c Decima Duo Decimo 32 feet. 16 feet. 16 feet tone. 8 feet. 8 feet tone. 8 feet tone. 8 feet. 8 feet. 8 feet. 6 feet. 4 feet. 4 feet. rk feet. 3 feet. 15. Super Octave 2 feet. 16. Piccolo, to Tenor c 2 feet. 17. Octave Decima i| foot. 18. Sesquialtera, III ranks. 19. Mixture ...11 ranks. 20. Furniture ...III ranks. 21. Doublette ...II ranks. 22. G!ockenspiel,II ranks. 23. Posaune 8 feet. 24. Clarion 4 feet. 25. Octave Clarion 2 feet, 26. Cromhorn to Tenor c 8 feet tone. 27. Corno Flute to Tenor c 8 feet. Swell, 10 Stops. 28. Tenoroon 16 feet. 29. Unison Open 8 feet. 30. Unison Closed 8 feettone. 31. Octave 8 feet. 32. Suabe Flute 4 feet. 33. Super-octave 2 feet. 34. Flageolet 2 feet. 35. Octave Fifteenth i foot, 36. Cornopean 8 feet, 37. Hautbois 8 feet. Pedal, 3 Stops. 38. Contra Bourdon 32 feet tone. I 40. Bass Trombone 39. Principal Contra Bass 16 feet. | Couplers, Qr^c. I. Grand Organ combined. I 3. Grand to Pedal. 1 6 feet. 2. Swell to Grand. 4. Swell to Pedal. Compass. Great, C C to f' in alt, | Swell, Tenor c to f ^ in alt, | Pedal, C C C to Tenor d. The Great organ has two separate sound-boards, which accounts for the Coupler denominated " Grand organ combined." 196, St. James's, Bermond^ey. This organ was built by Bishop, in 1829, and contains the following 29 Stops ; Great, 10 Stops. . 59 Notes, from GG to F, 6. Fifteenth. Open Diapason, Open Diapason, Stopped Diapason. Principal. Twelfth. 9- 10. Sesquialtera, III ranks. Mixture, II ranks. Trumpet, Clarion. 1 1. Open Diapason, 1 2. Stopped Diapason. 13. Dulciana, from Gamut G. 14. Principal. C/toir, 8 Stops. 59 Notes, from GG to F, 15. Flute 16. >7- Fifteenth. Cremona, treble. Bassoon, bass. 486 APPENDIX. Swell, 8 Stops. 47 Notes, from Gamut G to F, with keys continued to GG, acting on the Choir Organ. 23, Cornet (originally nth, 15th, and Sesquialtera; now, unfortunately, only 1 2th and 15th). 19. Open Diapason. 20. Open Diapason. 21. Stopped Diapason. 22. Principal, 24. French Horn. 25. Trumpet. 26. Hautboy. Pedal, 3 Stops. 27. Double Diapason, 25 Notes, from GGG...2i| feet lengtli. 28. Unison Ditto GG...io| „ „ 29. Trombone Ditto GG...10J „ ,, Couplers. 1 . Swell to Great. 2. Swell to Choir. 3. Great to Choir. 4. Pedals to Great. 5. Pedals to Choir. 1. Full. 2. Full, without Reeds. 3. Diapasons. Composition Pedals, Qr'c. 4. Shifting Movement for shutting off all the Swell but the Diapasons. 5. Pedal for coupling Swell to Great. There is a Key-board at the side, by means of which a second performer can play the Pedals. 197. St. Mary's, Rotherhithe. This organ was built by Byfield, in 1764. It then contained two rows of keys, from GG to E, short octaves, and a Swell from Fiddle G to E. It has been since altered by Russell, of Gray's Inn Lane, who removed the Nason and Cornet from the Great organ, and introduced an Open Diapason. He also added an Open Diapason to the Swell, and substituted a- Cremona for the Vox Humana in the Choir organ, with long Octaves, and an octave and a half of Pedals, but without separate Pedal Pipes. The organ now contains 20 Slops, of which the following is a list : — Great, 9 Stops, G G to F. Pipes. 1. Open Diapason 58 2. Open Diapason 58 3. Stopped Diapason 58 4. Principal 58 5. Twelfth '. 58 6. Fifteenth 58 Pipes. Sesquialtera 174 Trumpet 58 Clarion 58 638 Choir, 5 Stops, G G to F. 10. Stopped Diapason 58 11. Principal 58 12. Flute 58 13. Fifteenth 58 Swell, 9 Stops, Fiddle G to E. 15. Open Diapason 34 16. Open Diapason 34 17. Stopped Diapason -. 34 18. Principal 3^ 19. Hautboy 34 20. Trumpet 34 14. Cremona to C 42 274 Total number of Pipes. Swell Organ 204 Choir Organ 274 Great Organ 638 116 AN ACCOUNT OF BRITISH ORGANS. 487 198. Greenwich. The organ in the Chapel of the Royal Hospital, at Greenwich, is a most admirable specimen of Green's work. It cost / 1,000, exclusive of the case, and contains the following 26 Stops : — • Great, 12 Stops. 1. Open Diapason. 2. Open Diapason. 3. Stopped Diapason. 4. Claribella, in lieu of IV rank, Cornet. 5. Principal. 6. Metal Flute. 7. Twelfth. 8. Fifteenth. 9. Sesquialtera, III ranlcs. 10. Mixture Ill ranks. {Trumpet, treble. ■ \ Trumpet, bass. 12. Clarion. Choir, 5 Stops. 13. Stopped Diapason. 14. Principal. 15. Flute. 18. Open Diapason. 19. Dulciana. 20. Stopped Diapason. 21. Principal. 16. Fifteenth. 17. Cremona. Swell, 8 Stops. 22. Dulciana Principal. 23. Cornet, III ranks, 12, 15, 17. 24. Hautboy. 25. Trumpet. Pedal, I Stop. 26. Open Diapason, C C down to C C C ; then return B B to F F F. Accessory Stops, Movements, Gr'c. I. Coupler, Swell to Great | 3. Coupler, Great to Pedal. 2. Coupler, Choir to Great. 4. Coupler, Choir to Pedal. Compass. Great, F F F to e' in alt. ; no F F F 4. | Swell, F F to e» in alt. ; keys below F F Choir, F F F to e3 in alt. ; no F F Ft. | acting. Pedal Clavier, F F F to Tenor c. 199. Lee Church, Kent. This fine organ was built by Bishop, in 1850. It has 29 Sounding Stops, of which the following is a list : — Great, 9 Stops. 1. Open Diapason 8 Teet. 2. Stopped Diapason 8 feet tone. 3. German Flute 8 feet. 4. Principal 4 fei'i. 5. Twelfth ; 2f:eet. 6. Fifteenth ....1 2 feet. 7. Sesquialtera, III ranks. S. .Mixture II ranks. 9. Trumpet 8 feet. Choir, 8 Stops. I o. Open Diapason 8 feet. 11. Dulciana 8 feet. 12. Stopped Diapason 8feettone. 13. Viol di Gamba 8 feet. 14. Principal 4 feet. 15. Flute 4 feet. 16. Fifteenth 2 feet. 17. Cremona 8 feet tone. Swell, TO Stops. 18. Bourdon, bass ififeettone. 19. Tenoroon 16 feet. 20. Open Diapason 8 feet. 2t. Stopped Diapason 8 feet tone. 22. Principal 4 feet. 23. Twelfth 2f feet. 24. Fifteenth 2 feet. 25. Sesquialtera, III ranks. 26. Horn 8 feet. 27. Hautboy 8 feet. 488 APPENDIX. Pedal, 2 Stops. 28. Open Diapason 16 feet. | 29. Stopped Diapason i6feettone, Couplers, Qr'C. I. Pedals to Clioir Organ. ^ 2. Ditto to Great Organ, 3. Ditto to Swell. 4. Swell to Choir. Compass. All the Manuals, CC to P in alt. I Pedal, C C C to Tenor c. 5. Swell to Great. 6. Choir to Great. 7 to 13. Seven Composition Pedals, viz., 3 to Great Organ, 4 to Swell. 200. St. Mary's, Clapham. This organ was built by Mr. J. C. Bishop, in 1845. It has three complete rows of keys, from C C to F, and 28 Sounding Stops. Great, 8 Stops. •3 Open Diapason 8 feet. Stopped Diapason 8 feet tone. German Flute 8 feet. Principal 4 feet. 5. Twelfth 2|feet. 6. Fifteenth 2 feet. 7. Sesquialtera, III ranks, . 8. Trumpet 8 feet. Choir, 9 Steps. Open Diapason 8 feet. Dulciana 8 feet. Stopped Diapason 8 feet tone. Claribella 8 feet. Principal 4 feet. Swell, 10 Stops, 14. Flute 4 feet. 15. Fifteenth 2 feet. 16. Clarionet 8feettone. 17. Double Diapason, bass i6feettone. 18. Open Diapason 8 feet. 19. Stopped Diapason 8 feet tone. 20. Principal 4 feet. 21. Twelfth 2ffeet. 22. Fifteenth 2 feet. 23. Sesquialtera, III ranks. 24. MiKture II ranks. 25. Horn 8 feet. 26. Hautboy 8 feet. 27. Clarion " 4 feet. Pedal, I Stop. Open Diapason 16 feet. 1. Swell to Pedal. 2. Great to Pedal. 3. Choir to Pedal. 4. Swell to Great. 5. Choir to Great. Great, C C to f = in alt. Choir, C C to f= in ilt. Accessory Stops, Movements, dr'c. 6. Swell to Choir. , Swell to Great, octave higher. , 9, 10. Three Composition Pedals to Great. , 12, 13. Three Composition Pedals to Choir. Compass. Swell, C C to f in alt. Pedal, C C C to Tenor c. 2or. Hampton Court Palace. The organ in the Chapel Royal, Hampton Court Palace, is a most excellent and interesting little instrument, built by Father Smith. It has been enlarged and much improved by Hill, who added the Pedal Pipes, and also a Cremona to the Choir organ. The organ now contains 20 Sounding Stops, of which the following is a list :— Great, 9 Stops. 1. Open Diapason. 2. Stopped Diapason. 3. Principal. 4. Flute C^intatmJ. 5. Twelfth. 6. Fifteenth. 7. Sesquialtera, III ranks. 8. Cornet Ill ranks. 9. Trumpet. AN ACCOUNT OF COUNTRY ORGANS. 489 10. Stopped Diapason. 11. Principal. II. Flute. 15. Open Diapason. 16. Stopped Diapason. 17. Principal. Choir, 5 Stops. ■ 13. Fifteenth. 14. Cremona. Swell, 5 Stops. 18. Hautboy, ig. Trumpet. Pedal, I Stop. 20. Open Pipes, Gamut G down to C C C, 16 feet length : repeating on lowest J octave of Pedal. I, Swell to Great. Great, G G to e= in alt. Choir, G G to e" in alt. Swell, Tenor i to f= in alt. Couplers, z. Great to Pedal. 3. Choir to Pedal. Compass. Pedal Stop, C C C to Gamut G. Pedal Clavier, G G to Fiddle g. COUNTRY ORGANS. 202. Windsor. Thp organ that was built by Father Smith, in the reign of Charles the Second, for St. George's Chapel^ Windsor, was, on the completion of the present instrument by Green, presented to Windsor Church by King George the Third. Green's organ was opened on Sunday, October 17, 1790. It was originally enclosed in a " general Swell ; " but this was removed many years ago. Considerable additions have been made to the instrument by Gray & Davison ; among the most important of which may be mentioned the extension of the Swell to F F, together with the introduction of six new Stops ; the application of open Pedal Pipes to F F F F ; the substitution of a Mixture and a Clarabella in place of the Furniture and a IV rank Cornet in the Great organ, and of a Keraulophon in lieu of the Fifteenth in the Choir. The organ now contains 33 Standing Stops, of which the following is a list : — Great, 12 Stops. 1. Open Diapason, Nave Front. 2. Open Diapason, Choir Front. 3. Stopped Diapason. 4. Claribella Flute. ' 5. Principal. 6. Twelfth. Choir, 7 Stops. 13. Dulciana to FF. 14. Stopped Diapason. 15. Principal. 1 6. Octave Flute. 7. Fifteenth. 8. Sesquialtera, III ranks. g. Mixture 11 ranks. 10. Trumpet (Treble). 11. Trumpet (Bass). tz. Clarion. 17. Keraulophon, 18. Bassoon, ig. Clarionet. 49° APPENDIX. Swell, 12 Stops. 20. Double Diapason. 21. Open Diapason. 22. Stopped Diapason. 23. Dulciana. 24. Dulciana Principal. 25. Principal. 26. Fifteenth. 27. Sesquialtera, III ranl(s. 28. 29. 30. 31- Cornopean. Hautboy. Trumpet. Clarion. Pedal, 2 Stops. 32. Double Open Diapason to F F F F 24 feet length. 33. Open Diapason to FFF 1 2 feet length. Couplers. Swell to Great. Choir to Pedal. Great to Pedals. Swell to Pedals. loy Windsor. The organ in St. George's Hall, Windsor Castle, was built by Messrs. Hill & Co. It contains 29 Sounding Stops, 2 complete Manuals, and an independent Pedal of 3 Stops. It is also furnished with two sets of Movements, Draw-stops, Claviers, etc., so that it can be used in the Chapel as well as the Hall. The following is a list of the Stops : — ■ Great, 12 Stops. 1. Double Open and Bourdon... 16 feet. 2. Open Diapason 8 feet. 3. Cone Ga.iiha 8 feet. 4. Stopped Diapason 8 feet tone 5- Q»'n- 5jfeet. 6. Principal 4 feet. 7. Flute 4 feet. 8. Twelfth 3f feet. 9. Fifteenth 2 feet. 10. Sesquialtera, III ranks. 11. Posaune 8 feet. 12. Clarion 4 feet. Choir, 6 Stops. 13. Open Diapason, througliout 8 feet. 14. Clarabella and Stopped Bass 8 feet. 15. Salicional, to Tenor c 8 feet. 16. Gemshorn 4 feet. 17. Flute 4 feet. 18. Cromorne 8feettone. Swell, 8 Stops. «9. Double Diapason 1 6 feet. Ope" Diapason 8 feet, Stopped Diapason 8 feet tone. Principal 4 feet. 23. Fifteenth 2 feet. 24. Sesquialtera, II ranlis. 25. Cornopean 8 feet. 26. Oboe 8 feet. Pedal 3 Stops. 27. Open Diapason i6feet. 1 29. Trombone i6feet. 28. Principal '. 8 feet. I Accessory Stops, Movements, S^c. 1. Swell to Great. | 1. Great to Pedal. | 3. Swell to Pedal. Compass. Great, C C to f 3 in alt. | Swell, C C to f 3 in alt. 1 Pedal, CCC to Tenor d. 204. Eton College. The present organ in Eton College was built by Gray & Davison, in the year 1852. It stands on the floor, and sideways, with its back against the south wall, in nearly the centre of the length of the building. The case, designed by Mr. AN ACCOUNT OF COUNTRY ORGANS. 491 Deason, is of oak, and is very handsome. The Pipes, which appear in the front of the case are of pohshed tin. There are altogetlier 29 Sounding Stops, of which the following is a list : — Great, lo Stops — Compass, G G to F in alt. Open Diapason 8 feet. 6. Fifteenth 2 feet. z. Open Diapason 8 feet. 3. Stopped Diapason 8 feet. 4. Principal 4 feet. J. Twelfth 3 feet. Sesquialtera, HI ranks. Mixture Ill ranks. Posaune 8 feet. Clarion 4 feet. Choir, 9 Stops — Compass, GG to F in alt. 11. Dulciana 8 feet. 12. Keraulophon 8 feet. 13. Clarionette Flute 8 feet. 14. Stopped Diapason, Bass 8 feet. 15. Principal 4 feet. 16. Flute 5 feet. 17. Fifteenth 2 feet. 18. Piccolo 2 feet. 19. Clarionet to Tenor c 8 feet. Swell, 9 Stops — Compass Tenor C to F in alt. 20. Bourdon 16 feet. 21. Open Diapason 8 feet. 22. Stopped Diapason 8 feet. 23. Principal 4 feet. 24. Fifteenth 2 feet. 25. Sesquialtera, III ranks. 26. Cornopean 8 feet, 27. Oboe 8 feet. 28. Clarion 4 feet. Pedal, I Stop. 29. Grand Pedal Open Diapason, to CCC. 1 6 feet length. 1. Swell to Great. 2. Swell to Choir. 3. Choir Sub-octave to Great. The Pedal Clavier descends to GG. Couplers. 4 5- Great to Pedal. Choir to Pedal. 205. Oxford. The organ in Christ Church Cathedral, Oxford, was built by Father Schmidt in the year 1680, and originally consisted of Great and Choir organs only. It was enlarged and much improved by Messrs Gray & Davison, in 1848 ; who made the manuals " long octaves," added the Pedal Pipes, etc. Great, 9 Stops. I. 2. 3- 4- 5- Open Diapason. Claribella, in place of IV rank Coronet. Stopped Diapason. Principal. Twelfth. 6. Fifteenth. 7. Sesquialtera, 8. Mixture 9. Trumpet. III ranks. II ranks. Choir, 5 Stops. 10. Dulciana. 11. Stopped Diapason. 12. Principal. 13. Flute. Swell, 6 Stops. 14. Cremona. 15. Double Diapason. 16. Open Diapason. 17. Stopped Diapason. 18. Principal. 19. Trumpet. 20. Hautboy. 21. Open Diapa Pedal, I Stop. 1 6 feet. Couplers. 1. Coupler, Swell to Great. 2. Coupler, Choir to Great. 3. Coupler 4. Coupk-r , Choir to Pedals. , Great to Pedals. 492 APPENDIX. 206. Magdalen College. The new organ in Magdalen College Chapel, Oxford, was built by Gray & Davison, and completed in the early part of 1855. It contains 35 Sounding Stops, distributed among 4 Manuals and Pedals in the following manner : — Pedal, 1 . Grand Open Diapason 16 feet. 2. Grand Bourdon 16 feet. 4 Stops. I 3. Grand Octave 8 feet. I 4- Grand Trombone 16 feet. 5. Flute Hamionique.. 9- 10. II. '7- 18. 19. 20. Open Diapason 8 feet. Open Diapason 8 feet. Stopped Diapason 8 feet. Octave - 4 feet. Flute 4 feet. Solo 2 Stops. 8 feet. I 6. Tromba Great, 10 Stops. 8 feet. Twelfth 3 feet. 13. Super-octave 2 feet. 14 Sesquialtera, III ranks. 15. IVIixture II ranlts. 16. Posaune 8 feet. Salcional 8 feet. Gamba 8 feet. Stopped Diapason, Bass 8 feet. Concert Flute 8 feet. Choir, 8 Stops. 21. Octave 4 feet. 22. Flute d'Amour 4 feet. 23. Piccolo 2 feet. 24. Corno di Bassetto 8 feet. Swell, II Stops. 25. Bourdon 16 feet. 26. Open Diapason 8 feet. 27. Stopped Diapason, Bass 8 feet. 28. Clarionet Flute 8 feet. 29. Keraulophon 8 feet. 30. Octave 4 feet. 31. Super-octave 2 feet. 32. Sesquialtera, III ranks. 33. Cornopean 8 feet. 34. Oboe ; 8 feet. 35. Clarion 4 feet. 1. Swell to Great Manual. 2. Swell to Choir Manual. 3. Swell Manual to Pedals. 4. Great Manual to Pedals. 5. Choir Manual to Pedals. 6. Choir Sub-octave to Great Manual. 7. Swell to Great Sub-octave. Accessory Stops, Movements, dr'c. 8. Swell to Great Super-octave. 9. Solo to Swell Manual. 10. Tremulant Swell. II to 16. Six Composition Pedals. 17 and 18. Two Pedals for taking on and off the Coupling Stops. 19. Pneumatic Lever attachment. There are several reservoirs, producing different weights of wind ; and the increasing pressure system has been applied to the Great organ. The Solo organ is also voiced to a heavy weight of wind. To prevent the numerous Couplers disagreeably affecting the touch, the Pneumatic Apparatus is applied ' to the Great organ Manual and all that it affects. 207. Radley. The organ in St. Peter's College, Radley, near Oxford, was built by the Messrs. Telford, of Dublin. It consists of 3 complete Manuals, an independent Pedal of 10 Stops, and 47 Sounding Stops, of which the following is a list : — Great, 16 Stops, 1. Double Open Diapason, metal 16 feet. 2. Open Diapason (Great), metal 8 feet. 3. Open Diapason (Small), metal 8 feet. 4. Stopped Diapason, wood 8 feet tone 5. Quint, metal Sf feet. 6. Principal (Great), metal:.. .. 4 feet. 7. Principal (Small), metal 4 feet. 8. Tenth, metal 3J feet. 9. Twelfth, metal 2J feet. 10. Fifteenth, metal 2 feet. 11. Octave Flute, wood 2 feet. 1 2. Sesquialtera, metal, IV ranks. 13. Mixture, metal ...III ranks. 14. Double Trumpet, metal ... 16 feet. 15. Trumpet, metal 8 feet. 16. Clarion, metal 4 feet. AN ACCOUNT OF COUNTRY ORGANS. 493 'T- IS. 19. 20. 25. 26. 27. 28. 29. 30. 38. 39- 40. 41. 42. Stopped Diapason, wood 8 feet tone. Dulciana. metal 8 feet. Viol di Gamba, metal 8 feet. Principal, metal 4 feet. Choir, 8 Stops. Wald Flute, wood ., 4 feet. 22. Fifteenth, metal 2 feet. 23. Mixture, metal ij foot. 24. Cremona, metal 8 feet. Swell, 13 Stops. Double Diapason, metal and wood 16 feet. Open Diapason, metal 8 feet. Dulciana, metal 8 feet. Stopped Diapason, wood 8 feet tone. Principal, metal 4 feet. Principal (Small), metal 4 feet. 31. Twelfth, metal 2| feet. 32. Fifteenth, metal 2 feet. 33. Twenty-second, metal i foot. 34. Sesquialtera, metal Ill ranlcs. 35. Cornet (Dulciana), metal, III ranks. 36. Trumpet, metal 8 feet. 37. Oboe, metal 8 feet. Pedal, 10 Stops. Double Double Open Diapa- 43. son, wood 32 feet. 44. Double Open Diapason, wood 16 feet. 45. Double Open Diapason, metal 16 feet. 46. Open Diapason, metal 8 feet. 47. Principal, metal 4 feet. Twelfth, metal 2f feet. Fifteenth, metal 2 feet. Sesquialtera, metal, IV ranks. Double Trumpet, metal ... 16 feet. Trumpet, metal 8 feet. Accessory Stops, 1. Coupler, Swell to Great. 2. Coupler, Swell to Choir. 3. Coupler, Swell to Pedal. Movements, Sr'c. 4. Coupler, Great to Pedal. Great, C C to g' in altissimo. Choir, C C to g' in altissimo. Compass. 5 to ic. Six Composition Pedals. Swell, C C to g^ in altissimo. Pedal, C C C to Fiddle g. 208. Gloucester Cathedral. This organ was originally built by the elder Harris, in conjunction with lis son Renatus, in the year 1670. In 1847, the instrument was considerably enlarged by Henry Willis of London, who added a Swell of 12 Stops, all of which are entirely new (with its movement), excepting some old Pipes which were derived from the old Twelfth in the Great. organ and the old Swell. The continuation of the Great organ from G G to C C C, and the entire re-arrangement of the Pedals and mechanism, including new Couplers, &c., and the addition of a Mixture and Clarion to the Great organ, are also by Willis. The instrument now contains 29 Sounding Stops, of which the following is a list : — Great, 11 Stops. 1. Open Diapason. 2. Open Diapason. 3. Stopped Diapason. 4. Clarabella. 5. PrincipaL 6. Twelfth. 12. Dulciana. 13. Stopped Diapason. 14. PrincipaL 17. Open Diapason. 18. Open Diapason. 19. Stopped Diapason. 20. Dulciana. 21. Principal. 22. Flute. 7. Fifteenth. 8. Sesquialtera, IV ranks. 9. Mixture II ranks. 10. Trumpet. 1 1 , Clarion. Choir, 5 Stops. 15. Flute (metal). 16. Fifteenth. Swell, 12 Stops. 23. Fifteenth. 24. Sesquialtera. 25. Trumpet. 26. Hautboy. 27. Cremona. 28. Clarion. 494 APPENDIX. Pedal, I Stop. 29. Open Diapason. Accessory Stops, Movements, &^c. 1. Coupler, Swell to Great. 2. Coupler, Choir to Great. 3. Coupler, Swell to Choir. 4. Coupler, Pedals to Great. 5. Coupler, Pedals to Choir. 6. Coupler, Pedal to Great. Compass. Great, CCC to P in alt. I Swell, CC to P in alt. Choir, GG to f 3 in alt. | Pedal, C C C to Tenor e. 209. Tewkesbury. Part of the organ now standing in the Abbey Church of Tewkesbury formed a portion of that which originally stood in Magdalen College, Oxford ; whence it was removed to its present locality in 1740, on the completion of Schwarbrook's organ for the College just mentioned. The Tewkesbury organ, however, has been entirely remodelled and greatly enlarged by Willis. But little of the original work remains, except a few Diapasons and the Principal, together with the East or Choir front, which, although thin, are valuable, as they are made of tin, alloyed with about eight pounds of lead to the cwt. The organ contains 22 Stops. Grsat, 13 Stops, Compass from CC to F. 1. Open Diapason 8 feet. 2. Open Diapason 8 feet. 3. Stopped Diapason 8 feet tone 4. Clarabella. 8 feet. Diiiciana 8 feet. 6. Principal 4 feet. 7. Twelfth 2ffeet. 5 8. Fifteenth 4 feet. 9. Se.'^quialtera. 10. Mixture. 11. Trumpet 8 feet. 12. Clarion 4 feet. 13. Cremona Sfeettone. Swell, 7 Stops, from CC to F. 14. Open Diapason 8 feet. 15. Stopped Diapason 8 feet tone. 16. Principal 4 feet. 17. Fifteenth 2 feet. 18. Sesquialtera, III ranks if foot. 19. Trumpet (only prepared for). 20. IJautboy 8 feet. Pedal, 2 Stops, 2 octaves and a major third, from CCC to E. 21. Double Open Diapason 16 feet. | 22. Double Trumpet 16 feet. Couplers. I. Swell to Great. | 2. Swell to Pedals. | 3. Great to Pedal. 210. Hereford Cathedral. This organ, originally built by Renatus Harris, in 1686, was a present from King Charles the Second. , Byfield afterwards added the Choir organ ; and the instrument has since been successively repaired by Snetzler, Green, Avery, Lincoln, Elliott, who in 1806 put Pedals and Pedal Pipes ; and, by Bishop, who introduced the present Swell and Pedal Pipes. Since the close of 1862, it has undergone a number of alterations and additions, amounting to an entire remodelling, at the hands of Messrs Gray & Davison. In fact, it may be described as a new instrument, rather than a restored organ, although such of the old pipes as were in good condition, having been revoiced, are again used. AN ACCOUNT OF COUNTRY ORGANS. 495 The site selected is underneath the westernmost arch of the south aisle of the Choir, the Swell being in the triforium, and the Bellows, erected in a framework of wood, in the passage leading to the robing room. The pneumatic action, for lightening the touch, &c., is applied to the Great organ and its Couplers, also to the whole of the Draw Stop and Composition Action throughout. It is intended to blow the instrument by hydraulic power, but at present three handles are used for the purpose. The Pipes of the Pedal Violone (some of the largest in England) are placed in front, and from their great height, as well as from their elaborate decorations, designed by Mr. Scott, present a most imposing appearance. There are no fewer than 2,230 pipes in the organ. Great Organ, 16 Stops. I. Bourdon 16 feet. z. Open Diapason 8 feet. 3. Stopped Diapason 8 feet. Principal 4 feet. Twelfth. Tierce. Furniture, IV ranks Trumpet 8 feet. 9. Gamba xo. Open Diapason 8 feet. 11. Claribella 8 feet. 12. Principal, metal 4 feet. 13. Fifteenth. 14. Larigot. ij. IVIixture, 11 ranks. 16. Clarion 4 feet. 17. Stopped Diapason. 18. Principal 19. Flute, zo. Cremona. Choir Organ, 7 Stops. zi. Dulciana. zi. Spitzflute. 23. Flageolet. Swell Organ, 10 Stops. 24. Bourdon 16 feet. 25. Keraulophon 8 feet. z6. Principal 4 feet. zy. Mixture. 28. Oboe 8 feet. zg. Open Diapason 8 feet. 30. Soft Diapason 8 feet. 31. Fifteenth. 3z. Cornopean 8 feet. 33. Clarion '. 4 feet. Pedal Organ, CCC to F, 7 Stops. 34. Bourdon 16 feet. 35. Grand Open Diapason 16 feet. 36. Fifteenth 4 feet. 37. Trumpet 8 feet. 38. Violone, metal _. 16 feet. 39. Principal 8 feet. 40. Trombone 16 feet. 1. Pedals to Swell. z. Pedals to Choir. 3. Swell to Choir. 4. Pedals to Great. Couplers: 5. Swell to Great. Total — 45 Stops. There are 6 Composition Pedals. 211. .Worcester Cathedral. The present organ was built by Messrs. Hill & Co., in the year 1842, and s one of the largest Cathedral organs in England, except that at York Minster. It contains 39 Sounding Stops, of which the following is a list : — Great, 14 Stops. I. Tenoroon 16 feet. z. Bourdon, to meet No. i 16 feet tone. 3. Open Diapason, back 8 feet. 4. Open Diapason, front 8 feet. 5. Stopped Diapason 8 feet tone. 6. Quint 5j feet. 7. Principal 4 feet. 8. Wald Flote 4 feet. 9. Twelfth zf feet. 10. Fifteenth 2 feet. II Se.'quialtera, III ranks i^ foot. iz. Mixture II ranks f foot. 13. Doublette ...II ranks z feet. 14. Posaune 8 feet. 496 APPENDIX. 15. Dulciana 8 feet. 16. Clarabella 8 feet. 17. Stopped Diapason Sfeettone. 18. Principal 4 feet. Choir, 8 Stops. 19. Stopped Flute 4feettone. 20. Oboe Flute 4 feet. 21. Fifteenth 2 feet. 22. Cremona Sfeettone. Swell, II Stops. 23. Double Dulciana 16 feet. 24. Open Diapason 8 feet. 25. Stopped Diapason 8 feet tone. 26. Dulciana 8 feet. 27. Principal 4 feet. 28. Suabe Flute 4 feet. 34. 36. Flageolet 4 feet. Doublette, 11 ranks 2 feet. Echo Cornet. Oboe 8 feet. Cornopean 8 feet. Pedal, 6 Stops. OpenDiapason 16 feet. I 37. Fifteenth 4 feet. Stopped Diapason 16 feet tone. 38. Sesquialtera, V ranks. Principal 8 feet. | 39. Trombone 16 feet. Accessory Stops, 1. Coupler, Swell to Great. 2. Coupler, Swell to Choir. 3. Coupler, Pedals to Great. Movements, &r'c. 4. Coupler, Pedals to Choir. 5 to 9. Five Composition Pedals. Great C C to f 3 in alt. Choir, C C to fa in alt. Compass. Swell, Tenor c to f » in alt. Pedal, C C C to Tenor e. 212. Worcester. The organ in the Shire Hall at Worcester was built in 1844, by Nicholson of that city. It contains 53 Sounding Stops, of which the following is a list : — Great, 15 Stops. 1. Great Diapason, metal throughout ..' 16 feet. 2. OpenDiapason 8 feet. 3. Open Diapason, small 8 feet. 4. Gamba 8 feet. 5. Bourdon 8 feet tone. 6. Quint 5i fee'- 7. Octave 4 feet. 8. Gemshorn 4 feet. 9. WaldFlute 4 feet. 10. Twelfth 2f feet. 11. Fifteenth 2 feet. 12. Tierce , i-| foot. 13. Mixture, V ranks 2 feet. 14. Posaune 8 feet. 15. Clarion 4 feet. 1 6a. Spare Slider. Swell, 15 Stops. 16, Great Diapason, open throughout 16 feet. 17. OpenDiapason 8 feet. 18. Gamba 8 feet. 19. Stopped Diapason 8 feet tone. 20. Keraulophon 8 feet. 21. Octave 4 feet. 22. Gambette 4 feet. 23. WaldFlute 4 feet. Choir, OpenDiapason 8 feet. Viol di Gamba 8 feet. Dulciana 8, feet. Clarabella 8 feet. 35. Stopped Diapason 8 feet tone. 36. Harmonic Flute 4 feet. 31 32 33 .34' 24. Super-octave 2 feet. 25 Mixture, V ranks. 26. Trombone 16 feet. 27. Cornopean 8 feet. 28. Hautboy 8 feet. 29. Clarionette Sfeettone. 30. Clarion 4 feet. 31a. Spare Slider. Stops. 37. Dulcet 4 feet. 38. Suabe Flute 4 feet. 39. Octave Flute 2 feet. 40. Echo Cornet, V ranks. 41. Trumpet 8 feet. 42a. Spare Slider, AN ACCOUNT OF COUNTRY ORGANS 497 Pedal 1 1 Stops. 4Z. Great Diapason, open, wood 32 feet. 43. Open Diapason 16 feet. 44. Open Diapason, small, wood 16 feet. 45. Dulciana, metal 16 feet. 46. Violon 16 feet. 47. Bourdon i6feettone 48. Quint Stopped i of feet. 49. Principal 8 feet. 50. Bass Flute 8 feet tone. 51. Fifteenth ,...•... 4 feet, 52. Mixture, III ranks. 53. Posaune 16 feet. Accessory Stops, Movements, Sr'c. 1. Coupler, Swell to Great. 8. Coupler, Swell Octave. 2. Coupler, Swell to Choir. _ . . 3. Coupler, Choir to Great. 4. Coupler, Great to Pedal. 5. Coupler, Choir to Pedal. 6. Coupler, Swell to Pedal. 7. Coupler, Pedal Octave. g. Pedal Organ, off or on. 10. Sforzando Pedal. 1 1 . Tremulant Swell. 12. Pneumatic Lever Attachment. 13 to 22. Ten Composition Pedals. 213. Stratford-on-Avon. The organ in the Parish Church at Stratford-on-Avon was built by Hill in 1841, from a Specification prepared by Mr. F. Marshall, of Leamington. It con- tains 36 Sounding Stops, of which the following is a list : — Great, 18 Stops. 1. Tenoroon Diapason 16 feet. 2. Bourdon i6feettone. 3. Principal Diapason 8 feet. 4. Stopped Diapason, Treble ... 8 feet tone. 5. Stopped Diapason, Bass 8 feet tone. 6. Dulciana 8 feet. 7- Quint 5j feet. 8. Principal Octave 4 feet. 9. Wald Flute 4 feet. 10. Oboe Flute 4 feet. 11. Twelfth 2f feet. 12. Fifteenth 2 feet. 13. Octave Fifteenth i foot. 14. Sesquialtera li foot. 15. Mixture f foot. r6. Corno Trombone 8 feet. 17. Corno Clarion 4 feet. 18. Cromorne 8 feet tone. Swell, 12 Stops. 1 9. Tenoroon Diapason 16 feetv 20. Bourdon, to meet No. i 16 feet tone. 21. Principal Diapason 8 feet. 22. Stopped Diapason, Treble ... 8 feet tone. 23. Stopped Diapason, Bass 8 feet tone. 24. Principal Octave 4 feet. 25. Suabe Flute 4 feet. 26. Flagelolet 2 feet. 27 Doubletle, II ranks 2 feet. 28. Echo Dulciana Cornet, V ranks if foot. 29. Oboe 8 feet. 30. Cornopean 8 feet. Pedal, 6 Stops. 31. Open Diapason , 16 feet. 32. Bourdon i6feettone. 33. Principal .-, 8feet. 34. Fifteenth , 4 feet. 35. Mixture, V ranks 4 feet. 36. Posaune 16 feet. Accessory Stops, Movements, Gr'c. 1 . Coupler, Swell to Great, 2. Great to Pedal, 3. Swell to Pedal. Great and Swell,G C Co f» in alt. 4. Octave Pedal. 5 to 7. Three Composition Pedals. Compass. I Pedal CCC to Tenor d. 214. Birmingham. . , The splendid organ in the Town Hall, Birmingham, was built by Mr. William Hill, of London, and cost about .^3,000. The height of the case is 40 feet ; it is 35 feet wide, and 15 feet deep. The bellows contains 300 square feet of surface, and upwards of 3 tons weight upon the bellows are required to give the necessary U U 498 APPENDIX. pressure. The trackers, if laid out in a straight hne, would reach above five miles. The principal metal pipe, standing in front of the organ, is 35 feet 3 inches long, and 5 feet 8 inches in circumference. The largest wood-pipe, C C C C, 32 feet, is 12 feet in circumference, and its interior measurement is 224 cubic feet. Originally the Great and Choir organs were of i6-feet compass ; but on the occasion of the instrument being remodelled, they were altered to the CC or 8-feet range ; the Great being at the same time converted into a " i6-feet Manual," in the German acceptation of the term. The Pedal Stops were also increased in number, from four to fifteen. The organ has a fourth Manual, in connection with a Combina- tion or Solo organ, upon which, by an ingenious contrivance, can be played any Stop or Stop.s out of the Swell or Choir organs, without interfering with their pre- vious arrangement on their separate Manuals. There are two Octaves and five Notes of Pedals. The timber alone used in this instrument weighs between twenty and thirty tons ; and the metal and other materials employed in its formation raise it to a total weight of at least forty tons. The .Birmingham organ has 53 Sounding Stops, of which the following is a list : — ' Great, 19 Stops. 1. Double Open Diapason 16 feet. 2. Open Diapason 8 feet. 3. Open Diapason 8 feet. 4. Open Diapason 8 feet. 5. Stopped Diapason 8 feet tone. 6. Quint 5j feet tone 7. Principal 4 feet. 8. Principal. 4 feet. 9. Twelftli 2|^ feet. 10. Fifteenth 2 feet. Swell, 20. Double Diapason 16 feet. 21. Open Diapason 8 feet. 22. 24. Stopped Diapason 8 feet tone. Principal 4 feet. Fifteenth 2 feet. 11. Doublette ...II ranlcs 2 feet. 12. Sesquialtera, V ranks. 13. Mixture V ranlcs. 14. Furniture ...V ranks. 15. Contra or Double Trumpet 16 feet. 16. Posaune 8 feet. 17. Clarion 4 feet. 18. Octave Clarion 2 feet. 19. Great Ophicleide, on a heavy pressure of wind 8 feet. 10 Stops. 25. Sesquialtera, V ranks if foot. 26. Horn 8 feet. 27. Trumpet 8 feet. 28. Hautboy 8 feet. 29. Clarion 4 feet. Choir, 9 Stops. 30. Open Diapason 8 feet. 35, 31. Dulciana 8 feet. 36 32. Stopped Diapas9n 8 feet tone. 37. 33. Principal ' 4 feet, 38, 34. Flute 4 feet. Pedal, 15 Stops. 39. Contra-OpenDiapason (metal) 32 feet. 40. Contra-OpenDiapason (wood) 32 feet. 41. Open Diapason (metal) 16 feet. 42. Open Diapason (metal) 16 feet. 43. Open Diapason (wood) 16 feet. 44. Stopped JJiapason 16 feet tone. 45. Principal 8 feet 46. Twelfth 6 feet. Oboe Flute 4 feet. Wald Flute 4 feet. Fifteenth 2 feet. Cornopean 8 feet. 47. Fifteenth 4 feet. 48. Sesquialtera, V ranks. 49. Mixture ...V ranks. 50. Contra Posaune 32 feet. 51. Posaune 16 feet. 52. Trumpet 8 feet. 53. Clarion 4 feet. Combination or Solo Organ. Choir, 8 Stops. I. 2. 3- 4 Open Diapason, Cornopean. Dulciana. Stopped Diapason. 5. 6. Harmonica. Flute. Cremona. Bells. AN ACCOUNT OF COUNTRY ORGANS. 9. Hautboy, xo. Clarion. 11. Trumpet. 12. Horn. 13. Fifteenth. Swell, 9 Stops. 14. Clarabella. 15. Principal. 16. Stopped Diapason. 17. Open Diapason. 1. Swell to Great. 2. Choir to Great. 3. Pedals to Great. 4. Pedals to Choir. Accessory Stops, Movements, ^c. 499 All four Manuals, CC to P in alt. Compass. 5. Pedals only. 6. Combination Choir. 7. Combination Swell. 8 to 14. Seven Composition Pedals. Pedal, CCC to Tenor f. 215. Lichfield Cathedral. The old organ now removed was erected by Samuel Green in 1789. In i860 the present organ was erected by Mr. G. M. Holditch: It was a present from J. Spode, Esq. of Hawkesyard Park, in the County of Stafford. The organ consists of 3 whole rows of keys, and a large independent Pedal organ. The compass of the manuals is from C C to F in alt. Great Organ, 19 Stops. Pipes. 12 Feet. Sub Bass 16 . Tenoroon 16 ... 42 Open Diapason 8 ... 54 Open Diapason 8 ... 42 Open Diapason, bass 8 ... 12 BellGamba 8 .... 42 Clarabella 8 ... 54 Stopped Diapason 8 ... 54 Octave 4 ... 54 Gamba Octave 4 ...' 54 Wald Flute 4 ... 42 Feet. 12. Super Quint 3 13. Super Octave 2 14. Tierce i^ . 15. Sesquialtera i^ . 16. Doub'.ette 2 . 17. Mixture 18. Posaune 8 19. Clarion 8 Choir Organ, 7 Stops. Fifteenth Cremona 20. Dulciana , "i ... 54 21. Stopped Diapason, bass 8 ... 12 22. Stopped Diapason, treble ... 8 ... 42 23. Principal 4 ... 54 24. Flute 4 ... 54 Swell Organ, 17 Stops, 27. Bourdon 16 ... 12 28. Double Diapason i^ ... 42 29. Open Diapason 8 ... 42 30. Open Diapason, bass 8 ... 12 31. Keraulophon 8 ... 42 32. Stopped Diapason 8 ... 54 33. Principal 4 ... 54 34. Fifteenth 2 ... 54 35. Tierce if... 54 36. Sesquialtera i^ ... 108 37. Mixture 38. Cornopean, bass 8 39. Cornopean, treble 8 40. Trumpet 8 41. Hautboy 8 42. Tromba 16 43. Clarion 4 Pipes. .. 54 • 54 .. 54 . 108 ,. 108 . 108 • 54 • 54 1056 54 42 312 108 12 42 54 42 41 54 Pedal Organ,,lo Stops, Compass from CCC to E, 2 octaves and a third. 44. Double Double. Open Diapa- son 32 ... 12 45. Double Open Diapason 16 ... 29 46. Montre 16 ... 29 47. Grand Bourdon 16 ... 29 48. Octave 8 ... 29 49. Super Octave 4 ... 29 50. Sesquialtera Ji. Mixture 52. Grand Trombone 16 53. Grand Trumpet 8 U U 2 5» 58 29 29 311 500 APPENDIX. Couplers. 1. Pedals to Great. 2. Pedals to Swell. 3. Pedals to Choir. 4. Swell to Great. Number of Pipes. Great Organ 1056 Choir Organ 312 Swell Organ 828 Pedal Organ 311 Total number of Pipes 2507 5. Great to Choir. 6. Swell to Choir. 7. Octave Coupler Pedals. Number of Stops. Great Organ 19 Choir Organ 7 Swell Organ 17 Pedal Organ 10 Couplers 7 Total number of Stops 60 There are 8 Composition Pedals to change the various Stops of C C. The Great organ, also the Pedal organ, has the pneumatic action applied. The whole organ is supplied by three pairs of bellows, with double feeders. The organ is constructed in a pecuhar way, and the large 32-feet CCCC pipes are laid down, as the instruments stands in the side aisle of the transept of the Cathedral, and the keys brought through the wall into the side aisle of the choir. 216. Shrewsbury. The organ in St. Mary's, Shrewsbury, is a fine instrument, and was built by Harris & Byfield, in 1729. In 1847, it was enlarged and improved by Gray & Davison, and now contains 23 Sounding Stops. Great., 8 Stops, from CC to E, 53 Notes. Pipes. 1. Open Diapason 53 2. Stop Diapason .; 53 3. Principal 53 4. Twelfth 53 5. Fifteenth 53 Pipes. 6. Sesquialtera, III ranks 147 7. Mixture II ranks 65 8. Trumpet 53 9. Stopped Diapason 53 10. Dulciana to Tenor c 41 11. Principal 53 Choir, 5 Stops. 12. Flute 530 53 13. Fifteenth 53 »S3 Swell, 9 Stops, from Tenor C. 14. Double Diapason 41 15. Open Diapason 41 16. Stopped Diapason 41 17. Principal 41 18. Fifteenth 41 19. Sesquialtera 123 20. Hautboy 41 21. Cornopean 41 22. Clarion 41 45' Pedal, I Stop. 23. Open Diapason, from CCC to D 27 Total number of Pipes 1261 Couplers. I. Swell to Great | 2, Pedals to Great. | 3. Pedals to Choir. AN ACCOUNT OF COUNTRY ORGANS. SOI 217. Shrewsbury. The organ in St. Chad's, Shrewsbury, was built by Gray, in 1794; and enlarged and improved by Gray & Davison, in 1848. Great, 9 Stops, from CC to F, 54 Notes. Pipes. _ Pipes. 1. Stopped Diapason 54 2. Open Diapason 54 3. Open Diapason to Tenor c, in place of n rank Mixture 42 4. Clarabella to Middle c', in place of IV rank Cornet 30 5. Principal 54 6. Twelfth 54 7. Fifteenth 54 8. Sesquialtera, III ranks 150 9. Trumpet 54 10. Stopped Diapason, treble " Choir, Do. do. bass J '^ 12. Keraulophon • 42 13. Dulciana 42 14. Principal 54 Swell, 9 Stops, Double Diapason 42 Stopped Diapason 41 20. Open Diapason 42 21. Principal 42 22. Fifteenth 42 '9 546 Stops. 15. Flute..,- 42 16. Cremono 42 17. Bourdon, CCC to BB 12 from Tenor C. 23. Sesquialtera 126 24. Hautboy 42 25. Cornopean 42 26. Clarion 42 27. Open Diapason, from CCC to E., Pedal, I Stop, 462 »9 1. Swell to Great. 2. Pedals to Great. 3. Pedals to Choir. Couplers, Sr'C. 4 to 8. Total number of Pipes. ..1325 Five Composition Pedals ; viz.- 3 to the Great Organ, 2 to the Swell. 218. Chester Cathedral. . This organ was built by Messrs. Gray & Davison, in 1844, and is a very fine ne. It contains 36 Sounding Stops, of which the following is a list :— Great, 14 Stops, CC to F. 8. Twelfth. 1. Double Diapason. 2. Open Diapason. 3. Open Diapason. 4. Stopped Diapason. 5. Fifth, stopped. 6. Principal. 7. Flute. 15. Open Diapason, 16. Dulciana. 17. Stopped Diapason. 22. Double Diapason. 23. Open Diapason. 24. Stopped Diapason. 31- 33' Fifteenth. Sesquialtera, III ranks. Furniture 12. Mixture 13. Trumpet. 14. Clarion. GG to F. 20. 21. FF to F. Open Diapason 16 feet. Stopped Diapason 16 feet. Principal 3-feet. Choir, 7 Stops, 18. Principal. 19. Flute. Swell, 9 Stops, 25. Principal. 26. Fifteenth. 27. Sesquialtera, III ranks. Pedal, 6 Stops, CCC to D 34' II ranks. II ranks. Fifteenth. Clarione. 28, 29. 30. Hautboy. Cornopean. Clarion. Fifteenth 4 feet. 35. Tierce 3^ feet 36. Sesquialtera, II ranks. 502 APPENDIX. 1. Swell to Great. 2. Swell to Choir. Couplers. 3. Choir to Great. 4. Great to Pedals. Choir to Pedals. 219. St. George's Hall, Liverpool. The organ in this magnificent building was erected in 1855, by Henry Willis of London, in accordance with the plans of Dr. 'S. S. Wesley, and comprised the adoption of the system of tuning by " unequal " temperament, while the various keyboards contained a redundancy of Stops of the " Diapason " species. Complaints, however, having been made as to the great deterioration of musi- cal effect when the union of " orchestra " and " organ," in. oratorio performances rendered the barbarous system of tuning painfully apparent, the Corporation, in 1867, ordered the entire reconstruction of the instrument, which important under- taking has been carried out in a superb manner, by Mr. Willis, under the superin- tendence of Mr. W. T. Best, who has acted here as organist since 1855. The organ now contains exactly one hundred " sounding" Stops, disposed between four claviers and pedal. The compass of each keyboard is five octaves and two notes ; (GG to A in alt.) — the Pedal range is two octaves and a half — (CCC to F). Every Stop extends throughout the entire manual compass. The Choir organ contains 18 Stops ; the Great, 25 ; the Swell, 25 ; the Solo organ, 15 ; and the Pedal, 17. The accessory appliances consist of 10 couplers, and 42 pneumatic pistons, which place the varied tone-character of the immense instrument at the mfimediate disposal of the player. No zinc is employed in the construction of the pipes. The wind is derived from two large bellows, placed in the basement of St. George's Hall, blown by a steam-engine of eight horse power. These bellows supply fourteen reservoirs, placed in various departments of the instru- ment ; the wind pressure ranges from three-and-a-half inches to twenty. Each keyboard possesses the pneumatic lever, as an intermediary agent between the keys and the valves of the organ. The pedal board has two pneumatic levers for the same purpose. The entire cost of the organ, including every detail, amounted to .i^io,ooo. First Manual — {Choir), 18 Stops. 10. Octave Viola 4 feet. I. Bourdon iSfeet. z. Open Diapason 8 feet. 3. Clarabella 8 feet. 4. Liehlich Gedact 8 feet. 5. Dulciana 8 feet. 6. Viol di Gamba 8 feet. 7. Voix Celeste 8 feet. 8. Principal 4 feet. 9. Harmonic Flute 4 feet. Twelfth 3 feet. 12. Fifteenth 2 feet. 13. Flageolet 2 feet. 14. Sesquialtera, IV ranks. 15. Tromba 8 feet. 16. Clarionet 8 feet. 17. Orchestral Oboe 8 feet. 18. Clarion 4 feet. 19 29. 30, 31 Second Manual — {Great), 25 Stops. Double Open Diapason, metal 1 6 feet. Open Diapason 8 feet. Open Diapason 8 feet. Clarabella 8 feet. Flute a Pavilion 8 feet. Lieblich Gedact 8 feet. Violoncello 8 feet. Quint 6 feet. Octave Viola 4 feet. Principal 4 feet. Principal 4 feet. Flauto Traverso 4 feet. Decima 3 feet. 32. Twelfth 3 feet. 33. Fifteenth 2 feet. 34. Fifteenth 2 feet. 35. Doublette, II ranks 2 & i feet. 36. Sesquiahera, V ranks. 37. Mixture, ...IV ranks. 38. Contra Trombone 16 feet. 39. Trombone 8 feet. 40. Ophicleide 8 feet 41. Trumpet 8 feet. 42. Clarion 4 feet. 43. Clarion 4feet. AN ACCOUNT OF COUNTRY ORGANS. S03 Third Manual— (Swell), 25 Stops. 44. Double Diapason 16 feet. 45. Open Diapason 8 feet. 46. Open Diapason 8 feet. 47. Echo Dulciana 8 feet. 48. Lieblich Geda'ct 8 feet. 49. Voix Celeste 8 feet. 50. Principal...! 4 feet. 51. Gemshorn 4 feet. 51. Wald Flute 4 feet. 53. Twelfth 3 feet. 54. Fifteenth 2 feet. 55. Fifteenth z feet. 56. Piccolo z feet. 57. Doublette, II ranks 2 & i feet. 58. Sesquia!tera, V ranks, 59. Contra Trombone 16 feet, 60. Contra Fagotto 16 feet. 61 Ophicleide 8 feet. 62. Trumpet 8 feet. 63. Corno Dolce 8 feet. 64. Oboe '8 feet. 65. Cornb di Bassetto 8 feet. 66. Vox humana 8 feet. 67. Clarion 4 feet. 68. Clarion 4 feet. Tremulant to Swell. Fourth- Manual — [Solo Organ), 15 Stops. 69. Bourdon 16 feet. 70. Flauto Dolce 8 feet. 71. Lieblich Gedact 8 feet. 72. Flute Harmonicjiie 4 feet. 73. Piccolo Harmonique 2 feet. 74. Contra Fagotto 16 feet. 75. Trombone 8 feet. 76. Bassoon 8 feet. 77. Clarionet 8 feet. 78. Orchestral Oboe 8 feet, 79. Clarion 4 feet. 80. Tromba 8 feet. 81. Ophecleide 8"feet. 82. Cornopean 8 feet. 83. Trompette Harmonique ... 4 feet. These last four registers are on a heavy wind-pressure, ranging from 15 to 20. inches. 90. 91. 92. Double Open Diapason, wood 3 2 feet. Double Open Diapason, metal 32 feet. Contra Trombone 32 feet. Open Diapason, wood 16 feet. Open Diapason, metal 16 feet. Violono, metal 16 feet. Bourdon 16 feet. Principal 8 feet. Flute 8 feet. Pedal Organ, 17 Stops. 93. Quint 6 feet. 94. .Fifteenth 4 feet. 95 Fourniture, V ranks. 96. Mixture ...IV ranks. 97. Trombone ".. 16 feet. q8. Ophicleide 16 feet. Trompette 8 feet. Clarion 4 feet. 1. Swell to Great, unison. 2. Swell to Great, sub-octave, 3. Swell to Great, super-octave 4. Choir to Great, 5. Solo to Great. 99- 100. Couplers. 6. Solo to Choir. 7. Great to Pedals. 8. Swell to Pedals. 9. Choir to Pedals. 10, Solo to Pedals, 220, Liverpool, The organ in Great George Street Chapel is a magnificent and well-balanced instrument. It was buih by Hill, in 1841, and contains 52 Sounding Stops, of which the following is a list ■: — Great, 16 Stops. Tenbroon to Tenor c key ... 16 feet. Bourdon, to meet No. i 16 feet tone. Open Diapason 8 feet. Open Diapa.5on 8 feet. Stopped Diapason 8 feet tone, Qujnt Sjfeet, Principal 4 feet. Flute 4 feet. Tenth 31 f<^e'- Twelfth iffeet. Fifteenth 2 feet. Sesquialtera, III ranks if foot. Mixture ... Ill ranks ffoot, Doublette,,, II ranks 2 feet, Posaune 8 feet. Clarion 4 feet. 504 APPENDIX. Sivell, 20 Stops. 17. Tenoroon to Tenor c key ... 16 feet. 18. Bourdon to meet No. 17 16 feet tone. 19. Open Diapason 8 feet. 20. Dulciana 8 feet. 21. Stopped Diapason 8 feet tone. 22. Quint 5j feet. 23. Principal 4 feet. 24. Suabe Flute 4 feet. 25. Twelfth 2f feet. 26. Fifteenth 2 feet. 27. Flageolet 28. Sesquialtera, III ranks 29. Mixture II ranks Echo Cornet V ranks Contra Fagotto Cornopean Trumpet , Oboe 35. Corno Flute 36. Clarion ,..-/ 2 feet. i4 foot. 1 6 feet. 8 feet. 8 feet. 8 feet. 8 feet. 4 feet. Choir, 8 Stops. 37- 38. 39- 40. 41. Open Diapason 8 feet. Dulciana 8 feet tone. Stopped Diapason 8 feet. Clarabella 8 feet. Principal 4 feet. 42. Stopped Flute ..,.,.,„ 4 feet tone. 43. Wald Flute 4 feet. 44. Oboe Flute 4 feet. 45. Cremona 8feettone. 47. Open Diapason , 16 feet. 48.' Bourdon i6feettone. 49. Principal , 8 feet. Solo Organ, 1 Stop. 46, Tuba Mirabilis 8 feet. Pedal, 6 Stops. 50. Fifteenth 4 feet. Sesquialtera, V ranks 3J feet. Trombone 16 feet. 1 . Swell to Great. 2. Choir to Great, 3. Great to Pedal. Accessory Stops, Movements, Sr'c. 4. Swell to Pedal, Great, C C to f = in alt. Choir, C C to f» in alt. Compass. 5. Choir to Pedal. 6 to 10. Five Composition Pedals. Swell, C C to f= in alt. Pedal, C C C to Tenor d. 231. Liverpool. The fine organ in the Collegiate Institution, Liverpool, was built by Mr. Jack- son, of Liverpool, in 1850. It contains the 40 Sounding Stops mentioned below : — Great, 13 Stops, 16 Ranks. 1. Tenoroon 16 feet. 2. Bourdon, to meet No. i 16 feet tone. 3. Great Open Diapason 8 feet. 4. Small Open Diapason 8 feet. 5. Stopped Diapason 8 feet tone. 6. Principal 4 feet. 7. - ■■■ Twelfth 2f feet. Choir, II Stops. 14. Open Diapason 8 feet. 15. Stopped Diapason 8 feet. 16. Clarabella 8 feet. 17. Keraulophon 8 feet. 18. Dulciana 8 feet. 19. Principal 4 feet. Swell, 9 Stops. 8. Fifteenth 2 feet. 9. Sesquialtera, III ranks. 10. Mixture ... Ill ranks. 11. Sharp twentieth. 12. Trumpet 8 feet. 13. Clarion 4 feet. 20. Flute..., 4 feet. 21. Piccolo 2 feet. 22. Fifteentli 2 feet. 23. Bassoon 8 feet. 24. Clarionet 8 feet. 25. Double Diapason 16 feet. 26. Open Diapason 8 feet. 27. Stopped Diapason 8 feet. 28. Principal 4 feet. 29. Fifteenth 2 feet. 30. Echo Dulciana Cornet, III ranks. 31. Cornopean 8 feet. 32. Oboe 8 feet. 33. Clarion 4 feet. AN ACCOUNT OF COUNTRY ORGANS. SOS Pedal, 7 Stops. 34. Great Open Diapason 16 feet. 35. Bourdon 16 feet. 36. Principal 8 feet. 37. Twelfth 5jfeet. 38. Fifteenth 4 feet. 39. Mixture, VI ranks 40. Posaune 1 6 feet. Accessory Stops, Movements, Sr'c. 1. Swell to Great. 2. Choir to Swell. 3. Sub-octave Choir to Great. 4. Swell to Pedals. 5. Choir to Pedals. 6. Great to Pedals. 7. Super-octave to Pedals. 8 to 13. Six Composition Pedals. Compass. All the Manuals, CC to g3 In altissimo. | Pedal, C C C to Fiddle g. 222. Manchester Cathedral. The present organ in Manchester Cathedral was erected in the month of April, 1861, by John Nicholson, ofWorcester, and is entirely new. Great, 16 Stops. 1. Bourdon 16 feet. 2. Stopped Diapason 8 feet. 3. Small Open Diapason.. 8 feet. 4. Large Open Diapason 8 feet. 5. Gamba 8 feet. 6. Stopped Flute 4 feet. 7. Gemshorn 4 feet. 8. Principal. 4 feet. 9. Twelfth 3 feet. 10. Fifteenth 2 feet. 11. Tierce. 12. Larigot. 13. Mixture. 14. Full Mixture. 15. Trumpet 8 feet. 16. Clarion 4 feet. Choir, 10 Stops. 17. Stopped Diapason 8 feet. 18. Viol di Gamba 8 feet. 19. Clarabella 8 feet. 20. Dulciana 8 feet. zi. Gamba 4 feet. 22. Piccolo 2 feet. 23. Stopped Flute 4 feet. 24. Solo Flute 4 feet. 25. Krumhorn 8 feet. 26. Ophicleide , 8 feet. Swell, II Stops. 27. Bourdon 16 feet. 28. Stopped Diapsaon 8 feet. 29. Open Diapason 8 feet. 30. Stopped Flute 4 feet. 31. Gamba 8 feet. 32. Gemshorn 4 feet. 33. Fifteenth , 2 feet. 34. Hautboy 8 feet. 35. Cornopean 8 feet. 36. Clarion 4 feet. 37. Sesquialtera, III ranks. Pedal, 5 Stops. Two Octaves and four Notes, with radiated and concave Pedal Board. 38. Violone i6feet. 39. Open Diapason 16 feet. 40. Bourdon , 16 feet. Principal 8 feet. Trombone i6 feet. Swell to Great. Choir to Great. Swell to Choir. Swell to Pedals. Choir to Pedals. Accessory*Stops. Great to Pedals. Three Composition Pedals to Swell. Three Composition Pedals to Great. In and out Pedals to Great. In and out Pedals to Swell. So5 APPENDIX. 223. Manchester. The fine organ in St. Luke's, Manchester, was built by Hill, in 1 840, Great, 10 Stops, C C to F in alt. Double Open Diapason 16 feet. 23- 14. Open Diapason 8 feet. Stopped Diapason 8 feet. Principal 4 feet. Fifteenth 2 feet. Twelftli 3 feet. Sesquialtera, III ranks. Mixture, 11 ranks. Octave Fifteenth i foot. Posaune. Open Diapason 8 feet. Stopped Diapason 8 feet. Claiibella 8 fi'Ct. Principal 4 fet^t. Dulciana 8 ^'^^t. Choir, 10 Stops, C C to F in alt. 16. Fifteenth 2 feet. Oboe Flute 4 feet. Wald Flute 4 feet. Piccolo 2 feet. Cremona 8 feet. '7- 18. 19- Swell, 7 Stops, Tenor C to D. 25. Doublette, TT ranks 2 feet. 26. Cornopean 8 feet. 27. Oboe 8 feet. Double Open Diapason j 6 feet. Open Diapason 8 feet. Stopped Diapason 8 feet. Principal 4 ^et. Pedal, 3 Stops— One Octave, C C C to C C. OpenDiapason 16 feet. | 30. Trombone 16 feet. Bourdon x 6 feet. Couplers. 1. Choir to Great, 2. Swell to Great. 3. Great to Pedals. 4- Choir to Pedals. 5. Swell to Pedals. 6, 7. Two Composition Pedals to Swell. 8, 9, 10. Three Composition Pedals to Great. 224. Manchester. The organ in Holy Trinity Church, Manchester, was built in 1852, by Kirt- land & Jardine, of Manchester. It has 4 Manuals, Great organ, Choir, Swell, and Solo, besides an independant Pedal, and contains 49 Stops, of wlych the following is a list : — Great, 14 Stops, CC to F, S4 Notes. 1. Bourdon 16 feet. 2. OpenDiapason 8 feet. 3. Salicional 8 feet. 4. Stop Diapason, bass 1 « f„of 5. Clarabella | » leet. 6. Quint Sj feet. 7. Principal 4 feet. 8. Clear Flute 4 feet. 9. Twelfth 2|feet. 10. Fifteenth 2 feet. 11. Sesquialtera, III ranks i^ foot. 12. Mixture ...III ranks 1 foot. 13. Trumpet 8 feet. 14. Clarion 4 feet. 15 *Bourdon 16 feet. 16. Dulciana 8 feet. 17. Stop Diapason, bass 1 „ , 18. Stop Diapason, treble J 19. Viola di Gamba, Tenor c ... 8 feet. 20. Principal 4 feet. Choir, 1 1 Stops, C C to F, 54 Notes. 21. Rohrflute, Tenor c 4 feet. 22. Twelfth 2| feet. 23. Fifteenth 2 feet. 24. Flageolet, Tenor c 2 feet. 25. Bassoon and Clarinet 8 feet. 26. 27- 29. 3=- Swell, 10 Stops. Bourdon 16 feet, OpenDiapason 8 feet. Stop Diapason 8 feet. Principal 4 feet. Twelfth 2J feet. CC to F, 54 Notes. 31. Fifteenth 2 feet. 32. Mixture, III ranks i| foot. 33. Cornopean; 8 feet. 34. Hautboy 8 feet. 35. Clarion 4 feet. AN ACCOUNT OF COUNTRY ORGANS. 507 Solo, 5 Stops, Tenor C to F, 42 Notes. 36.*Camba 8 feet. 37.*Vox Angelica 8 feet. 38.*Flauto Travcrso 4 feet. 39.*Flute harmonique 4 feet. 40.*^oline 8 feet. Pedal, 9 Stops, C C C to F, 30 Notes. 41. Open Diapason 16 feet. 42. Stopped Diapason 16 feet. 43. Quint io| feet. 44. Principal 8 feet. 45. Twelfth 5j feet. 46. Fifteenth 4 feet. 47. Mixture (19, 22, 26, 29). 48.*Posaune 16 feet. 49.*Clarion 8 feet. Couplers 6 Ventils 4 Composition Pedals 6 The keys are 25 feet from the organ, yet the "touch'' is remarkably crisp, and pleasant to the performer. The keys of the Solo, Swell, and Great organs each project an inch over the keys next below them ; by this means the top Set (Solo) is brought 3 inches nearer to the performer than in keys made in the usual manner. The Stops marked (*) have no Pipes in, but are "prepared" to receive them. 225. HUDDERSFIELD. The organ in Buxton Road Chapel, Huddersfield, was built by T. J. Robson, of London, and consists of three Manuals, Great, Choir, and Swell, with an indepen- dent Pedal organ of 9 Stops. In its construction it has been a special object to embody as many of the finest features of the German and English instruments as could conveniently be introduced. The Manual organs are of the full compass, and the Pedal organ (a department which is too often limited, and consequently defec- tive either in range, number of Stops, or both) is of ample and corresponding pro- portions. The organ contains 40 Sounding Stops, of which the following is a list :— Great, 15 Stops, CC to C in alt., 61 Notes. 1 . Double Open Diapason, metal throughout 16 feet. 2. Large Open Diapason 8 feet. 3. Open Diapason 8 feet. 4. Stopped Diapason 8 feet tone. 5 Quint '. 6 feet. 6. Principal 4 feet, 7. Wald Flute 4 feet. 8. Twelfth 3 feet. 9. Fifteenth 2 feet. 10. Piccolo 2 feet. II Sesquialtera, III ranks if foot. 12. Mixture 11 ranks ...... ^ foot. 13. Furniture... Ill ranks 14. Trumpet 8 feet. ij. Clarion 4 feet. Choir, 4 Stops, CC to C in alt., 61 Notes. 16. Stopped Diapason and Clari- bella 8 feet tone. 17. Diilciana 8 feet. Viol de Gamba 8 feet. Principal 4 feet. Swell, 12 Stops, CC to Cin alt-, 61 Notes. 22. 24. 25- Double Diapason 16 feet tone. Open Diapason 8 fuet. Stopped Diapason 8 feet tone Violdi Gamba 8 feet. Principal 4 feet. Fifteenth 2 feet. 26. Sesquialtera, III ranks if foot 27. Contra Fagotta, metal 16 feet. a8. Clarionet and Corni di Bas- setto 8 feet. 29. Hautboy 8 feet. 30. Horn '. , S feet. 3 1 . Clarion 4 feet. So8 APPENDIX. Pedals 9 Stops. The Compass of the Pipes, C C C to F (42 notes), three and a half octaves, the upper octave being added for the purpose of completing the Octave Copula, whereby the effect of 18 Stops is gained throughout the Pedal range. 32. Open Diapason 16 feet. 33. Violone i6feettone, 34. Principal '. 8 feet. 35. Quint 6 feet. 36. Fifteenth 4 feet. Couplers, Qt'c. 1. Swell to Great. | 2. Great to Pedals. | 3. Choir to Pedals. 5 to 10. Six Composition Pedals. Summary of Stops and Pipes. Stops. Great Organ 15 Swell Organ 12 Choir Organ 4 Pedal Organ 9 Copulas , , 4 44 37. Sesquialtera, V ranks 3J feet. 38. Posaune, metal 16 feet. 39. Trumpet 8 feet, 40. Clarion 4 feet. I 4. Octave Pedals. Pipes. 1232 854 220 546 2852 226. Free Trade Hall, Manchester. The fine organ at the Free Trade Hall, Manchester, was built by Messrs. Kirtland & Jardine in 1857. It has 60 Draw Stops, of which 52 are Sounding Stops, several of which are modelled from the inventions of the most celebrated organ builder's of France and Germany. The Hohl Flute, Gamba, Harmonica, and Posaune (16 feet), are from the German ; the Voix Celeste, Voix Humaine, Flute Harmonique, Euphone, &c. from the French. The Posaune, Euphone, and Harmonica, are " free reeds," which are seldom used in English organs. The organ is constructed on the "Simplification System" invented by the Abb^ Vogler of Mannheim, and introduced into this country by Messrs. Kirtland & Jardine. By this system every pipe stands directly over the air chamber supply- ing it with wind. There are 4 wind reservoirs. These are supplied with air by 6 feeders, put in motion by means of 2 hydraulic engines. The various organs have different pressures of wind, and thus the desired intonation and true cha- racter of the stops are more perfectly obtained. The pipes are scaled in accordance with the theory of Professor Topfer of Weimar, and the instrument is tuned on the equal temperament system. Great Organ, 15 Stops, C C to G in alt., 56 Notes. 1. Double Open Diapason 16 feet. 2. Open Diapason 8 feet. 3. Violin Diapason 8 feeti 4. Hohl Flote 8 feet. 5. Open Diapason 8 feet. 6. Quint 5j feet, 7. Principal 4 feet. 8. Gamba 4 feet. Swell Organ, 20 Stops, C C to G in alt 9. Clear Flute 4 feet. 10. Twelfth 2| feet. 11. Fifteenth 2 feet. 12. Mixture, V ranks. 13. Double Trumpet 16 feet. 14. Posaune 8 feet. 15. Clarion 4 feet. 16. Bourdon 16 feet. 17. Open Diapason 8 feet. 18. Salcional 8 feet. 19. Stopped Diapason 8 feet. 20. Dulciana 8 feet. 21. Voix Celeste 8 feet. 22. Quint 5j feet. 23. Principal 4 feet. 24. Hohl Flbte 4 feet. 25. Rohr Flote 4 feet. 56 Notes. 26. Twelfth 2f feet. 27. Fifteenth 2 feet. 28. Mixture, V ranks. 29. Euphone 16 feet. 30. Cornopean 8 feet, 31. Oboe 8 feet. 32. Voix Humaine 8 feet. 33. Clarion 4 feet. 34. Octave Clarion 2 feet. 35. Tremulant. AN ACCOUNT OF COUNTRY ORGANS. 509 Solo Organ, 8 Stops, C C to G in alt., 56 Notes. 36. HohlFlote g feet. 37. Gaitiba 8 feet. 38. Corno Dolce 8 feet. 39. Flute Harmonique 4 feet. 40. Bassoon and Clarionet 8 feet. 41. Tuba 8 feet. 42. Harmonica 4 feet. 43. Tuba 4 feet. Pedal Organ, 10 Stops, CCC to E,i^ Notes. 44. Sub-Bass 32 feet. 45. Open Diapason 16 feet. , 46. Bourdon 16 feet. 47. Quint lo^feet. 48. Principal 8 feet. 49. Violoncello 8 feet. 50. Twelfth si feet. 51. Fifteenth 4 feet. 52. Posaune 16 feet, 53. Trumpet 8 feet. Accessory Stops, Movements, 6r'c. 1. Swell to Great, unison. 2. Swell to Great, octave. 3. Solo to Great. 4. Swell to Pedals. J. Great to Pedals. 6. Solo to Pedals. 7. Clochette, Four Combination Pedals to Great. Two Combination Pedals to Swell. Two Combination Pedals to Pedals. 227. Manchester. The organ in St. Peter's Church, Manchester, was built in 1 856, by Kirtland & Jardine. It contains the following Stops : — Great Organ, 17 Stops, CC to G in alt., 56 Notes. 1. Double Open Diapason 16 feet. 2. Grand Open Diapason 8 feet. 3. Open Diapason 8 feet. 4. Gamba 8 feet. 5. Flute a Pavilon 8 feet. 6. Stopped Diapason 8 feet. 7. Quint 5^ feet. 8. Grand Principal 4 feet. 9. Principal , 4 feet. 10. Clear Flute 11. Twelfth 12. Fifteenth 13. Full Mixture ... V ranks. 14. Sharp Mixture, IV ranks. 15. Double Trumpet 16. Trompette tiarmonique . 17. Clarion Choir Organ, 14 Stops, C C to G in alt., 56 Notes. 18. Bourdon 16 feet. 19. Spitzflote 8 feet. 20. Dulciana 8 feet. 21. Vipla di Gamba 8 feet. 22. Gedackt 8 feet. 23. Voix Celestes 8 feet. 24. Gemshorne 4 feet. 27, 25. Flauto Traverso, harmonic 26. Rohr Flote Fifteenth Mixture, IV ranks. 29. Euphone and Bassoon 30. Trumpet ...' 31. Voix Humaine Swell Organ, 14 Stops, C C to G in alt., 56 Notes. Bourdon 16 feet. Open Diapason 8 feet. Hohl Flote 8 feet. Stopped Diapason 8 feet. Principal 4 feet. 37. GedacktFlute 4 feet. 38. Twelfth ..; zffeet. 32- 33- 34 35- 36 Fifteenth Clear Mixture, V ranks. Contra Fagotto Cornopean Hautboy 44. Cor Anglais 45. Clarion 46. Open Diapason, harmonic . Solo Organ, 5 Stops. 8 feet. 49. Tromba . 47. Concert Flute, harmonic 4 feet. 48. Flageolet, harmonic 2 feet. 49- 50. Corno di Bassetto and Cla- rionet 4 feet. 2f feet. 2 feet. 16 feet. 8 feet. 4 feet. 4 feet. 4 feet. 2 feet. 16 feet. 8 feet. 8 feet. 2 feet. 1 6 feet. 8 feet. 8 feet. 8 feet 4feei 8 feet. 8 feet. Sio APPENDIX. Pedal Organ, 1 1 Stops, CCC to Tenor f, 30 Notes. 51. Sub Bass 32 feet. 52. Open Diapason 16 feet. 53. Violon 16 feet. 54. Stopped Diapason 16 feet. 55. Grosse Quint loj feet. 56. Principal 8 feet. 57. Violoncello 8 feet. 58. Twelfth 5jfeet. 59. Fifteenth 4 feet. 60. Posaune 16 feet. 61. Trumpet 8 feet. Accessory Stops, Movements, &'c. 1. Solo to Great. 2. Swell to Great, Unison, 3. Swell to Great, Octave. 4. 5well to Great, Sub Octave. 5. Choir to Great. 6. Solo to Pedals. 7. Swell to Pedals. 8. Great to Pedals. 9. Choir to Great. 10. Pedal Organ Attachment. 11. Clochette. Tremulant to Swell. Tremulant to Choir. Sforzando* Pedal. Four Combination Pedals to Great. Two Combination' Pedals to Pedals. Two Combination Pedals to Swell. 228. Ashton-under-Lyne. The magnificent organ, in the Parish Church at Ashton-under-Lyne, was the noble gift of Edward Brown, Esq. of the Firs, and was built by Hill, in the year 1845. It contains 55 Sounding Stops, besides 8 Couplers, 3 Manuals, and a Pedal of 6 Stops. The following is its disposition : — Pipes. 1. Tenoroon Diapason 42 . 2. Bourdon, CCC to BB... 12 . 3. Open Diapason 54 4. Open Diapason ., 54 5. Stopped Diapason to Tenor c 42 6. Stopped Diapason, bass... j2 . 7- Quint....' 54 . 8. Principal 54 . 9. Wald Flute, to Tenor c... 42 . 10. Tenth 54 11. Twelfth 54 . 22. Tenoroon Dulciana 42 23. Bourdon, C C C to B B... 12 24. Open Diapason 54 25. Echo Dulciana, to Tenor c 42 26. Stopped Diapason, treble 42 27. Stopped Diapason, bass... 12 28. Principal •. 54 29. Suabe Flute, to Tenor c 42 30. Twelfth..., 54 31. Fifteenth 54 40. Open Diapason 54 41. Claribel, to Tenor c 42 42 Viol deGamba, to Tenor c 42 43. Stopped Diapason, Bass... 12 44, Principal 54 50. Open Diapason 27 51. Bourdon 27 52. Principal — , 24 Great, 21 Stops. Feet. Pipes. . 16 12. Fifteenth 54 .. 16 tone. 13. Tierce 54 ..8 14. Sesquialtera, III ranks... 162 .. 8 15. Mixture Ill ranks... 162 16. Doublette ...II ranks... 108 8 tone. 17. Tenoroon Trumpet 42 8 tone. 18. Double Trumpet, CCC .. si toBB 12 4 19. Posaune 54 .. 4 20. Clarion 54 21. Octave Clarion 54 .. 2t Swell, 18 Stops. .. 16 32. Flageolet, Tenor c 42 .. 16 tone. 33 Sesquialtera, III ranks... 162 . .. 8 34. Mixture II ranks... 8 35. Echo Dulciana Cornet, 8 tone. to Tenor c, V ranks ,. 8 tone. 36. Tenoroon Trumpet, to 4 Tenor c . 4 37. Cornopean 54 . 2^ 38. Oboe j4 2 39. Clarion ^4 Choir, 10 Stops. ^S- Oboe Flute, to Tenor c 42 46. Stopped Flute, to Tenor c 42 54 108 42 8 tone. 4 Pedal, 16 1 6 tone. 3 47. Fifteenth . 48. Piccolo, to Tenor c 42 49. Cremona, to Tenor c ... 42 5 Stops. 53. Fifteenth 27 54. Mixture, V rank 135 55. Trombone 27 Feet. 2 16 16 8 8 8 4 4 tone. 8 tone. 4 3i 16 AN ACCOUNT OF COUNTRY ORGANS. SII I to 8. Eight Couplers. Accessory Stops, Movements, Sr'c. I 9 to 14. Six Composition Pedals. | Comjiass. IS' Sforzando Pedal. Great Organ, C C to P in alt 54 notes. I Choir Organ, C C to f in alt 54 notes Swell Organ, C C to f= in alt 54 notes. | Pedal Organ, C C C to Tenor d ... 27 notes Summary of Pipes and Stops. Pipes. Great Organ 1230 Swell Organ 1134 Choir Organ 426 Pedal Organ 270 Total 3060 Stops. 55 229. Stockport. The organ in the large room of the Stockport Sunday School was built in 1853, by Kirtland & Jardine of Manchester, according to a scheme drawn up by George Cooper, Esq., of London, and which does great credit to the judgment of that gentleman. The insti-ument contains 23 Sounding Stops, distributed among 2 complete Manuals and Pedal in the following manner : — i3' 14. IS- 16. 17- 18. Open Diapason (major) Open Diapason (minor) 8 Stopped Diapason 8t Dulciana 8 Wald Flute 4 Principal 4 Twelfth 2f Great, 12 Stops, Feet. Pipes, 8 ... 54 8 ... 59 8 tone. 54 54 54 54 54 Feet. Pipes. Fifteenth '. 2 ... 54 Sesquialtera, IV ranks- ij ... 216 Trumpet 8 ... 54 Clarion , 4 ... 54 Cremona, to Fiddly G 8 ... 35 Number of Pipes 636 Swell, 10 Stops. Double Stopped Diapason ... 16 ... 54 Open Diapason 8 ... 54 Stopped Diapason 8 ... 54 Keraulophon, to Tenor c ... 8 ... 42 Principal 4 ... 54 Hohl Flute 4'... 54 19. Fifteenth z ... 54 20. Sesquialtera, III ranks if ... 162 21. Cornopean 8 ... 54 22. Hautboy 8 ... 54 Pipes in Swell 636 Pedal, I Stop. 23. Open Diapason 16 feet. Accessory Stops, Movements, Sr'c. 1. Swell to Great, Unison. 2. Swell to Great, Sub-Octave. 3. Swell to Great, Octave. 4. Great to Pedal. 5. Swell to Pedal. 6 to 9. Four Composition Pedals to Great Organ. 10 and II. Two Composition Pedals to Swell Organ. 12. Pedal, Sub Octave Swell. 13. Pedal, Unison Octave Swell. 14. Pedal, Octave Swell. 15. Sforzando Pedal, acting simultaneously upon the three Swell Couplers. Great, C C to f s in alt. | Swell, Compass. C C to f ' in alt. Pedal, C C C to Tenor f . The arrangement of the Pedal Swell Couplers enables the performer to make the various combinations of Great organ with the Swell either by hand with the Draw-Stops, or by the foot. By their instrumentality, on the one hand, the power ■ of the instrument may be more than doubled, and, on the other, such a variety of 512 APPENDIX. orchestral effects may be produced as could in no other way be placed within reach of a single performer. The Swell organ is the largest in the district (excepting the one at the Holy Trinity Church, Manchester) ; the dimensions of the Swell Box being lo feet 6 inches high, by lo feet wide, and nearly 5 feet from front to back. Another novel feature of the instrument is the introduction of the " equal tem- perament," as adopted in all the great Continental organs. The advantages of this mode of tuning are very important, enabling the performer to play in any key, even the most extreme, without offending the ear of the musician, as is the case in the present mode, when playing in the keys of A flat, D flat, and many others. The " Chorus" of the Great organ, although consisting of IV ranks only, returns to an Open Diapason, Principal, Twelfth, and Fifteenth, at Treble c. By this arrangement, the portion of a Manual that is usually the weakest — the upper octave and a half— is reinforced by Pipes of greater gravity and sonority than usually appear in the Mixture work ; brilliancy meanwhile being secured by the acute pitch of the notes themselves. This is the first organ in England in which this Composition (adopted at the suggestion of the writer) was tried with so few ranks of Compound work ; and it has since been followed by Robson, in his Belfast and other organs ; and by Walker, in his Prestbury organ. 230. Oldham. The organ in the Parish Church at Oldham was built in the year 1830, by Elliott & Hill, of London, and is a very fine instrument. It contains 31 Sounding Stops, of which the following is a list : — Great, 14 Stops. I, Double Diapason, Treble. 1. Double Diapason, Bass, 3. Open Diapason, No i. 4. Open Diapason, No. 2. 5. Stopped Diapason. 6. Principal, No. i. 7. Principal, No. 2. 8. Twelfth. 9. Fifteenth. 10. Sesquialtera, IV ranks. 11. Mixture Ill ranl(s. 1 2. Trumpet, Treble. 13. Trumpet, Bass. 14. Clarion. Choir, 8 Stops. 15. Open Diapason. 16. Stopped Diapason. 17. Principal. 18. Flute. 23. Double Diapason. 24. Open Diapason. 25. Stopped Diapason. 26. Dulciana. 19. Fifteenth. 20. Flageolet. 21. Cremona. 22. Bassoon. Swell, 8 Stops. 27. Principal. 28. Mixture, III ranks. 29. Trumpet. 30. Hautboy. Pedal, I Stop. 3 1 . Pedal Pipes. Accessory Stops, Movements, Sr'c. 1. Coupler, Swell to Great. | 3. Coupler, Choir to Pedal. 2. Coupler, Great to PedaL ' — ~ 4, 5, 6. Three Composition Pedals. Great, GG tof^ in alt. Choir, G G to f a in alt. Swell Organ, Tenor c to I' in alt. Compass. Swell Clavier, down to G G, and acting on Choir Organ below Tenor c. Pedal Clavier, G G to Tenor d. AN ACCOUNT OF COUNTRY OHiGANS. 513 231. Halifax. The Parish Church at Halifax contains one of Snetzler''& finest as well as most unique organs. In the year 1764, a subscription was set on foot in Halifax, for purchasing the present valuable organ for the Parish Chorch, for keeping the organ in repair, aad for providing a salary for the organist. The amount raised was upwards of ^1,200. Considerable opposition appears to have been manifested by the township of Sowerby to. the erection of the ' instrument, on the plea that it would entail additional expense upon the township ;. and thfeir churchwardens appeared by proctor to oppose the faculty. A suit was, instituted ; but such was the strong feeling of the parishioners generally in favour of the organ, that a subscription was entered into, amounting to upwards of ^720, to defray the expenses of the suit. The call upon the subscribers, however, only amounted to twenty-five per cent. The sum actually received was ^194 Js., when the law suit was happily terminated ; and, on the nth of July, 1766, the faculty for playing the organ was granted by the Archbishop of York, and the organ was accordingly opened on the 28th and 29th of August following. The event was announced in the Leeds Intelligencer of August 19th, 1766, by an advertisement, of which the following is a copy ;.: — "At the opening of the new organ, in the Parish Church of Halifax, Yorkshire, on Thursday and Friday, the 28th and 2,9th of this instant, August, will be performed, with the assistance of a very numerous band of the most eminent performers, both vocal and instrumental, from various parts of England, 'The Messiah,' An Oratorio, composed by Mr. Handel. Between the first and second Acts, a Concerto on the Organ. " Tickets, 5s. and 2s. 6d. each. Doors to be opened at Nine o'clock in the Morning each day, and the performance to begin at half an hour after Ten. There will be an Assembly each evening at the Talbot. " N.B. An Organist is wanted. Any person who is inclined to offer himself a Candidate may apply for farther particulars to the Rev. Mr. Bates, at Halifax." On Saturday, the 30th of August, 1769, Mr. Herschell (afterwards Dr. Herschell, the celebrated astjonomer) was unanimously elected organist, but only held the appointment tiU the following November, when he removed to Bath,, where he burst forth from obscurity, and rose; to the highest pitch of celebrity in the dignified science of Astronomy. The organ has received several additions since then, the first af which was an octave and a half of Pedals— GG to Tenor c— by Greenwood, of Leeds. In 1836, Gray added an octave and a half of Double Open Diapason Pipes ; put in a Dulciana to Gamut G, in, lieu of the Vox Humana ; also a new Bellows, and several Composition Pedals; In 1842, Hill extended the Swell down an octave, namely, from Fiddle g to Gamut G ; added a Double Diapason and Cornopean to the Swell ; and applied a Coupler to unite the Choir organ to the Great in the octave below, which proved unusually effective, as the Open as well as the Stopped Diapason, in the Choir organ descends uninterruptedly down to G G. After these improvements, the organ was re-opened on the 3Pth of January, 1 843, by the organist of the church, Mr. Frobisher,. with a performance of organ music. The organ now contains 26 Sounding Stops, of which, the following is a list :— Great, 11 Stops. I. Open Diapason through 8 fee^. 2. 'Open Diapason, through ... 8 feet. 3. Stopped Diapason 8 feettone. 4. Principal 4 feeu 5. Twelfth 2|feet. . 6. Fifteenth 2 feet. 7. Sesquialtera, IV ranks 2 feet. 8. Mixture ...III ranks i foot. 9. iVIounted Cornet, to Middle c^, V ranks 8 feettone. 10. Trumpet 8 feet. 11, Clarion 4 feet. " XX SH APPENDIX. Swell, 7 Stops. 12. Double Diapason i6 feet tone. 13. Open Diapason 8 feet. 14. Stopped Diapason 8 feet tone. 15. Principal 4 feet. 16. Sesquialtera, III ranks 2j feet. 17. Cornopean 8 feet. 18. Oboe 8 feet. 19. Open Diapason, through 8 feet. 20. Stopped Diapason 8 feet tone. 21. Dulciana to Gamut G 8 feet. 22. Principal 4 feet. Choir, 7 Stops. 23. Flute 4feettone. 24. Fifteenth 2 feet. ( Bassoon, Treble ) o r » ^5- lBassoon,Bass J X teet. Pedal I Stop. 26. Great Open Diapason, wood, D D down to G G G, 21 J feet length. 232. Bradford. The organ in Eastbrook Chapel, Bradford, was built by Hill, in 1844-45. It has 3 Manual organs of complete compass ; a Pedal of 7 Stops ; and 44 Stops, of which the following is a list : — Great, 15 Stops. 1. Tenoroon 16 feet. 2. Bourdon, metal 1 6 feet. 3. Open Diapason 8 feet. 4. Open Diapason 8 feet. 5. Stopped Diapason 8 feet tone. 6. Quint 5^ feet. 7. Principal 4 feet. 8. Wald Flute 4 feet. 9- Tenth 3i feet. 10. Twelfth 2|feet. 11. Fifteenth 2 feet. 12. Sesquialtera, V ranks if foot. 13. Mixture Ill ranks |^ foot. 14. Posaune 8 feet. 15. Clarion 4 feet. Swell, 14 Stops. 16. Tenoroon 16 feet. 17. Bourdon 16 feet. 18. Open Diapason 8 feet. Stopped Diapason 8 feet tone. Dulciana, to Tenor c 8 feet Principal 4 feet. 19. 20. 21. 22. Flute 4 feet. Choir, 30. Open Diapason 8 feet. 31. Stopped Diapason 8feettone. 32. Viol de Gamba 8 feet. 33. Principal 4 feet. Pedal, 7 Stops. 38. Open, wood, to G G G 32 feet. 39. Open, metal 16 feet. 40. Principal 8 feet. 41. Twelfth 6 feet. 23. Twelfth 2jfeet. 24. Fifteenth 2 feet. 25 Flageolet *. 2 feet. 26. Sesquialtera, III ranks if foot. 27. Cornopean 8 feet. 28. Hautboy 8 feet. 29. Clarion 4 feet. Stops. 34. Wald Flute 4 feet. 35. Fifteenth j feet. 36. Cremona 8 feet tone. 37. Bassoon 8 feet. 42. Fifteenth ^ feet. 43. Se.squialtera, V ranks 3.|. feet. 44. Trombone 16 feet. 1. Coupler, Swell to Great. 2. Coupler, Great to Pedal. 3. Coupler, Swell to Pedal. Great, C C to f ' in alt., 54 notes. Swell, C C to f in alt., 54 notes. Accessory Stops, Movements, dr'c. 4. Coupler, Choir to Pedal. 5, 6, 7. Three Composition Pedals. Compass. Choir, C C to f3 in alt., 54 notes. Pedal, C C C to Tenor d, 27 notes. AN ACCOUNT OF COUNTRY ORGANS. 515 233. Leeds Town Hall. In giving a description and history of the Grand organ which Stands in the Leeds Town Hall, the bare facts only are stated.* After the foundations of the Town Hall were laid, some private gentlemen, amateurs in music, formed themselves into a committee, for the purpose of -raising funds sufficient to build an organ worthy of the town of Leeds, and of the Hall, which promised to be one of "the finest in the kingdom. In this stage of the proceedings a plan (including drawing and specification) for an organ of considerably greater dimensions than that at present existing in the Hall, was prepared by Mr. Henry Smart, of London, and Mr. William Spark, of Leeds, and was offered for adoption to this Committee, by whom after close examination, the proposal was very favourably received. But it being found impossible to induce the authorities to commence such a work without the advantages of public competition, the following resolution was ultimately adopted by the Town Council, at a special meeting held on Monday, 29th September, 1856: — "That the Council be recommended to grant a sum not exceeding ^S,ooo for the erection of an organ in the Town Hall." Acting upon this resolution, the Council advertised for " Plans and Specifications for an organ, to be erected in the Town Hall, and an estimate of cost not exceeding ;£4,ooo, exclusive of the Case, with a full set of detail drawings necessary and sufficient for letting the work by contract." The Council agreed to give a prize of ^150 for the best set of plans, which were to be sent in by the 31st day of January, 1857. On Monday, the 12th July, the Committee of the Leeds Town Council met for the purpose of receiving and deciding upon the reports of the sub-committee appointed to exarnine the plans sent in. Eight sets of plans were submitted. The sub-committee reported their recommendation that those bearing the motto " Semper Fidelis," should be adopted. The Committee then resolved, " That ;^i5o should be paid to the authors of those plans, provided" they could succeed in making a contract for the completion of the organ according to the specification of material and workmanship satisfactory to the Organ Committee,, and for the stipulated sum of ;£4,ooo." The sealed envelope bearing the motto " Semper Fidelis," was then opened, and it was announced to the Committee that these plans had been sent in by Messrs. Henry Smart, of London, and William Spark, of Leeds. Tenders for the erection of an organ according to the plans and specifications which had obtained the prize were then advertised. On Monday, August 24th, a meeting of the Committee was held for the purpose of opening the tenders which had been sent in from the five following firms :— Messrs. Gray & Davison, London ; Messrs. Hill & Son, London ; Messrs. Bevington & Son, London ; Mr. Holt, Leeds ; and Messrs. Forster & Andrews, Hull. After some discussion, the tender of Messrs. Gray & Davison was accepted. The organ was immediately commenced by Messrs. Gray & Davison, but was not completed when the Town Hall was opened by Her Majesty the Queen, in September, 1858, though part of it was available during the musical festival which followed. The organ was entirely finished a few months later, and inaugurated by Messrs. Henry Smart and William Spark,- on the 7th April, 1859, by two public performances. The Case was designed by Mr. Broderick, architect of the Town Hall. The lower part, which is of oak, was made in Leeds by Messrs. Thorp & Atkinson. The ornaments are all of carved wood, and are exceedingly well executed by * From a pamphlet giving a description of the organ, published in 1870. X X 2 Si6 APPENDIX. Mr. Matthews, also of Leeds, belonging to the 32-feet Pedal There are four towers, which contain pipes ^^^^^^ _ ^ Stop, "Sub Bass." All the front pipes are mumTnatedin gold "and colours, by Mr. Grace, of London, who also carried out the decoration of the Hall. The organ occupies the north end of the Hall, and is a very appropriate ornament to the magnificent room in which it is placed. It is upwards of 50 feet high, about 47 feet in width, and 25 deep in the centre, and weighs nearly 70 tons. The total cost, including the Case and Hydraulic Engines, was about £6,000. The organ has four Manual Claviers, the compass of each from C C to C m altissimo, 61 notes, and a Pedal Clavier from C C C to F, 30 notes. The Orchestral Solo organ (uppermost Clavier), contains the following Stops :— By Pipes on Sound Boards. Feet. 1. Bourdon. 2. Concert Flute Harmonic 10. II. 12. 13- Piccolo Harmonic 4 Ottavina Harmonic 2 Clarinet ^ Pipes. 61 42 49 61 61 Feet. 6. Oboe 7. Cor Anglais and Bassoon (free reed) Tromba ... Ophideide Pipes. 49 61 61 81 By Mechanical Combination. Clarinet and Flute, in Octaves. 14. Oboe and Bassoon, in Octaves. Oboe and Flute, in Octaves. Clarinet and Bassoon, in Octaves. • Clarinet and Oboe, in Octaves. Flute, Clarinet, and Bassoon, in Double Octaves. Flute, Oboe,andBassoon, in Double Octaves. The Swell organ (Second Clavier), contains the following Stops : Feet. 1. Bourdon 16 2. Open Diapason 8 3. Stopped Diapason (Treble) 8 4. Stopped Diapason (Bass) ... 8 5. Keraulophon* ...sv 8 6. Harmonic Flute 8 7. Octave 4 8. Gemshorn 4 9. Wood Flute 4 10. Twelfth 3 Pipes. . 61 . 61 • 49 12 • 49 • 49 . 61 . 61 . 61 . 61 Feet. 11. Fifteenth ., 2 12. Piccolo 2 13. Sesquialtera, IV ranks ... 14. Mixture ... Ill ranks ... i 15. Contra Fagotto 16 16. Trumpet 8 17. Cornopean 8 18. Oboe 8 19. VoxHumana 8 20. Clarion , 4 Pipes. . 61 . 61 • 244 . 183 . 6i . 61 . 61 . 61 . 61 . 61 The Great organ (Third Clavier) contains, in reality, two complete and distinct One called the " Front Great organ' organs, of different powers and qualities contains the following Stops : — ' Feet. Pipes. 1. Double Diapason (open metal) 16 ... 61 2. Open Diapason 8 ... 61 3. Spitz Gambia 8 ... 61 4. Stopped Diapason 8 ... 61 5. Octave 4 ■•• ^^ 6. WaldFlate 4 ... 61 13. Bourdon 16 ... 61 14. Flute a Pavilion 8 ... 61 15. Viola 8 ... 61 16. Flute Harmonic 8 ... 61 17. Quint 6 ... 61 18. Octave 4 ... 61 19. Flute Octaviante 4 ... 54 1 7. Twelfth 8 Fifteenth Feet. 3 ■ 2 . 8 '. 4 • 2 16 8 8 4 Pipes. . 61 .. 61 9. Quint IVlixture, IV ranks 10. Tierce Mixture, V ranks 11. Trumpet .. 244 •• 305 .. 61 .. 61 real organ are as follows : — .. 61 21. Cymbal ...III ranks 22. Furniture, IV ranks i 23. Contra Trombone 24. Trombone 25. Trumpet Harmonic 26. Tenor Trombone .. .83 .. 244 .. 61 .. 61 .. 61 .. 61 * This Stop, invented by Messrs Gray & Davison, was first introduced in the organ built by them for St. Paul's, Wilton Place, in 1843. It was also in their orgaa in the Great Exhibition of 1851, and for which a Council Medal was awarded. AN ACCOUNT OF COUNTRY ORGANS. S17 The Choir organ (lowermost Clavier) contains the following Stops : Feet. Sub Dulciana 16 Open Diapason . Pipes. 61 9- 10. II. IZ. 13- 14. IS- 16. Feet. Flute Harmonic 4 61 Twelfth 3 IZ 49 61 49 61 Fifteenth z Ottavlna (wobd) z Dulciana JMixture V ranlcs Euplione (free reed) 16 Trumpet ;... 8 Clarioil -.... 4 49 Rohr Flute (metal) g 4. Stopped Diapason, bass (wood) 8 5. Salcional % 6. Viol di Gamba 8 7. Octave 4 8. Suabe Flute 4 The Echo organ* (which can be played on either the Solo or Choir Clavier), contains the following Stops : — Pipes . 49 61 61 61 3°S 61 61 61 I. Bourdon (wood) 16 ... 49 z. Dulciana (nietal) 8 ... 49 3. Lieblich Gedackt (wood) ... 8 ... 61 4. Flute Traverse (wood) 4 ... 61 5. Flute d' Amour (metal) ... 6. Dulciana Mixture (metal) IV ranks The Pedal organ contains the following Stops : — I. Sub Bass (open metal) 3z z. Contra Bourdon (wood) ... 3Z 3. Open Diapason (metal) 16 4. Open Diapason (wood) 16 5. Violon (wood) 16 6. Bourdon (wood) 16 7. Quint (open wood) 12 8. Octave 8 30 30 39 3° 30 30 30 30 9. Violoncello 8 10. Twelfth 6 11. Fifteenth 4 12. Mixture, V ranks 13. Contra Bombard (free reed) 32 14. Bombard 16 15. Fagotto 16 16. Clarion 8 61 244 30 30 3° 150 30 30 30 30 The Coupli7ig Stops are as follows :- 1. Solo organ to Great Clavier. 2. Great organ to Solo Clavier. ( 3. Solo organ. Super Octave (on its own Clavier). 4. Solo organ. Sub Octave (on its owrt Clavier). 5. Swell organ to Great Super Octave. 6. Swell organ to Great Unison, 7. Swell organ to Great Sub Octave. 8. Swell organ to Choir Clavier. The Pedals, &g., for various purposes of mechanical adjustment, are as follows : 9. Choir brgan to Great Unison. 10. Swell organ to Pedal Clavier. 11. Choir organ to ditto. 1 z. Great organ to ditto. 1 3. Full Pedal organ. 14. Solo organ ta Pedal Clavier. 15. Echo organ to Solo Clavier. 16. Echo organ to Choir Clavier. 17. Tremulant to Echo organ. I. Swell Pedal. z. Swell Pedal for Solo organ. 3. Swell Tremulant Pedal. 4. Pedal admittiiig Wind to the Back Great organ. 5. Pedal coupling the Back Great organ to Swell Clavier. 6, 7, 8, 9. Composition Pedals. 10. Crescendo Pedal. 11. Diminuendo Pedal. 12*10 15. Indexes to Composition Pedals. 16 and 17. Wind Couplers to Composition Pedals. Summary of Draw Stops, Qr'C. Solo organ 1 9 Combination Pedal 7 Swell organ 20 Great organ — Front 12, Back 14 ... 26 Choir organ 16 Echo organ 6 Pedal organ 16 Coupling Stops 17 Making a total of 117 Besides 17 Composition and other Pedals for various movements, and 6500 Pipes. Summary of Pipes. Solo organ ; 500 Swell organ 144° Great organ 2311 Choir organ -. 1123 Echo organ : 5zo Pedal organ 600 Total.. 6;oo * The Echo organ was added in 1865 ; it formed part of the original plan, and was only omitted at first on the score of expense. 5l8 APPENDIX. These tabular statements show the Leeds organ to be, at least, one of the largest in Europe. , But large as it is, its claims to notice depend less on its size than on its completeness, and the facilities it offers to the skilful performer for the execution of all styles of music with just effect. Whilst other organs may contain a larger number of actual pipes than the Leeds instrument ; it will, nevertheless, be evident to any person inspecting the peculiar construction, and the number of mechanical contrivances for increasing the variety of effects, especially in the Solo organ, that, in an almost unhmited change and degree of tone, as well as in intensity of power and orchestral combinations, this organ stands unrivalled. No stop belonging to the Solo organ has any reference to those massive or "full" effects, which properly are the province of the other portions of the instrument. Every stop (except the " Bourdon") is simply what it pretends to be — a solo siop—ha.v'mg the nearest attainable relation with its orchestral prototype. Further, to increase the practical usefulness of this relation, all the stops are placed horizontally — a position which, by careful experiment, has been found to add between twenty and thirty per cent, to their ordinary intensity of tone, and to meet this unusual position the sound-boards are placed vertically instead of hori- zontally. Furthermore, the first eight stops in the list are supplied with a high pressure of wind (six inches for the bass and tenor, and seven inches for .the middle and treble portions of their compass), and are enclosed in two swell-boxes, having Venetian shutters above, below, and in front. The ninth stop (ophicleide) stands, or rather lies, below the rest of the Solo organ, and is supplied with ten inches air pressure throughout. The great peculiarity of this Solo organ, how- ever, is found in the stops numbered from lo to i6, which, by means of a number of mechanical contrivances (simple in themselves, but almost impossible to describe clearly without the aid of diagrams), enable the performer to play certain of the stops in octaves to each other, while merely touching single notes on the clavier. Thus, for example, on drawing the stop (No. 15), labelled " flute, clarinet, and bassoon, in double octaves," and pressing down the middle C of the solo clavier, the result will be,- the Tenor C of the Cor Anglais^ the middle C of the Clarinet, and C above of the 8-ft. Flute Harmonique, sounAmg simultaneously. Similarly, any of the stops numbered from 10 to 16 will place at the performer's disposal the combinations with which they are labelled. The operation of these stops for " mechanical combination," it will be perceived, is totally different to that of any " movement " whereby ordinary stops of different pitch are drawn together. For example, the effect produced by combining the 4-feet flute and the 8-feet " cremona " of an ordinary Choir orgeflti, will no more resemble that resulting from the stop No. 10 (which places the middle C of the 8-feet clarinet, and the C above the 8-feet flute, on the same key), than will the effect of the sounding octave, resulting from the combination of an open diapason and principal, compare with that of an octave actually played on the open diapason alone. By these con- trivances, then, a very accurate imitation of almost all the ordinary wind combi- nations of an orchestra is placed easily within grasp of one of the performer's hands, leaving the other free for any of those purposes of florid accompaniment in which the modern race of players are so proficient. By the use, again, of Nos. 3 and 4 of the " coupling stops,'' a different class of effects is presented. A melody, for example, played in unison on the " Ophicleide," can be accompanied in the octave above and below it by any or all of the other stops of the Solo organ, and this merely by playing single notes on the clavier. On the whole, it may be said that this Solo organ more nearly fulfils the objects implied in its title than any yet constructed. * The best imitative Bassoon that organ-building skill has ever arrived at. AN ACCOUNT OF COUNTRY ORGANS. 519 In the Great organ there are some excellent features of arrangement. The idea of dividing the Great organ into two distinct masses is certainly not altogether novel ; a similar distribution has been at least hinted at in two or three continental examples. In the present instance, however, the principle has been developed, and the various resources it affords have been made available to a far greater extent than appears to have been contemplated in any other case. The twelve stops placed on the " front " sound-boards are calculated to form a comparatively It^Af, though, powerful and brilliant organ, while the remaining fourteen stops placed on the " back " sound-boards, comprising some of the strongest members of the flue-work — the flute h. pavilion,* the viola, and the harmonic series of 8, 4, and 2 feet pitch, together with the quint, the large mixtures, and the heavy reeds, will form a "band" entirely different to the foregoing in amount and quality of force. There is a pedal, numbered "4," in the list of pedals for " mechanical adjustment," which operates on stop-valves placed in the wind trunks of the " back " sound- boards, or, in other words, discharges the functions of what the Dutch and German builders call a " wind-coupler." So long as this pedal remains "hitched down," all the twenty-six stops are at the performer's disposal on the Great organ clavier ; while the act of releasing this pedal instantaneously cuts off the wind-supply from the stops of the " back " sound-boards, and thus sever them from the control of the keys. Hence, then, by the use of this pedal, all or any of the stops of the "back" sound-boards may be instantaneously added to the whole or any part of the " front " Great organ : thus providing — (besides numerous other effects depending on the stops at the moment in use) — the most rapid and perfect sforzando possible. There is, besides, another pedal, numbered " 5," in the same list, the operation of . which, on being "hitched down," is to disconnect the stops of the "back" sound- boards from the great, and couple them to the swell clavier, — thus rendering the two portions of the Great organ separately disposable on different claviers, and suggesting a host a novel combinations, of which the modern race of organists will not be slow to avail themselves. We may close this account of the mechanical arrangement of the Great organ, by stating that its twenty-six stops are disposed on nine sound-boards of ample dimensions ; and that the wind with which they are supplied is increased in pressure twice in the range of the compass — ^namely, at fiddle G sharp, and again at D sharp, the twelfth above ; while the pressure of wind supplied to the four reed stops of the "back" sound-boards, increasing at the same points, has a higher initial pressure than that allotted to the flue-work. The tone-composition of the Great organ is also worthy of remark. Taking the proportions of the flue-stops alone, they stand thus: — two stops of 16 feet, six of 8 feet, one of 6 feet, four of 4 feet, one of 3 feet, two of 2 feet, and sixteen ranks of mixture. To this, add the reeds, namely :— one of 16 feet, three of 8 feet, and two of 4 feet ; and the total statement will be, three stops of 16 feet, nine of 8 feet, one of 6 feet, six of 4 feet, one of 3 feet, two of 2 feet, and, as before, sixteen ranks of mixtures. Throughout all this, there are no " vain repetitions " of similar scales and qualities. For example, the six stops which compose the 8 feet pitch of the flue-work, are an open diapason (of the Old English class), a gamba (of the conical description), a bourdon, a flute i pavilion (previously described), a viola (the largest and most powerful of the German kind known as " string-toned stops "), and ^ flute harmoniq^ue. The same care is exercised throughout the remainder of the flue-work, not omitting the four mixture stops, the scales and compositions of which are studiously varied with reference to the particular part contemplated for each in the general effect. In the reed work, also, of this manual, a similar variety » The stop is of French origin, and its name has once or twice been Anglicised into "Bell Diapason.' It is one of the most powerful stops of the flue kind. 520 APPENDIX. is observed. The trumpet and clarion of the " front " Great organ are intended to follow as nearly as possible the model of that brilliant, clangy, description of reeds which Byfield made so deservedly famous — a quality, by the way, far too much neglected of late years in this country; while in the "back" Great organ, the modern English style of reed-work has been adopted for the contra trombone, trombone, and tenor trombone; and the most successful achievement of the French school has its representative in the hamnonic trumpet. Under all these circum- stances, then, of quantity and variety, there can be no do-ubt that, as a single manual, this Great organ has very few rivals in Europe. Having gone somewhat into detail in describing the Great organ, it is needless — beyond stating that similar principles are observed throughout the instrument — to do more with regard to the Swell and Choir, organs, than refer to the list of their registers as amply representing the qualities of these Imanuals respectively. In one respect, however, the arrangements of the Swell organ differ from those usually adopted. Having its twenty stops disposed on four sound-boards, the two front sound-boards, containing all the reed work, are supplied with wind at one inch greater pressure than that allotted to the others. The Echo organ* constitutes a complete little organ of six stops, the pipes of which have their own sound-boards placed within the box of the Swell organ. It can be played on either the Solo or Choir Claviers, by drawing the coupling stops, Nos. 15 and 16. AH the pipes are of a small scale, and voiced upon an extremely light pressure of wind. There is a convenient mechanical arrangement in the Pedal organ which obviates most of the difficulty sometimes complained of in manipulating a large number of pdal stops Next to the coupler " Great organ to Pedals " is placed a draw stop, which controls the admission of wind to all the Pedal organ, except only the violin and bourdon. As both these stops can be easily drawn or returned simultaneously, the full Pedal organ may be reduced to soft 16 feet stops by the same action which detaches the Great organ keys from the pedals. The pneumatic action is applied to all the claviers, so that the touch, which would otherwise be very heavy on so large an organ, is extremely light. The touch of the Choir organ is the lightest, being lighter than the touch of some pianofortes. That of the Great organ, is the heaviest, though not any heavier than that of most Church organs, and even when the five couplers are used, no difficulty is experienced in playing the most rapid passages. The claviers project over each other so that the distance from the player to the Solo clavier is materially less than it otherwise would be. The draw-stop action is arranged on the right and left, and in front of the performer. On the right is the draw-stop action of the Great, Solo, and Pedal organs ; on the left, that of the Choir, Swell, and Echo organs, and of the Solo combination stops. In front of the performer and over the Solo clavier are arranged the coupling stops. In order as little as possible to complicate the operations of the performer, there are but four (double action) composition pedals for the whole instrument. These, however, by an instantaneous adjustment (Nos. 16 and 17) act, as the player requires, on the Swell organ alone, or on the Swell, Great, and Pedal organ simul- taneously, or on the two lattter only. Furthermore, each of these four composition pedals is capable of effecting three different combinations (the changes extending, as before mentioned, to the Swell, Great, and Pedal organs, or either of them), the modus operandi, so far as the performer is concerned, being simply the setting of * The softness and delicate character of this part of .the organ is intended, when used in contrast with &e other parts of the Instrument, to represent the effect of distance. AN ACCOUNT OF COUNTRY ORGANS. 521 an index (NoSv 12, 13, 14, and 15), one of which appertains to each of the composi- tion pedals), to the number indicating the required combination. The crescendo and diminuendo pedals (Nos. 10 and 11) act on the Swell and Great organ com- bined, or on each separately, in the manner as mentioned of the composition pedals ; and in all these cases the pneumatic action has been applied, so that only a slight pressure of the foot is required to produce its motion, and the pressure of the foot and the motion of the draw-stop action is almost instantaneous. The mechanism, pipes, &c., are placed upon four floors. On the first, or ground floor (which is the top of the orchestra, and 16 feet from the floor of the Hall), is arranged the greater part of the mechaniyn ; on the second floor are arranged the Great and Pedal organs ; on the third floor are the Swell and Choir organs ; and on the fourth floor, the Solo organ in two separate boxes. The pipes are distributed over several sound-boards, so that the tuner experiences no difficulty in getting to any part of the organ The non-hiusical reader may be amused to learn that the largest of the metal pipes in front, standing on the first tower to the right of the keyboards, is thirty-six feet in length, with ah internal diameter of twenty- one inches ; while among its 6,500 pipes is found every variety of dimension, from the largest, jflst mentioned, to the smallest, the length of which is but three-quarters of an inch, with a diameter scarcely exceeding that of a straw. The difficulty (always experienced) of supplying organs of the largest class with an adequate quantity of wind has, in this instance, been overcome by the employment of hydraulic engines. Five of these most simple machines' are attached to a like nuiAber of bellows, placed in the basemeiit of the building, and the wind-Supply thus procured is thenee distributed to the various departments of the instrument, through the intervention of twenty-seven reservoirs, so weighted as to give the desired varieties of pressure. The united power of these hydraulic engines (equal to 8-horse power) is capable of supplying 1 50 cubic feet of air per second, if necessary ; and it is impossible to speak too highly of the accuracy and precision of their action. 234. Preston. The organ in Preston Parish Church was originally built by Davis, of London, in 1802, and had a Great organ from G G to F in alt, and a Swell to Fiddle G. No Pedals or Pedal Pipes — Diagonal Bellows. In 1822, a set of Unison Pedal Pipes (an octave and half) and new Bellows were put in. In 1842, a new Choir organ was added by Gray & Davison, of London, at the cost of S. Horrocks, Esq., Guild Mayor ; but, unfortunately, the Great organ and SweU; and Pedals, received no addition. In 1850, the organ was entirely rebuilt ; a new Pedal organ added ; the Swell extended tp Tenor c ; and several new Stops added to it and to the Great organ. These additions were made by Jackson, of Liverpool, from funds raised by public subscription. In 1854, W. A. Cross, Esq., of Red Scar, gave funds for a metal Double Diapason and a new Great organ Sound-board ; Mr. Greaves, the organist, adding the jf Twentieth at his own expense. Two spare Slides were prepared on the Great organ Sound- board for a wood Principal and a wood Fifteenth. The organ has now 36 Sounding Stops, of which the following is a list : — Great., 16 Stops. 1. Double Diapason, bass. ^ . ^gf,] 2. Double Diapason, treble. ) 3. Stopped Diapason. 4. Open Diapason, large scale. 5. Open Diapason. 6. Principal, metal. 7. Principal, wood. 8. Twelfth. Fifteenth, metal. 10. Fifteenth, wood. 1 1 . Sesquialtera, III ranks. 12. Mixture, II ranks. 13. Twentieth. 14. Trumpet, bass, 15. Trumpet, treble. 16. Clarion, 522 APPENDIX. Choir, 7 Stops. ly. Stopped Diapason. 1 8. Clarabella. 20. Principal. 21. Flute. 22. Fifteenth. " 23. Cromorne. 19. Dulciana. Swell, 9 3'/(?/j'. 24. Double Diapason. 25. Stopped Diapason. 26. Open Diapason. 27. Keraulophon. 28. Principal. , 29. Fifteenth. P^rfrt/, 4 Stops. 30. Mixture. 31. Hautboy. Cornopean. 16 feet. 35. Fifteenth .. * feet. 36. Sesquialtera 4 feet. 34. Principal ni ranks. Accessory Stops, Movements, S^c. 1. Coupler, Pedals to Great. 2. Coupler, Pedals to Choir. 3. Coupler, Swell to Great. 4. Coupler, Choir to Swell. 5. Coupler, Octave Coupler Swell. 6, 7. Three Composition Pedals for Great organ Stops. Compass. Great and Choir organs, from C C to f ' in alt. | Swell, from Tenor C to f^ in alt. Pedal, C C C to Tenor e. 235. Lancaster. The organ in St. Thomas's Church, Lancaster, was the noble gift of the Rev. Colin Campbell to his church and to its congregation. It was built by Banfield, of Birmingham, and is an extensive instrument, consisting of 35 Sounding Stops, comprising 3 complete Manuals, and an independent Pedal of 4 Stops. The organ is enclosed in a very beautiful case of oak, made by Hatch, of Lancaster, from a design by Messrs. Sharpe & Paley, the architects. The Pedal Clavier is made on the radiating principle ; and the doors which close up the organ are furnished with plate-glass panels- The specification of the above-named organ is as follows : — Pipes. 1. Open Diapason 54 . 2. Open Diapason 54 . 3. Clarabella 54 . 4. Stop Diapason 54 . 5. Principal 54 . 6. Twelfth 54 . 7. Fifteenth 54 . 12. Dulciana, through 54 13. Keraulophon 42 14. Stop Diapason, Treble... 42 15. Stop Diapason, Bass ... 12 16. Principal 54 17. Celestiana 54 21. Double Diapason, C C C 54 22. Open Diapason 54 23. Stop Diapason 54 24. Principal 54 25. Twelfth 54 26. Fifteenth 54 27. Mixture, III ranks 162 Great, ii Stops. Feet. 8 8 tone. 4 4 Pipes. 8. Sesquialtera, III ranks 162 9. Mixture II ranks 108 10. Trumpet 54 11. Clarion 54 756 Choir, 9 Stops. 18. Flute 54 19. Ottevena 54 20. Cremona 35 8 tone. 8 tone. 4 4 401 Swell, II Stops. 8 tone 4 2 If 28. Horn 54 29. Trumpet 54 30. Hautboy 54 31. Clarion 54 702 Feet. 4 2 8 tone. AN ACCOUNT OF COUNTRV ORGANS. 523 31. Grand Open Diapason 29 33. Grand Bourdon 29 34. Grand Principal 29 Great organ to Pedals. Choir organ to Pedals. Swell organ to Pedals. Pedal organ in Octaves. Swell to Great. Pedal, 4 Stops. 16 1 6 tone. 35. Grand Mixture, III ranks. 87 Couplers. 174 Making a total of 2033 pipes. Swell to Choir. Swell and Choir to Great. Great to Swell Sub-octave. Great to Choir Sub-octave. 236. Carlisle Cathedral. This organ was built by Mr. Willis, in 1856, from a specification prepared by Mr. Ford, the organist, and Mr. W. T. Best, of Liverpool. The Compass is 4 octaves and a half, from' C C to G in alt. It has a Pedal Board containing 30 notes, or 2 octaves and a half from C C C to F, and all the registers extend throughout the Compass of the Key Boards, without exception. Great, II Stops. 1 . Double Open Diapason, metal 1 6 feet. 2. Open Diapason, metal 8 feet. 3. Stopped Diapason, wood 8 feet. 4. Principal, metal 4 feet, 5. Twelfth, metal 3 feet. 6. Fifteenth, metal 2 feet. 7. Sesquialtera, V ranks, metal. 8. Furniture ..'.III ranks, metal. 9. Trombone, metal 8 feet. 10. Trumpet, metal 8 feet. 11. Clarion, metal 4 feet. Choir, 5 Stops. 12. Open Diapason, metal 13. Clarabella, wood 14. Dulciana, metal 8 feet. 8 feet. 8 feet. 15. Gamba, metal 8 feet. 16. Harmonic Flute, metal 4 feet. 17. Clarionette, metal 8 feet. Swell, II Stops. 18. Double Dulciana, metal 19. Open Diapason, metal 20. Stopped Diapason, wood 21. Princpal, metal 22. Flageolet, wood 23. Echo Cornet, V ranks, the lowest rank of wood, the remaining IV of metal. 16 feet. 8 feet. 8 feet. 4 feet. 2 feet. 24. Contra. Fagotto, wood 16 feet. 25. Horn, metal 8 feet. 26. Oboe, metal 8 feet. 27. Clarion, metal 4 feet. 28. Vox Humana, metal 8 feet. Also a Tremulant of an improved modern construction as patented by Mr. Willis. Pedal, 7 Stops. 29. Open Diapason, wood . ' 30. Violone, metal 31. Bourdon, wood 32, Principal, metal 16 feet. 16 feet. 16 feet. 8 feet. Fifteenth, metal 4 feet. Trombone, metal 16 feet. Trumpet, metal 8 feet. 1. Swell to Great. 2. Choir to Great. 3. Pedal to Great. Great organ Swell organ Choir organ Pedal organ Couplers. Number of Pipes. 4. Pedal to Swell. 5. Pedal to Choir. Total . 952 840 . 336 210 2338 524 APPENDIX. 237. Newcastle-on-Tyne. The organ in St. Nicholas's Church, Newcastle-on-Tyne, was built by the elder Harris, about the year 1670. Compass of Manuals G G to C, 53 notes. The Great organ contained Open and Stopped Diapasoils, two Principals, Twelfth and Fifteenth, Tierce, Sesquialtera (II ranks). Mixture (III ranks), mounted Cornet (V ranks). Trumpet treble. Trumpet bass. The Choir organ contained Open and Stopped Diapasons, Flute, Tfrfelfth Treble to c, and Fifteenth. In 1767, the Swell was added by Snetzler, and contained Dulciana, Stopped Diapason, Hautbdy, Trumpet, and Cornet (III ranks): Coinpass, down to G below middle C. In August, 1814, the organ was taken down by Wood, Small, & Co., of Edinburgh,- who added a Double Diapason on the Keys from Fiddle G down- wards ; a new set of Keys, extending the Manuals up to F ; ij Octave Pedals ; and repaired the whole instrument. In December, 1839, Mr. Bruce, who succeeded Wood, Small, & Co., added Copula Stops, Swell to Great and Choir to Great, Pedals to Great ; enlarged the scale of the Double Diapason, took them off the keys and plated them on a Pedal Wind- chest ; enlarged the Swell Box, carrying all, excepting the Hautboy, down to Gamut G, and converting the Cornet into Principal, 'Twelfth, and Fifteenth, and added a new Bellows. In December, 1845, M^J"- Nicholson, of Newcastle-on-Tyne, made the greatest , alterations ; the organ was cut through the centre, and the west-front moved about three feet to make room for a new Pedal Wind-chest, to contain three Stops. He made an entirely new Swell Box ; replaced the Pipes added by Bruce with new ones more in character with those of Snetzler, adding an Open Diapason and Cornopean. The Pedal Pipes were considerably enlarged in scale and carried up to E ; new Pedals were laid down ; a Double Reed was added to the Pedal Organ ; the Twelfth in the Choir was taken out and a Cremona inserted ; one of the Principals in the Great organ was made into an Open Diapason ; and a separate new Bellows for the Pedal organ was inserted. The organ at present contains the following Stops : — Great, 12 Stops. \: Open Diapason, 7- Tierce. 2. Open Diapason. 8. Sesquialtera, ll ranks. 3. Stopped Diapason. 9- Mixture ...III ranlis. 4. Principal. 10. Cornet V ranks. 5. Twelfth. II. Trumpet, treble. 6. Fifteenth. 12. Trumpet, bass. Choir, 5 Stops. 13. Open Diapason. 16. Fifteenth. 14. Stopped Diapason. 17- Cremona. . 15. Flute. Swell, 9 Stops. 18. Dulciana, 1 22. Twelfth (to be made into a Mixture), 19. Open Diapason {to be made into II ranks. Tenoroon). *3- Fifteenth, 20, Stopped Diapason. 24. Hautboy, 21. Principal. i5- 26. Cornopean, Trumpet (to be made into a Clarion) Pedal, 2 Stops. 27. Open Diapason, C C C to E 1 28. Trumpet, C C C to E, Copulas. I . Swell to Great. 1 -K- Pedals to Great, 2. Choir to Great. 4 Pedals to Choir, AN ACCOUNT OF COUNTRY ORGANS. 525 The Open Diapasons, though not powerful, are very good ; the Stopped Diapasons are exceedingly beautiful ; the Flute is a very fine Stop ; and the Mixtures are very brilliant. The Great organ Trujnpet in the Bass requires an octave of new pipes, the old ones being much brolcen. The whole of the Swell is exceedingly good, and the instrument altogether is most effective. The whole of the later alterations and additions were made at the suggestion and under the direction of the late organist, Dr. Ions. 238. St. Mary's Cathedral, Newcastle-on-Tyne. This fine organ was built by Messrs. Thos. C. Lewis & Co., of Shepherd's Lane, Brixton, London, and is a noble example of high-class work. It is in the Gothic style, after the designs of John F. Bentley, Esq., and harmonizes well with the structure of the Cathedral, an edifice built by the elder Pugin. The instrument occupies a gallery which extends across the entire width of the nave, its dimensions are 25 feet 6 inches wide, 15 feet deep, and 21 feet high. The front — the plan of which recedes in two breaks on either side of the organ to the depth of 9 feet — is divided into seven compartments, five of which are occupied above the impost by the two Diapasons of the Great organ, the remainder having small panels filled with gilt ornaments ; the massive case is deeply moulded and battlemented, the lower part being filled with rich panelling, and the upper part with cusped head- ings, the posts buttressed and surmounted by finial terminations. The front rank of Diapason pipes alone weighs upwards of 4J cwt., and the richness in pure tin of the metal pipes in this work may be inferred from the fact that this organ contains 40 cwt., or 2 tons, of the finest spotted metal. The organ has 3 Manuals, C C to A, 58 notes. ; has 35 Sounding Stops, and a total of 2035 Pipes. Choir, 7 Stops. 1. Lieblich Gedact, wood and metal 16 feet. 2. Lieblich Gedact, wood and metal 8 feet. . 3. Salicional..... 8 feet. Great, 10 Stofis. 4. Vox Angelica 8 feet. 5. Salicet 4 feet. 6. Flute Harmonique 4 feet. 7. Clarionet and Bassoon 8, feet. 8. Bourdon, wood and metal ... 16 feet. 9. Open Diapason 8 feet. 10. Open Diapason (small) 8 feet. 11. Hohl Flute, wood and metal 8 feet. • 14. Octave 4 feet. 3. Gemshorn 4 feet. 14. Octave Quint , 2J feet. 15. Super-Octaye 2 feet. 16. Mixture, III ranks 2 feet. 17. Trumpet 8 feet. Swell, 12 Stops. 11^. Mixture, 11 ranks.... zf feet. 25. Bassoon , 16 feet. 26. Oboe and Bassoon. ^. 8 feet. 27. Trumpet 8 feet. 28. Voix Humane 8 feet. 29. Clarion , 4 feet. 18. Bourdon, wood and metal ... l6 feet. ,19. Geigen Principal 8 feet. 20. Lieblich Gedact, wood and metal 8 feet. 21. VioledeGambe 8 feet. 22. Voix Celestes, Tenor c...... 8 feet. 2j. Geigen Principal 4 feet. Pedal, 6 Stops (42 Pipss to each Stop). 30. Great Bass, wood 16 feet. 33. GreatQuint.woodand metal i6f feet. 51. Open Diapason, metal and \\. Posaune 16 feet. zinc 16 feet. 35. Octave. 32. Sub-Bass, wood 16 feet. Accessory Movements, Sr'c. 1. Couplers, Choir to Pedals. I 3- Couplers, Swell to Pedals. 2. Couplers, Great to Pedals. I 4- Couplers, Swell to Great. Three Pedals of combination to Great organ and three to Swell organ. Pedal to take off Great to Pedals. Pedal to Voix Humaine. Two Swell Pedals, Nos. i and 2, and Tremulant. 526 APPENDIX. The bellows to this organ are on a new plan and are arranged in a peculiar manner. Two Storage Bellows are placed on either side of the organ, and these are filled by two double-action vertical feeders ; the supply from one of these two Bellows flows according to demand into a^ large air-reservoir, occupying the whole central space of the floor of the organ, and is then regulated by an automatic movement which at all times renders the wind perfectly steady, because all com- munication with the Pedal Sound-board is avoided. The Pedal Sound-board takes its supply solely from the other Storage Bellows, which is of ample dimensions for every demand upon it. The Bellows and Reservoir measure together 150 feet superficial, and contain 160 cubic feet of air. The Swell Box, again, is treated on a novel system, being fitted with Venetian shutters, both back and front, for the purpose of equalizing the temperature between the Manuals by leaving both sets of shutters freely open when the organ is not in use. The plan has proved most excellent for removing that trying perplexity to the organist of the Swell being out of time by reason of differences of temperature between that and the other organs. The Voix Humaine is enclosed in a box inside the Swell, has its mechanism of shutters, and is acted upon by a special • Pedal. The Swell within the Swell produces most delicate contrasts of tone, and the two sets of shutters through the action of separate Pedals allow more finely graduated crescendo, and a more prompt and powerful sforzando than is ordinarily commanded. 239. Durham Cathedral. The organ in this Cathedral was built by Father Schmidt, in 1684-5, ^-nd, as left by him, had 2 Manuals, G G to d^ in alt., and 17 Stops, 1068 Pipes. For its construction he received £700, and the materials of the old organ. The instru- ment was repaired by Abraham Jordan, in 1748, who is supposed to have added the Swell. The painting and .gilding of the pipes cost, in addition, ^50. In 1815, Mr. England repaired the organ ; and it was completed by his son-in-law, NichoUs. He added a Principal and Cornet to the Swell, a Cremona to the Choir organ, new keys, and extended the Compass by two semitones in the treble ; he also added seventeen dwarf Pedals and the same number of Pedal Pipes. The organ was again repaired by Mr. Buckingham, in 1823 ; and in 1840 he put in a Vene- tian Swell Movement, new Bellows, and a Coupler Movement. In 1844, Mr. Bishop made considerable alterations to the organ, by extending the compass of the Swell to Tenor c, and placing a Clarion in room of the Cornet. He also added the Composition Pedals, a new Sesquialtera, Mixture, Twelfth, and Tierce ; a new Stopped Diapason and Dulciana in the Choir organ ; a Clarabella to Great organ, in place of the Cornet ; double Pedal Pipes, and two octaves of German Pedals. And, in 1847, Mr. Bishop moved the organ to its present site, on the north side of the Choir, when he put a new Hautboy Stop in the Swell. The Great organ Case is 18 feet 6 inches wide by 4 feet 8 inches in depth, and about 32 feet in height ; the Choir Case is 9 feet in width by 3 feet in depth. Great, 12 Stops. 1. Open Diapason. 2. Open Diapason. 3. Stopped Diapason. 4. Clarabella, in place of V-rank Cornet. 5. Principal. 6. Flute. 7. Twelfth. 8. Fifteenth. 9. Tierce. 10. Sesquialtera, III ranks. 11. Trumpet. 1 2. Double Diapason, G G to Fiddle g, two octaves above. AN ACCOUNT OF COUNTRY ORGANS. 527 Dulciana. Stopped Diapason. Principal. Dulciana Principal. Choir, 7 Stops. 17. Flute, metal throughout. 18. Fifteenth. 19. Cremona. 20. Open Diapason. 21, Stopped Diapason. Swell, 6 Stops. 22. Principal. I 24. Hautboy. 23. Trumpet. | 25. Clarion, Pedal, I , Stop. 26. Double Open Diapason, two Octaves. Accessory Stops, Movements, &'c. 1. Coupler, Swell to Great. I 3. Choir to Pe^al. 2. Great to Pedal. I 4 to 7. Four Composition Pedals. Compass. I Swell, Tenor t to e' in alt. Great, C C to e' in alt. Choir, GG to eMn alt. Pedal, two Octaves. 240. York Minster. This instrument was built after the fire at the Minster in 1829, by Messrs. Elliott & Hill, under the superintendence of the late organist, Dr. Camidge. It was considered the largest in the world, containing 80 stops, and 8,000 pipes ; it cost about ^5,000, including the original gift by the late Earl of Scarborough (who was the senior prebendary of the Cathedral at the time the first fire occurred) of ;£3,ooo. Unhappily, his lordship died before the completion of the instrument, so that the remaining ;^2,ooo had to be furnished by the Chapter,, assisted by sub- scriptions from the neighbouring nobility, gentry, and clergy. It was, however, his lordship's desire and intention to have supplied the sum wanting, beyond tha-t contracted for ; but, as his death occurred so suddenly, they were deprived of this advantage, and the present Earl declined carrying out his father's intentions. The Great Manual contained 4,818 pipes ; the Swell organ, 1,586; the Choir organ, 1,399 ; and the Pedal organ, 200 pipes. In connection with the York Minster organ, various improvements were sug- gested at different times, and carried out by the late Dr. Camidge, to assist in making up for the defects in its original construction. Still, however, these defects were appreciably visible to all persons conversant with the anatomy of a cathedral organ ; and in the spring of the year 1863, the Dean and Chapter instituted an examination of the instrument, when it was found that it had become considerably impaired in power. It was, therefore, determined that it should undergo a thorough renovation and reconstruction; and an appeal was made to the public for subscrip- tions to carry out the object, which was liberally responded to. The reconstruction of the organ was carried out by Messrs. Hill, under the superintendence of Dr. Monk, the present organist. The following is a description of the large screen organ as it now stands ; — Great, 24 Stops, C C to G in alt. 1. Double Open Diapason, metal 16 feet. 2. Bourdon, wood 16 feet. 3. Open Diapason, East, metal 8 feet. 4. Open Diapason, West, metal 8 feet. 5 . Open Diapason, No. 3, metal 8 feet. 6. Gamba, metal 8 feet. 7. Stopped Diapason, wood 8 feet. 8. Quint,wood 6 feet. 9. Octave, wood 4 feet. 10. Octave, wood 4 feet. 11. Gemshorn, metal 4 feet. 12. Harmonic Flute 4 feet. 13. Twelfth, metal 3 feet. 14. Fifteenth, metal 2 feet. 15. Octave Flute, wood 2 feet. 16. Full Mixture, IV ranks. 17. Sharp Mixture, III ranks. 18. Tierce Mixture, III ranks. 19. Cornet IV ranks. 20. Glockenspiel ... II ranks 21. Double Trumpet, metal 16 feet. 22. Posaune, metal 8 feet. 23. Trumpet, metal 8 feet. 24. Clarion, metal 4 feet. ;28 APPENDIX. Choir, 9 Stops, C C to G in alt. 34- 35- 36. 37- 38. 39' 40, 49' 5'- 53- 54- .55- 56. 57 58. 59- 60. Gedact, wood 16 feet. Open Diapason, rnetal 8 feet. Diilciana, metal 8. feet. Stopped Diapason, wood 8, feet. Octave, metal 4 fee.t. Wald Flute, wood.. Fifteenth, metal ., Mixture, II ranks. Clarionet Bourdon, wood 16 feet. Open Diapason, metal 8: feet. Dulciana. metal ., 8 feet. Stopped Diapason 8 feet. Octave, metal 4 feet. Fifteenth, metal ' , 2 feet. Full Mixture, III ranks.. Swell, 14 Stops, C C to G in alt. 44. Dulciana Mixture, IH ranks 42. Double Bassoon 43. Horn 44. Trumpet 45.- Oboe 46. Vox Humana 47. Clarion .,-•.. Solo, 3 Stops, CC to G in alt. Tuba,, metal................ 16 feet. I 50. Harmonic Flute. Tuba, metal &,feet. | 4 feet. z feet. 8 feet. 1 6 feet. 8 feet. 8 feet. 8 feet. 8 feet. 4 feet. 4 feet.- Pedal, 19 Stops, Double Open Diapason, wood 32 feet. Double Open Diapason, metal 32 feet. Open Diapason, wood 16 feet. Sub Bass, wood 16 feet. Open Diapason, metal 16, feet. Violone, wood..; 16. feet, Bourdon 16 feet. Quint (Stopped) 12 feet. Octave,, metal S-.feet. Octaye Bass, wood , 8 feet. CCCtoF,Tp Notes. ix. Flute Bass, wood 8 feet. 62. Twelfth, wood 6 feet. 63. Fifteenth, wood 4 feet. 64. Mixture, V ranks 3^ feet. 65. Sackbut, wood -. 32 feet. 66. Trombone 16 feet. 67. Bassoon, metal , 16 feet. 68. Clarion, metal 8 feet. 6g. Octave Clarion 4 feet. 1 . Cireat to Pedals, 2. Swell to Pedals.. 3. Choir to Pedals. Couplers.. 4. Swell to Choir. 5.. Swell to Great. COTHposition Pedals. 2 to- Pedal, I 2 to Swell. | 4 to Great. Summary of Stops^ Great 24 1 Solo Choir , :.. 9 Pedal... Swell 14 I 6.. Solo to Swell, 7, Swell to Great. 2 Tremulants, 3 19 241, The Nave Organ, York Minster. This instrument, which was erected in September, 1863, in the third arch of the north aisle-, by Messrs. Hill & .Son, from a specification of the; present organist, Dr. Monk, is. intended for the " Special Services" in the nave, to accompany and support large bodies of singers ; for this purpose it has been designed, scaled, and voiced. It consists' of three complete Manual organs, and a Pedal organ ;. viz. : — Great, 11 Stops, CC to A, 58 Notes. 1. Bourdon, wood ' i6feettone. 2. Open Diapason, No. i 8 feet, 3. Open Diapason, No, 2 8 feet. 4. Stopped Diapason, wood .... 8 feet tone. 5. Octave, metal 4 feet. Twelfth, metal 2f feet. Fifteenth, metal 2 feet. Mixture, IV ranks, metal....„ ij feet. Posaune, metal 8 feet. Clarion, metal 4 feet. 6, Harmonic Flute, metal ...-.,. 4 feet. Choir, 7 Stops, C C to A, 58 Notes. Gemshorn, metal 4 feet. Lieblich Flote, wood ....... 8 feet tone. throughout 12- Cone Gamba, metal 6 feet. 13. Dulciana to Tenor C, metal 8 feet. 14. Lieblich Gedact, wood 8 feet tone. >5. 16. 17. Piccolo, wood 2 feet, 1,8. Clarinet to Tenor C 8 feet tone. AN ACCOUNT OF COUNTRY ORGANS. 529 19. 20. 21. 22. Swell, 9 Stops, CC to A, SS Notes. Bourdon, wood ififeettone. 24. Open Diapason, metal 8 feet. 25. Stopped Diapason Sfeettone. 26. Octave 4 feet. 27. Fifteenth 2 feet. Mixture, IV ranks ij foot. Corno 8 feet. Oboe 8 feet. Clarion 4 feet. Pedal, 6 Stops, CCC to Tenor F, 2,0' Notes. Open Diapason , wood 1 6 feet. Sub-bass, wood i6feettone, Violone, wood 16 feet. 31. Octave, metal 8 feet. 32. Fifteenth, metal 4 feet. 33. Trombone, wood 16 feet. 1. Swell to Great. 2. Swell Sub Octave to Great 3. Choir to Great. 4. Great to Pedals. 5. Choir to Pedals. Couplers, Accessory Stops, Sr'C. 6. Swell to Pedals. ' 7 to 10. Four Composition Pedals. Radiating and Concave Pedal Board, and Draw- Stop Jambs placed afan angle, so that the Stops draw towards the performer. 242. Don CASTER. The organ that stood in the Parish Church of St. George, at Doncaster, pre- vious to its destruction by fire, was so magnificent and in some respects unique an instrument as to merit some passing notice. Its "foundation'' was an unusually fine specimen of the united worli of the younger Harris and Byfield, which was re- markable alike for the freshness and the beauty of its tone. It originally consisted of 23 Stops, all of which had been retained on account of their surprising quality. In the following account, the old Stops are distinguished by asterisks. The two Open Diapasons in the Great organ were mellow and pure ; the Stopped Diapasons, of which there were four, all of metal, and to different scales and varied proportions, were clear, liquid, and resonant ; the Reeds were full, penetra- ting, and arresting ; and the Compound Stops brilliant, ringing, and full of vivacity. The instrument had been enlarged at different periods : by Donaldson, of York, in 1802; Mr. Buckingham, of London, in 1822 ; Mr. Ward, of York, about twenty years since ; and after that, by Mr. Brown, of Doncaster, who added the large Swell and the back Great organ. At the time of the conflagration, the organ was being partly re-modelled and re-erected (in a side chapel), by Hill, under the direction of Mr. Jeremiah Rogers, the organist to the church, and was, previous to its removal, one of the finest instruments in the kingdom. It was the first organ erected in this country in which the Continental principal was carried out in its amplitude and integrity, of placing three complete i6-feet or Double Stops, and a Quint of l\ feet, on the Great Manual ; and which comprehensive arrangement has not been followed in any other organ of English manufacture up to the present time. The Doncaster organ had 50 Sounding Stops, distributed among four dis- tinct departments ; the Great organ was a " i6-feet Manual," in the German acceptation of the term, the tone of which was supported by a " 32-feet Pedal." The following was its disposition : Great, 20 Stops. 1. Double Open Diapason 16 feet. 2. Double Stopped Diapason ,.. 16 feet tone. 3.*0pen Diapason, front 8 feet. 4 *Open Diapason 8 feet. 5. "Stopped Diapason gfeettone. 6. Quint Sjfeet. 7.,i,Principal 4 feet. 8. Principal 4 feet. 9.*Twe!fth 2f feet. io.*Fifteenth z feet. ii.*rierce if feet. i2.*Sesquialtera ...V ranks ... \\ foot. 13. Mixture II ranks ... 14. Furniture II ranks ... 15. Sharp IV ranks ... i6.*Cornet, mounted, V ranks 17. Double Trumpet ififeet. i8.*Trumpet 8 feet. i9.*Trumpet 8 feet. 20.*Clarion 4 feet. Y Y S30 APPENDIX. Choir, 8 Stops. 2i.*Stopped Diapason 22. Dulciana 23.*Principal 24.*Flute 8 feet tone. 8 feet. 4 feet. 4 feet. 25.*Fifteenth 2 feet. 26. Cremona Sfeettone. 27.*Bassoon 8 feet. 28.*Vox Humana 8 feettone. Swell, 15 Stops 29. Bourdon 30.*Open Diapason 31. *Stopped Diapason ... 32.*Principal 33. Flute 34. Twelfth 35. Fifteenth 36. Sesquialtera, III ranks 44. Great Open Bass Diapason, wood ..^ 45. Open Diapason, wood 46. Sub-bass, wood 37. Mixture, III ranks. 38. Double Trumpet 16 feet. 39. Horn, large scale 8 feet. 40. Cornopean 8 feet. 4i.*Trumpet 8 feet. 42.*Hautboy 8 feet. 43. Clarion 4 feet. Pedal, 7 Stops. 47. Principal, metal 8 feet. 1 6 feet tone. 8 feet. 8 feet tone. 4 feet. 4 feet. 2f feet. 2 feet. 32 feet. 16 feet. 1 6 feet tone. 48. Fifteenth, metal 4 feet. 49. Posaune, metal 16 feet. 50. Trumpet, metal 8 feet. Great, old work, GG to f ' in alt. Great, new work, CC to f ^ in .alt. Choir, GG to fa irt alt. Compass. Swell, CC to f 3 in alt. Pedal, CCC to Tenor d. In 1857, an order was given to Herr Edmund Schulze, the celebrated organ builder of Paulenzelle, near Erfurt, to erect a new organ, under the direction of Mr. Jeremiah Rogers,' the organist. This organ was completed and erected in the church in 1862. The following is a list of its stops : — Great, 21 Stops, C C to A in alt., 58 Notes. 1. Sub Bourdon to Tenor C ... 32 feet. 2. Double Open Diapason 16 feet. 3. Bourdon 16 feet. 4. Open Diapason 8 feet. 5. Octave 8 feet. 6. HohlFlote 8 feet. ■ 7. Stopped Diapason 8 feet. 8. Great Quint '. jj feet. g. Principal , 4 feet. :o. Gemshorn 4 feet. II. Stopped Flute 4 feet. 12. Twelfth 13. Fifteenth 14. Mixture V ranks. ij. Cymbal IlltpVranks. 16. Cornet to Tenor C, IV ranks. 17. Double Trumpet 18. Trumpet 19. Posaune 20. Horn 21. Clarion Choir, 13 Stops, CC io A in alt., 58 Notes. 22, n- 24. 26. 28. Lieblich Gedact i6feet. Geigen Principal 8 feet. Viol di Gamba 8 feet. Flauto Traverso 8 feet, Salcional 8 feet. Lieblich Gedact 8 feet. Geigen Principal 4 feet. Lieblich Flute Flauto Traverso ... Quintaton Flautino... Mixture, III ranks. Clarionet 2f feet 2 feet. 16 feet. 8 feet. 8 feet. 8 feet. 4 feet. 4 feet. 4 feet. 4 feet. 2 feet. 8 feet. Swell, 18 Stops, CC to A in alt., 58 Notes. 35. Bourdon 16 feet. 36. Open Diapason 8 feet. 37. Gemshorn 8 feet. 38. Terpodion ...*. 8 feet. 39. Harmonic Flute 8 feet. 40. Rohr Flute 8 feet. 41. Principal 4 feet. 42. Harmonic Flute 4 feet. 43. Stopped Flute 4 feet. 44. Viol d'Amour 4 feet. 45. Mixture V ranks. 46. Scharf Ill ranks. 47. CornettoTenorC, IV ranks. 48. Double Bassoon ' 16 feet. 49. Hautboy 8 feet. 50. TiTimpet 8 feet. 51. Horn 8 feet. 52. Clarion 4 feet. AN ACCOUNT OF COUNTRY ORGANS. 531 Hautboy 8 feet. Horn 8 feet. Vox Humana 8 feet. Solo {most of which is taken from the Swell), 9 Stops, C C to A in alt., 58 Notes. 53. Gemshom 8 feet. 58. Double Bassoon 16 feet. 54. Harmonic Flute 8 feet. 59. 55. Rohr Flote 8 feet. 60. 56. Harmonic Flute 4 feet. 61, 57. Stopped Flute 4 feet. Echo, 8 Stops, CC to A in alt., 58 Notes. 62. Tibia Major 16 feet. 66. Flauto Amabile 8 feet. 63. Vox Angelica 8 feet. 67. Celestina 4 feet. 64. Harmonica S feet. 68. Flauto Dolcissimo 4 feet. 65. Flauto Traverso 8 feet. I 69. Harmonica.£theria,IIranks. Pedal, 25 Stops, 70. Sub Principal 32 feet. 71. Major Bass 16 feet. 7Z. Principal, Bass 16 feet. 73. Sob-bass 16 feet 74. Open Diapason, Bass 16 feet. 75. Violone 16 feet. 76. Minor Bass 8 feet. 77. Octave Bass 8 feet. 78. Violoncello 8 feet. 79. Flute, Bass 8 feet 80. Great Quint 1 of feet. 81. Quint, Bass 5J feet. 82. Great Tierce 6| feet. C CCC to E,iq Notes. 83. Fifteenth Bass 4 feet. 84. Tierce 3 i feet. 85. Mixture, II ranks. 86. Cymbal, 11 ranks. 87. Contra Posaune 32 feet. 88. Posaune 16 feet. 89. Bombarde 16 feet. 90. Contra Fagotto 16 feet. 91. Trumpet ; 8 feet, 92. Horn 8 feet. 93. Fagotto 8 feet. 94. Clarion 4 feet. Accessory Stops, &"€. 1. Great to Pedals 2. Swell to Great 3. Choir to Great. 4. Tremulant for 5. Thunder Stop. SweuJ By Pedal. 6 and 7. Combination Stops for Great. 8. Combination for the Pedals. 9 and 10. Combination Stops for Swell. II. Combination for Choir organ. 243. Lincoln Cathedral. This organ was built in 1826, by W. Allen ; and extended by his son, Charles Allen, in 1851. Great, 1 1 Stops, Compass of Great and Choir, from G G to F in alt. 7. Fifteenth. 8. Cornet, treble ...IV ranks. 9. Sesquialtera, bass. III ranks. 10. Trumpet, treble. I. Large Open Diapason, z. Small Open Diapason. 3. Stopped Diapason. 4. Clarabella. 5. Principal. 6. Twelfth. II. Trumpet, bass. Stopped Diapason. Dulciana. 18. Double Diapason, 19. Open Diapason. 20. Stopped Diapason. 27. Sub-Bourdon 32feettone 28. Open Diapason 16 feet. 29. Principal 8 feet. 30. Twelfth 6 feet. Choir, 6 Stops. I 14. Viol di Gamba. I 15. Principal. Swell, 9 Stops— Gamut to F in alt. 21. Principal 22. Flute. 23. Twelfth. Pedal, 7 Stops 31 32 16. i7' Flute. Fifteenth. Fifteenth. Hautboy. Horn, 33- Fifteenth A^eei. Sesquialtera. Trombone 16 feet- S32 APPENDIX. Accessory Stops, Movements, Qr'C. 1. Swell to Great. 2. Swell to Choir. 3. Pedal to Great. Great, GG to f » in alt. Choir, GG to f » in alt. Swell, Gamut G to f = in alt. Pedal Clavier, CCC to Fiddle g. 4. Swell to Choir. ,5 to 9. Five Composition Pedals. Compass. Pedal Stops, Nos. 27 and 28, CCC to Fiddle g: Nos. 29 to 33, CCC to F F F 4, seven semitones, to meet Great organ at GG. 244. Boston. The large organ in the Centenary Chapel, Boston, Lincolnshire, was built by Gray & Davison, in the year 1850. It has Great and Choir Manuals, from CC, 8 feet, to F in alt ; the Pedal organ, two octaves and a fourth ; Compass from CCC, 16 feet, to Tenor F. The whole of the Stops in this, as well as in the Manuals, except the Keraulophon and Clarionet Flute, go throughout.' The Swell is to Tenor C. There are two Bellows— one for the Manuals, the other for the Pedal organ ; and four Composition Pedals ; also the highly effective Sforzando Pedal. The sides, as well as the front of the Case, contain Speaking Pipes ; and the dimensions of the instrument are— 26 feet high, 23 feet wide, and 18 feet deep. There are 49 Stops, and 2,490 Pipes. Great, 14 Stops. I. Double Open Diapason 1 6 feet. z. Open Diapason 8 feet. 3. Open Diapason 8 feet. 4. Stopped Diapason 8 feet. 5. Quint 6 feet, 6. Octave 4 feet. 7. Flute 4 feet. Octave Quint 8 feet. Super Octave 2 feet. Flageolet 2 feet. Sesquialtera, III ranks. Furniture ...III ranks. Posaune 8 feet. Clarion 4 feet. Choir, 12 Slops. 15. Open Diapason 8 feet. 16. Gamba 8 feet. 17. Keraulophon 8 feet. 18. Stopped Diapason, bass 8 feet. 19. Clarionet Flute 8 feet. 20. Octave 4 feet. 21. Flute 4feet. 22. Gemshorn 4 feet. 23. Super Octave 2 feet. 24. Flageolet 2 feet. 25. Sesquialtera, III ranks. 26. Corno di Bassetto 8 feet. Swell, 10 Stops. 27. Bourdon 16 feet. 28. Open Diapason 8 feet. 29. Stopped Diapason 8 feet. 30. Octave 4 feet. 31. Super Octave 2 feet. 32. Sesquialtera, III ranks. 33. Contra Fagotto 16 feet. 34. Cornopean 8 feet. 35. Oboe 8 feet. 36. Clarion 4feet. Pedal 6 Stops. 37. Grand Open Diapason 16 feet. 38. Grand Violon 16 feet. 39. Grand Bourdon 16 feet. 40. Grand Octave 8 feet. 41. Grand Super Octave 4 feet. 42. Grand Trombone 16 feet. Couplers. T. Swell to Great IVIanual. 2. Choir to Great Manual. 3. Swell to Choir IVIanual. 4- Swell Manual to Pedals. 5. Great Manual to Pedals. 6. Choir Manual to Pedals. 7. Sforzando Pedal. AN ACCOUNT OF COUNTRY ORGANS. 533 245. Parish Church, Boston, Lincolnshire. The old organ in the Parish Church, Boston, Lincolnshire, was built by Christian Smith at the end of the 17th century. It is generally acknowledged that it " is unsurpassed in England for the exquisite purity and mellowness of its old diapasons." In 1863, it underwent a course of repairs and alterations by Hill & Son, who introduced many mechanical improvements, such as a Lieblich Gedact, in the Choir organ, carrying the Cremona down to tenor C, and adding a new coupling action between the Swell and Great organs. The following is a list of its Stops and Pipes : — Great, 12 Stops, CC to F in alt., 54 Notes. Pipes. Feet. I. Open Diapason, Front 54 ... 8 I. Open Diapason, Back 54 ... 8 3. Stopped Diapason 54 ... 8 4. Principal 54 ... 4 5. Flute i Bee 46 ... 4 6. Clarabella 30 ... 8 Choir, 5 Stops, CC to F in alt. 3. Dulciana, Bass 47 ... 4. Lieblich Gedact, or Stopped Diapason, wood and metal 54 ... Pipes. 7. Twelfth 54 8. Fifteenth 54 9. Sesquialtera, III ranks i6z 10. Mixture II ranks 108 11. Cornet 30 12. Trumpet 54 54 Notes. 15. Principal 54 i6. Flute 54 17. Cremona .; 42 Feet. • 3 alt., 42 Notes. 13. Cornet, II ranks 84 24. Cornopean 42 25. Hautboy.., 42 26. Clarion 42 S-mell, 9 Stops, Tenor C to F 18. Double Diapason 42 ... 16 19. Open Diapason 42 ..., 8 20. Stopped Diapason 42 ... 8 21. Principal 42 ... 4 22. Fifteenth 42 ... 2 Pedal, 3 Stops, CC C to E,i<) Notes. 27. Diapason .- 29 ... 16 I 29, Trumpet , 29 28. Bourdon 29 ... 16 | Accessory Stops, dr'c 1. Swell to Great. 2. Great to Pedals. 3. Choir to Pedals. Number of Pipes. Pipes. Great organ , 754 Choir organ 251 Swell organ 420 Pedal organ 87 Total number of Pipes 1512 16 J Composition Pedals to Great. Tremulant to Swell. Number of Stops. Pipes. Great organ 12 Choir organ 5 Swell organ 9 Pedal organ 3 Couplers 3 Total number of Stops 32 246. Beddington Church, Surrey. This organ is a very handsome and costly structure, built by Messrs. Thomas C. Lewis & Co., of Shepherd's Lane, Brixton, London. It is most skilfully planned in every detail ; the case is well designed by Mr. Joseph Clark, and is decorated and illuminated in a highly artistic and elaborate manner by Morris Marshall & Co., of Queen's Square, Bloomsbury. Choir, 5 Stops, CC to G, 56 Notes. Lieblich Gedact, wood and metal 8 feet. Salicional 8 feet. Salicet 4 feet. Flute Harmonique 4 feet. Clarionet and Bassoon 8 feet. 534 APPENDIX. 6. Bourdon, wood and metal ... i6 feet. 7. Open Diapason 8 feet. 8. Rohr Flute, wood and metal 8 feet. 9. Octave 4 feet. Great, 8 Stops. 10. Octave Quint .'. zj feet. 11. Super Octave 2 feet. 12. Mixture, III ranks 2 feet. 13. Trumpet 8 feet. Swell Organ, 9 Stops. 14. Lieblich Gedact, wood and metal 16 feet. • 15. Geigen Principal 8 feet. 16. Lieblich Gedact, wood and metal 8 feet. 17. Gamba 8 feet. 18. Voix Celestes, Tenor C ... 8 feet. 19. Geigen Principal 4 feet. 20. Mixture, TI ranks 2 J feet. 21. Trumpet 8 feet. 22. Oboe and Bassoon 8 feet. Pedal, 5 Stops, CCC to F, 30 Notes, 42 Notes to each Stop. 23. Open Diapason, metal and zinc 16 feet. 24. Sub-bass, wood 16 feet. 15. Quint, wood i of feet. 26. Posaune, metal 16 feet. 27. Octave Coupler. Couplers, dr^c. I. Choir to Pedals. | 2. Great to Pedals. | 3. Swell to Pedals. | 4. Swell to Great. Five Pedals of Combination and Tremulant. The Bellows is placed in a chamber beneath the organ, the Feeders are worked by two three-throw crank axles, with which fly-wheels are connected ; there is also a distinct air reservoir communicating directly with the Manual sound-boards, obviating the necessity for the ordinary concussion bellows. The Metal Pipes are all of fine spotted metal. It is worth notice that this church was extremely unfavourable for sound, and that it now presents a remarkable instance of the defects of a building turned to advantages for musical effect by a judicious choice of position for the organ, and a clever arrangement of the plan of the instrument. It is no disparagement of the builder to intimate' that many of the beautiful and charming peculiarities of tone displayed by the organ are attributable to this cause, for the sagacity to seize and appropriate these adventitious aids to art is not the least valuable of the quaUfications which an organ builder should possess. The organ has a total of 1,556 pipes. 247. Southwell. The organ in Southwell Collegiate Church was originally built by Father Schmidt; but, having been damaged by fire, it was admirably repaired and completed by Snetzler, whose bill, dated January, 1766, is now in possession of the Chapter. Compass of Great and Choir organs, from GG to d' in alt; of the Swell, from Fiddle g to d' in alt ; and of the Pedal Clavier, G G to Tenor c. The general effect of the instrument is excellent, considering the smallness of the number of its Stops ; and the Diapasons are very fine. Great, 8 Stops. 5. Fifteenth. 1. Open Diapason. 2. Stopped Diapason. 3. Principal. 4. Twelfth. 9. Stopped Diapason. 10. Dulciana to Gamut G. 11. Principal. 14. Open Diapason. 15. Stopped Diapason. 6. Sesquialtera, III ranks. 7. Trumpet. 8. Cornet to Middle c^, V ranks. Choir, 5 Stops. 12. Flute. 13. Fifteenth. Swell, 4 Stops. j 16. Principal. I 17. Fifteenth. AN ACCOUNT OF COUNTRY ORGANS. 535 248. Nottingham. St. Mary's Church, Nottingham, contains a most excellent organ by Snetzler, containing 23 Sounding Stops, among which are three Metal Open Diapasons down to G G. The following is a list of its Stops :— 1. Open Diapason, 2. Open Diapason. 3. Stopped Diapason. 4. Principal. 5. Twelfth. 11. Open Diapason. 1 2. Stopped Diapason. 17. Open Diapason. 18. Stopped Diapason Great^ 10 Stops. 6. Fifteenth. 7. Sesquialtera, IV ranks. 8. Cornet to Middle c^, V ranks. 9. Trumpet. 10. Clarion. , Choir, 6 Stops. 13. PrincipaL 14.. Flute. Swell, 6 Stops. 19. Principal. 15. Fifteenth. 16. Bassoon. 21. Trumpet. 22. Hautboy. 20. Cornet, III ranl^s. Pedal, I Stop. 23. Open Diapason, Gamut G to C C C... 16 feet length. Compass, Great, G G to e* in alt. I Swell, Tenor c to e' in alt. Choir, G G to es in alt. | • Pedal Clavier, G G to Fiddle g. Couplers. Swell to Great. | Great to Pedal. | ' Choir to Peda!. 249. Nottingham. The organ in the Mechanics' Hall, Nottingham, was built by Bevington & Sons, in the year 1849. It originally had 45 Sounding Stops, to which 8 have since been added by Groves, of London, who removed the Choir and Swell organs from inside the case to ante-rooms underneath the orchestra. He also arranged the organ on the direct action principal; z.^., placed the Great organ Sound-board so that its sliders run parallel with the keys, and are therefore brought under control by a simple and direct Draw-stop action. The following is an enumeration of the Stops ; — Great, 18 Stops. 1. Tenoroon 16 feet. 2. Bourdon, to meet No. i 16 feet tone. 3. Open Diapason 8 feet. 4. OpenDiapason 8 feet. 5. Stopped Diapason 8 feet tone. 6. Clarabella 8 feet. 7. Hohlflute 8 feet. 8. Quint 5j feet- 9. Principal 4 feet. 10. Waldflute 4 feet. 11. Decima 3f ^eet. 12. Twelfth 2f feet. 13. Fifteenth 2 feet. 14. Sesquialtera, III ranks if foot. 15. Mixture ...III ranks f foot. 16. Posaune 8 feet, 17. Trumpet 8 feet. 1 8. Octave Trumpet 4 feet. Choir, 13 Stops. 19. Double Stopped Diapason ... 16 feet. 20. Open Diapason 8 feet. 21. Stopped Diapason 8 feet tone. 22. Dulciana 8 feet. 23. Viol di Gamba 8 feet. 24. Keraulophon 8 feet. 25. Clarabella 8 feet. 26. Principal 4 feet. 27. Flute 4feet. 28. Flageolet 2 feet. 29. Double Bassoon 16 feet. 30. Oboe 8 feet. 31. Clarionet 8feettone. 536 APPENDIX. Swell, 17 Stops. 32. Great Double Diapason 32feettone. 33. Double Diapason.! 16 feet tone. 34. Open Diapason 8 feet. 35. Open Diapason 8 feet. 36. Stopped Diapason 8 feet tone. 37- Quint 5jfeet. 38. Octave 4 feet. 39. Wald Flute 4 feet. 40. Fifteenth 2 feet. 41. Piccolo 2 feet. 42. Octave Fifteenth i foot. 43. Furniture, V ranks i J foot. 44. Trombone 16 feet. 45. Cornopean 8 feet. 46. Hautboy 8 feet. 47. Clarion 4 feet. 48. Octave Clarion 2 feet. Pedal, 5 Stops. 49. Open Diapason, wood 16 feet. 50. Stopped Diapason, metal 16 feet. 51. Principal, wood, 8 feet. Fifteenth 4 feet. Trombone 16 feet. Accessory Stops, Movements, &^c. I to 4. Four Couplers. | 5 to 12. Eight Composition Pedals. Compass. Great, C C to g= in altissimo. | Swell Tenor c to g' in altis'simo. Choir, C C to g' in altissimo. Pedal, C C C to Tenor d. 250. Peterborough. The present organ in Peterborough Cathedral was built by William Allen, of London, and was opened in June 1809. It cost 50G guineas and the old organ ; of which the Case and both Open Diapasons from middle d> downwards were retained. In 1848, Holditch extended the Swell to Gamut G. He also added the Hautboy in the Swell. Great, 11 Stops. 7. Fifteenth. 1. Open Diapason. 2. Open Diapason. 3. Stopped Diapason. 4. Principal. 5. Flute. 6. Twelfth. 1 2. Stopped Diapason. 13. Dulciana. 18. Open Diapason. 19. Stopped Diapason. 20. Principal. 8. Sesquialtera, Bass, IV ranks. 9. Cornet IV ranks, I o. Trumpet Treble. 1 1 . Trumpet, Bass. Choir, 6 Stops. 14. Principal. 15. Flute. Swell, 7 Stops. 21. Twelfth. 22, Fifteenth. 16. Fifteenth. 17. Cremona. 23. Hautboy. 24. Trumpet. 251. Lynn Regis. The old organ at St. Margaret's, Lynn Regis, Norfolk — partly the work of Dallans, and partly the production of some more ancient workman — was given to the church by " John Tinner," in 1679. The present fine instrument was built by the celebrated Snetzler, under the direction of Dr. Burney, in the year 1754. It is the largest instrument Snetzler ever made in England ; it slightly exceeding in this respect his other celebrated piece of handiwork at Halifax. The Lynn organ originally contained a Ill-rank Furniture in the Great organ, in addition to the IV-rank Sesquialtera (as at Halifax) ; also a separate Tierce, and a Bourdon, in AN ACCOUNT OF COUNTRY ORGANS. 537 meial, to C C, excepting the two lowest Pipes, which were of wood. These three Stops were at some time cancelled, and a second Open Diapason, Principal, and Fifteenth placed in their stead ; a Clarabella has also been inserted in the Choir organ, in place of the Vox Humana. In the Swell, there were originally three unison Reeds (Hautboy, Trumpet, and French Horn) ; but there are now but two The organ was repaired in 1796, by Lincoln ; arid underwent a second renovation, in 1816. About eighteen years since, it received the important addition of a Pedal Diapason, to G G G, which was added by Holdich, of London. The organ now contains 27 Sounding Stops, of which the following is a list : — ' Great, 12 Stops. 1 . Open Diapason. 2. Open Diapason. 3. Stopped Diapason. 4. Principal. J. Principal. 6. Twelfth. 1- 8. 9- 10. II. 12. Fifteenth. Fifteenth. Sesquialtera, ...IV ranks Cornet to c"^ ... V ranks Tnimpet. Clarion. Choir, 7 Stops. 13. Dulciana. 'T- Flute. 14. Stopped Diapason. 15. Clarabella. IS. 19. Fifteenth. Bassoon up to middle g' 16. Principal. \ Swell, 7 Stops. 20. Open Diapason. 21. Stopped Diapason. 22. Principal. 23. German Flute. 24. 25. 26. Cornet, IV ranks. Trumpet. Hautboy. Pedal, I Stop. 27. Open Diapason, to G G G, 21 J feet length. Couplers. I. Swell to Great. | 2. Pedals to Great. | 3. Pedals to Choir. Compass. I Swell, Tenor f to e' in alt. Great, G G to e' in alt. Choir, G G to e' in alt. Pedals, down to G G. The Swell Clavier descends to G G, and acts on the Bass of the Choir Stopped Diapason, Dulciana, and Flute, below Tenor f, which are made to draw separately and independently for that purpose, whereby the apparent number of Sounding Stops is increased from 27 to 30. This is the first English organ that had a Dulciana ; a Stop that, in this example, runs through to G G in metal. 252. Norwich Cathedral. This organ has an elaborately carved Gothic oak case ; it stands over the screen, and consequently has a double front, containing, in the western,, the open Diapason (said to be of Harris's make), and, in the choir front, an open Diapason of Byfield's. The tone of the instrument is of fine quality ; and, although it is not so powerful as many of the organs recently built, it is inferior to none in general effect. The organ underwent a considerable change some years since, it being removed to its present situation, when the Choir organ was taken from its usual position and placed on the south side of the instrument, and the Swell organ on the opposite side, both being on a level with the base of the Great organ, and 538 APPENDIX. unseen from the Choir. At this time, Double Diapason Pedal Pipes, down to G G G, were added by Bishop, and located on the north side of the building, under the triforium, having separate bellows and a long movement. The instrument contains : — Great, lo Stops. T. 2. 3- 4- 5 Open Diapason. Open Diapason. Stopped Diapason. Clarabella, in place of V-ran Principal. k Cornet. 6. Twelfth. 7. Fifteenth. 8. Tierce. 9. Sesquialtera. 10. Trumpet. Choir, 6 Stops. 1 1 . Dulciana to Tenor C. iz. Stopped Diapason. 13. Principal. 14. Stopped Flute. 15. Fifteenth. 1 6. Cremona to Tenor f. Swell, 5 Stops. 17. Open Diapason. 1?. Stopped Diapason. 19. Principal. 20. Hautboy. 21. Trumpet. Pedal, I Stop. 22. Open Diaps Access son to G G G ...2ii feet lenp^th. ory Stops, Movements, Sr'c. 1 . Coupler, Swell to Great. 2. Coupler Great to Pedal. 3- 4. Coupler, Choir to Pedal. 5, 6. Three Composition I Great, G G to f = in alt. Choir, G G to f^ in alt. Swell, Tenor c to f" In alt. Compass. Swell Clavier to G G, acting on Choir organ below Tenor c. 253. Norwich. The organ in the Church of St. Peter Mancroft, Norwich, is a fine instrument ; originally built by Harris, and afterwards repaired by England, who added the Dulciana to the Choir organ, and put in a new Swell. The following is a hst of its Stops, as drawn up by the late Mr. Russell : — Great, 12 Stops. . I,. Open Diapason. 8. Sesquialtera, III ranks. 2. Stopped Diapason. 9. Mixture 11 ranks. 3. Principal. 10. Furniture ...III ranks. 4. Twelfth. II. Cornet, mounted, to iVIiddle c^, V 5. Fifteenth. ranks. 6. Tierce.^ 12. Trumpet. 7. Larigot'. Choir, 8 Stops. 13. Dulciana to Gamut G. 17. Flute. 14. Open Diapason to Tenor d 18. Fifteenth. 15. Stopped Diapason to Tenor d. 19. Vox Humana throughout. 16. Principal to Tenor d. 20. Bassoon, throughout. Swell, 6 Stops. 21. Open Diapason. 24. Cornet, III ranks. 22. Stopped Diapason. 25. Hautboy. 23. Principal. 26. Trumpet. The Open Diapason, Stopped Diapason, and Principal in the Choir organ, are borrowed from the corresponding Stops of the Great organ, from Tenor d downwards. AN ACCOUNT OF COUNTRY ORGANS. S39 254. Great Yarmouth. The organ in St. 'Nicholas Church, Great Yarmouth, is a particularly fine instrument. It was built by Jordan, Bridge, & feyfield, at a cost of £900, and was opened about the middle of December, 1733. It is enclosed in a handsome oak case, 1 8 feet wide, 33 feet high to the top of the ornaments, and 7 feet deep. The Compass of the Great and Choir was originally from G G to d^ in alt., omitting the low G G J ; the Swell went to Tenor c, and was enclosed in a box 7 feet in width. The metal for the pipe -work was very fine, being nearly all tin ; but the feet of the 15 large front Pipes settled down after a time, either from lack of strength in the first instance, the effect of the sea air, or some unascertained cause. In the year 1812, Mr. England, of Stephen Street, Tottenham Court Road, London, was employed to repair the organ. He put in 15 new front Pipes ; rounded out and repaired those inside ; added 3 sets of new Manuals ; fresh leathered the bellows ; applied an additional Wind-Trunk, the previous one being too small to supply the instrument fully ; carried the Compass of the Manuals upwards from d' to P in alt. ; laid down an octave and a half of Pedals, from G G to Tenor c, with 17 Pipes connected with them —viz., 4 Unison Pipes from G G to B B J, then 13 Double Pipes from C C to c ; removed the old rattling Choir movement, con- sisting of backfalls, and introduced a tracker movement ; cleaned the organ, and regilt the front Pipes. For making these several improvements, Mr. England received 320 guineas. In 1844, Mr. Gray applied a new Pedal Clavier, together with 18 large scale Pipes to G G G, with the necessary Sound-board and movements ; removed the 3 old Diagonal Bellows, and put in a pair of Horizontal Bellows,. 12 feet long by 6 feet in breadth ; replaced the lower octave of Pipes of 'the inner Open Diapason, . which had settled down at the feet ; substituted metal Pipes in the Choir organ, from Gamut G upwards, in place of the wood Pipes of the Open Diapason, of which latter material that Stop had been at first exclusively formed ; removed the two Vox Humanas from the Choir, and inserted a Cremona to Fiddle g ; added' an octave to the Bass of the Swell, and deepened the box, as well as widening it at the back by a foot to receive the larger Pipes ; and substituted a Ill-rank Sesquial- tera for the old Ill-rank Cornet. He also added a second set of Pallets to the lowest octave of the Great organ Sound-board, whereby the supply of wind in the Bass was rendered far more ample and satisfactory. For these additions and im- provements, Mr. Gray received ;/^35o. Great, 13 Stops. All the Stops throughout, except the Cornet, I. Front Open Diapason, z. Inside Open Diapason. 3. Stopped Diapason, metal Treble. 4. Principal. 5. Twelfth. 6. Fifteenth. 7. Tierce. 8. 9- Sesquialtera Mixture V ranks. .Ill ranks, 10. Mounted Cornet. .'.V ranks. n. IZ. 13- Trumpet. Trumpet. Clarion. Choir, 7 Stops. All the Stops throughout, except the Cremona. 14. Open Diapason, metal to Gamut G, wood from F F to G G. 15. Stopped Diapason, metal Treble. 16. Principal. 17. Stopped Flute, metal Treble. 18. Fifteenth. 19. Mixture, II ranks. 20. Cremona to Fiddle g. 540 APPENDIX. Swell, 21. Open Diapason, Z2. Stopped Diapason, metal down to Tenor c. 23. Principal. Stops. 24. Sesquialtera, III ranks, 25. French Horn. 26. Trumpet. 27. Clarion. Pedal, 2 Stops. 28. Great Open Diapason, down to G G G, in wood 20J feet length. 29. Small Open Diapason, to C C C, in wood i6 feetlength. Accessory Stops, Movements, &^c. 1. Coupler, Swell to Great. I 3. Coupler, Choir to Pedal. 2. Coupler, Great to Pedal. | 4, 5, 6. Three Composition Pedals. The G G Open, in front, is 7 inches in diameter ; the inside G G 7^ inches, England's C C C Pipe measures "ji inches by 9. Gray's G G G, 21 inches by 19 ; tne CCS inches by 7. 255, Ely Cathedral. This organ, erected by Hill, in 1851, is placed in the triforium, and projects out from the arches about 6 feet. The keys are placed in a stone gallery, behind the top of the stalls, and communicate with the organ by means of a long movement. The instrument is enclosed in a handsome Case, of oak, made according to a design prepared by Mr. Scott. The organ contains : — Great, 13 Stops. 1. Double Diapason 16 feet. 2. Open Diapason 8 feet. 3. Open Diapason 8 feet. 4. Stopped Diapason 8 feet. 5. Quint 6 feet. 6. Octave 4 feet. 7. Octave Quint 3 feet. 8. Super Octave 2 feet. 9. Sesquialtera, III ranks. 10, Mixture Ill ranks, ir. Posaune 8 feet, 12. Trumpet 8 feet. 13. Clarion 4 feet. 14. Open Diapason 8 feet. 15. Clarabella, throughout 8 feet. 16. Stopped Diapason 8 feet, 17. Octave 4 feet. Choir, 7 Stops. 18 19 Flute 4 feet. Super Octave 2 feet, Cremona 8 feet. Swell, 6 Stops. 21. Double Diapason 16 feet, 22. Open Diapason 8 feet, 23. Stopped Diapason 8 feet. 24, Octave 4 feet, 25, Trumpet 8 feet, 26, Hautboy 8 feet. Pedal, 6 Stops. 27, Open, wood 16 feet, 28, Open, metal 16 feet, 29, Octave 8 feet. 30, Super Octave 4 feet, 31, Sesquialtera, III ranks, 32, Trombone 16 feet. Accessory Stops, Movements, dr'c. 1. Swell to Great. | 3. Pedals to Great. 2. Choir to Great. 1 4. Pedals to Choir. Compass. Great, C C to P in alt. Choir, C C to f» in alt. Swell, Tenor c, to f' in alt. Pedal, C C C to Tenor d. AN ACCOUNT OF COUNTRY ORGANS. 541 256. Cambridge. The organ in Trinity College was commenced by Father Smith, who, however, dying during its construction, it was voiced and tuned by his son-in-law, Chris- topher Schrieder, in 1708. A Swell was afterwards added by Byfield, and a set of Pedal Pipes by Avery. Subsequently, Messrs. Flight & Robson effected considerable repairs, and also raised the pitch of the instrument, which had previously been very flat. An apparatus was als.o added to the Bellows for the purpose of steadying the wind, and which was the precursor of the more recent Concussion Bellows. The organ was considerably enlarged by Gray, in 1834, who extended the Great organ from the original G G or io|^ feet compass, to the C C C, or 15-feet compass. Since then Hill has introduced a larger and far more effective Swell ; and, still more recently, has put new Great organ Sound-boards, the original ones, by Father Smith, having become crazy and decayed from age. These are so admirably constructed that the Pipes have now room to speak, instead of being inconveniently crowded, as they were before. Several new and effective Stops have also been introduced, while, by the transposition of others, the whole has been rendered far more brilliant and effective. The whole of these latter improvements were made under the direction of the late organist, Dr. Walmisley. The instrument now contains 29 Sounding Stops, of which the following is a list : — Great, 14 Stops. 1. Double Diapason, Open metal to the Gamut G key. Stopped to the CO key. 2. Open Diapason, down to C C C. 3. Stopped Diapason, to G G. 4. Gamba, to C C. 5. Salicional, to C C. 6. Quint, to the C C key. 7. Principal, throughout. 8. Wald Flute. 9. Twelfth, throughout. 10. Fifteenth, throughout. 11. Sesquialtera, III ranks, throughout. II. Mixture II ranks, throughout. 13. Trumpet throughout, 14. Clarion, throughout. 15. Open Diapason. 1 6. Stopped Diapason, 17. Duiciana. Choir, 6 Stops. 18. Principal. 19. Flute. 20. Cremona. Swell, 8 Stops. 21. Double Stopped Diapason. 22. Open Diapason. 23. Stopped Diapason. 24. Principal. 25. Sesquialtera, III ranks. 26. Oboe. 27. Trumpet. 28. Clarion. Pedal, I Stop. 29. Sub Bourdon 32 feet tone. Accessory Stops, Movements, dr'c. 5. Swell to Great. 1. Great to Pedal, 16 feet pitch. 2. Great to Pedal, 8 feet pitch. 3. Choir to Pedal, 16 feet pitch. 4. Choir to Pedal, 2 feet pitch. Great, C C to f 3 in all. Choir, G G to f^ in alt. 6. Tremulant. 7, 8, 9, 10. Four Pedals. Composition Compass. Swell, Gamut G to f 3 in alt. Pedal, C C C to Tenor c, two octaves. 542 APPENDIX. 257. Cambridge. The organ in the Chapel of St. John's College, Cambridge, was built by Hill, in 1839. It is not completed, preparation being made for five more Stops. Great, 10 Stops, Compass, FF F to f in alt. 1. Open Diapason. 2. Stopped Diapason. 3. Double Dulciana. 4. Principal. 5. Flute. 6. Clarabella. 7. Twelfth and Fifteenth on one slid_e. 8. Fifteenth (No. 2).j 9. Sesquialtera. 10. Trumpet. Choir, 6 Stops, FFF to F in alt. 11. Open Diapason, throughout. 12. Stopped Diapason. 13. Dulciana. 14. Flute. 15. Principal. 16. Cremona. Swell, 9 Stops, F F to f in alt. 17. Open Diapason. 18. Stopped Diapason. 19. Dulciana. 20. Principal. 21. Harmonica. 22. Sesquialtera, IV ranks 23. Hautboy. 24. French Horn. 25. Clarion. Pedal, I Stop. i6. Open Diapason, to F F F. Couplers. I. Swell to Great. | 2. Octave Swell to Great. | 3. Choir to Great. 258. Bedford. The organ in St. Paul's Wesleyan Chapel was built by Wadsworth, Manchester, 69. The following are its Stops : — Great, 12 Stops, C C to G. Feet. Pipes. 1. Bourdon, wood and metal ... 16 ... 56 2. Open Diapason, metal 8 ... 56 3. Violin Diapason, metal 8 ... 44 4. HohlFlote 8 ... 56 5. Rohr Gedact, wood and metal 8 ... 56 6. Principal, metal 4 ... 56 Feet. Pipes. 7. Flute Harmonique, metal... 2 ... 56 8. Fifteenth, metal 2 ... 56 9. Mixture. ..II ranks, metal... ... H2 10. Furniture, II ranks, metal... ... 112 11. Trumpet, metal 8 ... 56 12. Clarion, metal 4 ... 56 Swell, 1 2 Stops, CC to G. 13. Lieblich Bourdon, wood and metal 16 ... j6 14. Open Diapason, metal 8 ... 56 15. Flute d'Amour, metal 8 ... 56 16. Keraulophon, metal 8' ... 44 17. Spitzflote, metal 4 ... 56 »8. Flute Celeste, wood 4 ... 56 19. Fifteenth, metal 2 20. Mixture, III ranks, metal ... 21. Cornopean, metal 8 22. Hautboys metal 8 23. Clarion, metal 4 24. VoxHumana 8 Tremulant to Swell. Choir, 6 Stops, C C to-G. ij Lieblich Gedact, metal 26. Dulciana, metal 27. Viola, metal... r.. wood and 56 44 28. Lieblich Gedact, metal 4 29. Flageolet, metal 2 30. Clarionet, metal 8 56 168 S6 56 56 AN ACCOUNT OF COUNTRY ORGANS 543 Pedal, s Stops, C C C to G. Feet. 31. Open Diapason, Wood 16 3t. Sub-bass i6 33. Principal, wood 8 Pipes. 29 - »9 Feet. 34. Octave, wood > 8 35. Trombone, wood 16 Pipes. , 29 ■ *9 Accessory Stops, Movements, Ore. Coupler, Swell to Great. Coupler, Swell to Great Sub-octave. Coupler, Swell to Pedals. Coupler, Great to Pedals. Coupler, Choir to Pedals. Coupler, Choir to Great Sub-octave. Five Composition Pedals. The metal Pipes are of the best tin metal of the most approved substance, and all the trebles, except the reeds, are of spotted metal ; it is tuned to the " Normal Diapason pitch." The reeds and flue work on the Great and Swell are of different pressures. The Pedals are radiating and concave. The Bellows are horizontal, double-leathered, with double feeders and compensating folds, and the Case is of polished pitch pine. 259. Northampton. The organ in All Saints' Church, Northampton, is a very fine instrument. It was built by Mr. Hill, about twenty-two years since ; a great portion of the pre- vious organ being used up in the new work. It contains 44 Sounding Stops, 3 Manuals, and an independent Pedal of 7 Stops. The following is a specification of the instrument as left by Mr. Hill : — Great, 16 Stops, C C to F. 9. Fifteenth 2 feet. 1. Double Open 16 feet. 2. Double Stopped throughout 16 feet. 3. Open Diapason 8 feet. 4. Open Diapason 8 feet. 5. Stopped Diapason 8 feet. 6. Quint 6 feet. 7. Principal 4 feet. 8. Twelfth 3 feet. Sesquialtera, III ranl^s iffoot. 11. Doublette ...Ilranks.^ 2 feet. 12. Fufniture ...IV ranks. |- foot. 13. Double Trumpet 16 feet. 14. Posaune 8 feet. 15. Trumpet ..'. •.. 8 feet. 16. Clarion % 4 feet. 17. Dulciana 8 feet. 18. Stopped Dulciana 8 feet. 19. Principal 4 feet. Choir, 6 Stops, C C to F. 20. Flute 4 feet. 21. Fifteenth 2 feet. 22. Cremona 8 feet. Swell, 1 5 Stops, CC to F. 23. Double Diapason 16 feet. 24. Open Diapason ..-. 8 feet. 25. Stopped Diapason 8 feet. 26. Dulciana 8 feet. 27. Principal 4 feet. 28. Twelfth 3 feet. 29. Fifteenth 2 feet. 30. Sesquialtera, III ranks. Mixture II ranks. Contra Fagotto 16 feet. Cornopean 8 feet. Trumpet 8 feet. Oboe..... 1. 8 feet. 36. Clarion 4 feet. 37. Flute 4 feet. Pedal, 7 Stops, CCCto Tenor d. 38. Open, wood 16 feet. 39. Sub (Bass) 16 feet. 40. Principal 8 feet. 41. Fifteenth 4 feet. 3 Pedal Couplers. 42. Sesquialtera, V ranks. 43. Trombone 16 feet. 44. Trumpet 8 feet. I I Manual Coupler. 544 API'ENDIX. 260. Northampton. The organ in the Exchange Room, at Northampton, is the German instrument that was placed in the Great Exhibition building of 1851, by Schulze, of I'aulinzcUe, near Erfurt. It is an admirable organ, and presents varieties of lone, both in regard to character and strength, quite unusual in an instrument with so few Stops. It contains 16 Sounding Stops, of which the following is a list : Great, « Stops. Bourdon i6feettone. Open Diapason 8 feet. Gamba 8 feet. Hohl flote 8 feet. 6. Octave 4 fcet. f Quint and 1 drawing... i§ feet, fto 5. Gedact Sfeettone. Choir, 6 Stops Q. Lieblich Gedact, to Gamut \ Super-octave J together ... 1 feet Mixture, V rankn i feet, G key (GG Pipe) 16 feet tone. Geigen Principal 8 feut. Lieblich Gedact 8 feet tone. \z. Flauto Traverjo SJect. 13. Ge)gen I'liiicipal 4 feet. 14. Flauto 'I'raverHo and Lieb- lich Gedact, on i slider ... 4 I'eet. Pedal, 2 indcpcnikiU Slops, and 2 by communication. ]i. Flute Bass, borrowed from Manual Gedact Sfwttone. 16. I'ooaune, Free Reeds iSfeettone. A. Sub-bass, borrowed from Manual Bourdon iSfeettone. 15. Octave Bass, wood 8 fc-et. Couplers. I . Great to Pedal. | 2. Choir, Sub-octave to Great. Compiass. Great, C C to f » in alt. [ Choir, C C to f» In alt. | Pedal, C C C to Tenor d. The Pedal Clavier is concave in section, consequently the extreme keys are much more within convenient reach than usual. 261. Rochester Cathedral. This organ was built by Samuel Green. In 1835, it was considerably enlarged by Hill. In 1865, this beautifully-toned instrument underwent very important allcrations. The work was entrusted to the firm of Hill & Son, and has been divided into two portions, the first of which comprises the extension of tlic Swell organ downwards to C C, the addition of three new Stops to this department, and the same number to the Choir organ, two extra Coujjieri, a Tremulant, two com- position Pedals to the Swell, and new draw stop action to the Swell and Choir organs. Thus far the work has now been completed. The Great or^an remains unaltered, owing to the want of space, excepting that an octave of Pipes has been added to the Clarabella for the purpose of carrying it down to Tenor C as a 4 feet I'lute. The second portion of the plan (which is now to be proceeded with) has reference almost exclusively to the Pedal organ. This department has been hitherto misrepresented by rather less than half of one stop, called " Pedal Pipes" — a contrivance which furnishes a few Pipes to the middle part of a J'edal-ljoard, tlie keys of which extend both upwards and downwards beyond the r:iiii,'e of the Pipes themselves. This very defective arrangement is, however, about to be remedied by the introduction of an adequate Pedal organ, consisting of at least AN ACCOUNT OF COUNTRY ORGANS. S45 five Stops, with the full Compass of two octaves and a half. The instrument will then contam the following Stops (those marked with an asterisk being entirely new i and those contemplated, but not yet carried out, with a da:gger) :— Gr,\xt, ID Stops, G G to F in alt., 59 Notes. 1 . Open Diapason 8 feet. 2. Open Diapason 8 feet. 3. Stopped Diapason 8 feet tone. 4. Principal 4 feet. 5. Flute, Tenor c 4 feet. 6. Twelfth 2f feet. 7. Fifteenth 1 feet. 8. Sesquialtera, III ranks. 9. Mixture It ranks. lo. Trumpet 8 feet. Choir, 7 Stops, G G to F in alt., 59 Notes. u, Dulciana 8 feet. I :. Stopped Diapason 8 feet tone. i3.tGamba g feet. 14. Principal 4 feet. iS.»Wald Flute (CO) 4 feet. 16. Fifteenth 2 feet. i7.*Clarionet (CO) 8 feet tone. Swell, II Stops, CCto Fin alt., t,^ Notes. i8.*Bourdon 16 feet. 19. Open Diapason 8 feet. ;o. Stopped Diapason, metal ... 8 feet tone. II. Dulciana (gamut G) 8 feet. ji. Principal 4 feet. 23. Dulciana Principal 4 feet. 24. Cornet HI ranks. 25.*Dulciana Mixture, IV ranks. 26.*Horn 8 feet. 27. Hautboy 8 feet. 28. Clarion 4 feet. Pedal, 5 Stops, CCCtoF,->,o Notes. »9.tSub-bass (GGG) 32 feet tone. 30. Open Diapason 16 feet. 3i.tViolone 16 feet. 32.tPrincipal, or Violoncello ... 8 feet. 33.tPosaune 16 feet. Accessory Stops, Movements, ^c. Swell to Great. 7. Four Composition Pedals to Great 2.*Swell to Ocuve. 3 fChoir Sub-octave to Great. 4.*Swell to Pedal. 5. Great to Pedal. 6. Choir to Pedal. 8.*Two Composition Pedals to Swell. 9.*Tremulant to Swell. 10. Total number of Stops, inclusling Couplers j„ 11. Total nuniber of Pipes 2152 12. Ditto before the alterations 1465 38 263. CAXTERBtTRY CATHEDRAL. It is not known who was the original builder of the organ in Canterbury Cathe- dral J but it was re-built by Samuel Green, in 1784, who put in new diapasons and enlarged the scale of the Pipes. It was removed, in 1827, from above the screen, by Longhurst, sen. In 1842, Mr. Hill enlarged the organ, by putting in new keys and a long movement of upwards of 90 feet ; he also rebuilt the Swell organ, and extended the compass to Tenor c. The organist now sits in the Choir behind the Decani Lay Clerks. The organ, which is now placed over the south aisle, has 3 sets of keys ; Compass, from G G to E ; two octaves of Pedals, and one octave of Pedal Pipes from C C C to C C. Great, 12 Stops. t. Open Diapason. 2. Open Diapason. 3. Stopped Diapason. 4. Claiabella, Treble, in place of V-rank Cornet. 5. Principal. 6. Fifteenth. 7. Twelfth. 8. Sesquialtera, HI ranks. 9. Mixture II ranks. 10. Trumpet, Treble, in place of V-rank. 11. Great Trumpet (throughout). 12. Clarion (throughout!. 546 APPENDIX. Choir, 6 Stops. 13. Stopped Diapason. 14. Dulciana. 15. Stopped Flute. 16. Open Flute. 17. Principal. 18. Cremona. Swell, 10 Stops. 19. Stopped Diapason. 20. Double Open Diapason. 21. Unison Open Diapason. 22. Principal. 23. Fifteenth. 24. Twelfth. 25. Sesquialtera, III ranks. 26. Cornopean. 27. Trumpet. 28. Hautboy. Pedal, 2 ^/o/j. 29. Stopped Diapason, wood. | 30. Open Diapason, wood. Couplers. I. Swell to Great. | 2. Pedal to Great. | 3. Pedal to Choir. 263. ToNBRiDGE Wells. The organ in Trinity Church, Tonbridge Wells, was built by Gray, in 1840 and is a very fine one. Great, 8 Stops, Compass, GG to F in alt. 1. Stopped Diapason. 2. Open Diapason. 3. Open Diapason. 4. Principal. 5. Twelfth. 6. Fifteenth. 7. Sesquialtera, III ranks. 8. Trumpet. 9. Stopped Diapason. 10. Open Diapason. 11. Principal. Choir, 6 Stops, GG to F in alt. 12. Fifteenth. 13. Flute. 14. Cremona to Fiddle G. Swell, 5 Stops, Compass, from Tenor C to F in alt. 15. Open Diapason. 1 6. Stopped Diapason. 17. Principal. 18. Trumpet. 19. Hautboy. Pedal, I Stop. 20. Open Diapason, C C to C C C, one octave 16 feet length. Accessory Stops, Movements, ^^c. Coupler to Great Organ. . I Two Octaves and a note of German Pedals, Four Composition Pedals. | from C C C. 264. Cranbrook. The organ in the Parish Church at Cranbrook, Kent, is a most excellent instrument. It was built by Mr. Willis, in 1854, and consists of two complete rows of keys, of the Compass from C C to F in alt., fifty-four notes, and two octaves and a half of Pedals, of the Compass C C C to F, thirty notes. It contains the following Stops : — Great, 1 1 1. Double Diapason, closed wood i6 feet. 2. Large Open Diapason, metal 8 feet. 3. Small Open Diapason, metal 8 feet. 4. Stopped Diapason and Clari- bella, wood 8 feet. 5. Dulciana, metal 8 feet. Stops. 6. Flute (Harmonic), metal ... 4 feet. 7. Principal, metal 4 feet. 8. Twelfth, metal 3 feet. 9. Fifteenth, metal 2 feet. 10. Sesquialtera, V ranks, metal if foot 11. Trumpet, metal 8 feet. AN ACCOUNT OF COUNTRY ORGANS. 547 Swell, 10 Stops. 12. Double Diapason, closed wood i6 feet. 13. Open Diapason, metal 8 feet. 14. Stopped Diapason, wood....;. 8 feet. 15. Gamba (to Tenor C), metal 8 feet. 16. Principal, metal 4 feet. 17. Fifteenth, metal 2 feet. 1 8. Mixture, III ranks, metal. 19. Contra Hautboy, metal 16 feet. 20. Hautboy, metal 8 feet. 21. Trumpet, metal 8 feet. Pedal, I Stop. 22 Grand Open Diapason, wood 16 feet. Couplers. I. Swell to Great. | 2. Swell to Pedals. | 5, Great to Pedals. 265. Henley-on-Thames. ^The new organ in the Church at Henley-on-Thames was built by Mr. Holdich, in 1854. It contains 36 Sounding Stops, of which the following is a list : — Great, 12 Stops. 1. Large Open Diapason 8 feet. 2. Open Diapason 8 feet. 3. Clarabella Treble, and Stop- ped Diapason Bass 8 feet. 4. Principal 4 feet. 5. Flute 4 feet. 6. Twelfth 2| feet. 7. Fifteenth 2 feet. 8. Tierce if foot. 9. Sesquialtera li foot. 10. Mixture f foot. 11. Trumpet 8 feet. 12. Clarion , 4 feet. Choir, 8 Stops. 13. Dulciana 8 feet. 14. Clarabella 8 feet. 15. Stopped Diapason Bass 8 feet. 16. Principal 4 feet. 17. Flute 4feet. 18. Fifteenth 2 feet. 19. Piccolo 2 feet. 20. Cremona gfeettone. Swell, 12 Stops. 21. Double Diapason 16 feet. 22. Bourdon 16 feet. 23. Open Diapason 8 feet. 24. Stopped Diapason 8 feet. 25. Viol di Gamba , 8 feet. z6. Principal 4 feet. 27. Fifteenth 2 feet. 28. Tierce i| foot. 29. Sesquialtera ij foot. 30. Double Trumpet 16 feet. 31. Cornopean 8 feet. 32. Hautboy 8 feet. Diaocton, Pedal, 4 Stops. ■ 33. Grand Double Diapason 16 feet. | 35. Grand Principal 8 feet. 34. Grand Bourdon 16 feet. 36. Grand Trombone 16 feet. Manuals, C C to f ' in alt. Compass. I Pedal, down to CC C. 266. Chichester CAxfiEDRAL. , This organ was built by Renatus Harris, in 1678, and originally had but I Manual ; no Pedals ; only one Open Diapason, which stood in the west front of the Case, diapered and gilded ; and no Reed Stop. In the year 1725, Byfield added the Choir organ, and put a Trumpet Stop into the Great organ. In 1778, the east front Open Diapason was added by Knight, who at the same time buih the Swell. In 1806, England considerably improved the organ, by intro- ducing new and larger Sound-boards ; at the same time making the Great and Choir Manuals long Octaves ; putting a 11 rank Mixture into the Great organ ; placing a Hautboy in the room of the Swell Trumpet, and a Dulciana to Gamut 548 APPENDIX. G, in lieu of the Choir Cremona. The old pipes were at the same time rounded out and repaired. For these repairs and improvements, England received 200 guineas. A Pedal Clavier, of the same compass G G to Tenor c, was also laid down, by England, acting on the bass keys of the Great Manual. In 1829, Pilcher added a set of Unison Pedal Pipes from F F F to tenor c, and placed a Clarabella in the Swell in the room of the IV-rank Cornet. He also put in a new Horizontal Bellows, using the old Diagonals as the two feeders, and also re-gilt the Choir front Pipes. The cost was about .^100. In 1844, a set of Double Open Pedal' Pipes F F F F to C C, and a separate Bellows, were added by Gray & Davison, the largest pipes being laid horizontally at the back of the organ, in the organ loft. The Swell Clavier was at the same time extended to G G, communicating with and pulling down the corresponding keys of the Choir organ ; a Clarabella Stop was inserted in place of the V-rank Cornet in the Great organ ; a Cremona was put into the Choir ; a Coupler, Swell to Great, was applied ; also two Composition Pedals ; and the whole of the pipes were repaired, and many much improved. The cost was ;£2i8. In 185 1, the present Swell of 8 Stops was added by Hill, and the organ now contains the following Stops : — Great, 10 Stops. 1. Open Diapason. 2. Open Diapason. 3. Stopped Diapason. 4. Clarabella, in place of V-rank Cornel. 5. Principal. 6. Twelfth. 7. Fifteenth. 8. Sesquialtera ...III ranks. 9. Mixture II ranks. 10. Trumpet, draws in halves. Choir, 6 Stops. 11. Dulciana to Gamut G. 1 14. Flute. 12. Stopped Diapason. 15. Fifteenth. 13. Principal, I 16. Cremona to Fiddle g. Swell, 8 Stops. 17. Double Diapason. 21. Fifteenth. 18. Open Diapason. 22. Sesquialtera, III ranks. 19. Stopped Diapason. 23. Hautboy. 20. Principal. 24. Cornopean. Pedal, 2 Stops. 25. Great Open Bass, to F F F F, 24 feet. | 26. Open Diapason, to F F F, ij feet. Accessory Stops, Sr°c. 1 . Swell to Great. . I 3. Choir to Pedal. 2. Great to Pedal, | 4, 5. Two Composition Pedals. Canpass. Great, G G to d ^ in alt. Choir, GG to d= in alt. Swell Tenor c to d^ in alt. Swell Clavier, G G to d» in alt. Pedal, F F F to Tenor c, 20 notes. 267. Brighton. The grand instrument in the Great Concert Hall, built'by Bryceson & Co,, • has four complete Manuals, compass C C to A, 58 notes, viz.. Solo, Swell, Great and Choir organs, also an independent Pedal organ, CCC to F, 30 notes, the largest Pipe being C C C C, 32 feet. The Great organ and Manual Couplers are played by means of the Pneumatic apparatus. The Combination Pedals also act by Pneumatic power. The Bellows supply three pressures of wind. The case is of Italian design, introducing ornamental wrought ironwork, and 16 feet metal pipes, arranged in two towers, a double tier of 8 feet pipes, and projecting trumpets forming the centre front. The front pipes are richly decorated with gold AN ACCOUNT OF COUNTRY ORGANS. 549 and colours. Dimensions, 37 feet high, 25 feet wide, 16 feet deep, sary atmospheric temperature for tuning and maintaining band pitch, by the introduction of a self-i^gulating high-pressure hot-water (Perkins's patent) placed beneath the organ especially for this purpose. Solo, 6 Stops. Pipes. Feet. 1. Como Dolce, metal 58 2. Orchestral Flute, metal 58 3. Corni di Bassetto, metal 58 4 Bas- 4. Orchestral Oboe and soon, metal 5. Tromba (Harmonic) metal 6. Clarion, metal The neces- is secured apparatus Pipes. Feet. 23. 24. 25. 26. Bourdon and Double Diapa- son, wood 58 .. 16 Open Diapason, metal ,8 .. 8 Viola, wood and metal 58 .. 8 Rohr Flote, wood and metal 58 .. 8 Principal, metal ,8 .. 4 Echo Flute, metal 58 .. 4 Flageolet, metal 58 .. 2 Double Open Diapason, wood »7 and metal 58 . ^8 . . i5 .. 8 -•8 Great Open Diapason, metal 29 Violin Open Diapason, metal ^i! . . 8 1° Hohl Flote, wood and metal ■;« . . 8 ^i Salcional, wood and metal ... ^8 . . 8 S* Principal, metal 58 • •• 4 Swell, 14 Stops. 14. Twelfth and Fifteenth, metal i^. Mixture (19, 22), metal ... 16. Double Trumpet, metal ... 17. VoiX Humane, metal 18. Cornopean, metal 19. Oboe, metal 20. Clarion, metal Tremulant acting on Swell. Great, 12 Stops. Wald Flote, wood and metal 28. Twelfth, metal Fifteenth, metal Mixture {19, 22), metal Trumpet, metal Clarion, metal Dulciana, metal Flauto Traverso, metal Voix Celeste, metal Lieblich Gedact, wood and metal 58 58 58 58 Choir, 8 Stops. yj. Harmonic Flute, metal 38. Stopped Flute, metal 39. Harmonic Piccolo, metal ... 40. Clarionet and Bassoon, metal Sub-bass, wood Open Diapason, wood.. Violon, metal Bourdon, wood Violoncello, metal 3° 30 30 30 30 Pedal, 9 Stops. 32 46. Flute, wood 16 47. Bombarde, metal 16 48. Trombone, metal 16 49. Trumpet, metal... 58 58 58 116 116 58 S8 58 58 58 58 58 58 116 58 58 58 58 58 58 30 30 30 30 Couplers. Super Solo to Choir. Sub Solo to Choir. Solo to Choir. Solo to Great. Super Swell to Great. Sub Swell to Great. Swell to Great. Swell to Choir. , 12. 13- 14. 15- Choir to Great. Solo to Pedals. Swell to Pedals. Great to Pedals. Choir to Pedals. Summary. Stops. Soloorgan ... Swell organ Great organ Choir organ Pedal organ Couplers ... 14 9 •5 Pipes. 348 928 754 464 270 Total. 3 & 2 ?5 4 Combination Pedals to Swell organ. 4 Combination Pedals to Great organ. 64 2764 4 Combination Pedals to Pedal organ. 4 Combination Pedals to Couplets. SSO APPENDIX. 268. Winchester. The fine organ in Winchester Cathedra^ was built by Willis, under the direction of Dr. S. S. Wesley. It comprises 4 Manuals, an independent 32-feet Pedal of 8 Stops, and altogether 48 Sounding Stops, nearly all of which are whole Stops. . The following is the scheme : Great, 13 Stops. 14. IS- 16. 17- 18. I9' Double Diapason 16 feet. Open Diapason 8 feet. Open Diapason 8 feet. Stopped Diapason 8 feet tone. Principal 4 feet. Principal 4 feet. Twelfth 2f feet. Fifteenth i feet. 9. Sesquialtera. 10. Mixture. 11. Trombone... 8 feet. 12. Trumpet 8 feet. 13. Clarion 4 feet. Swell, 13 Stops. Double Diapason 16 feet. Open Diapason 8 feet. Stopped Diapason 8 feet tone. Principal 4 feet. Flute 4feet. Twelfth zjfeet. Fifteenth 2 feet. Sesquialtera. 22. Mixture. 23^ Trumpet 16 feet. 24. Trumpet 8 feet. 25. Hautboy 8 feet. 26. Clarion 4 feet. 27. Open Diapason 8 feet. 28. Stopped Diapason 8 feet tone. 29. Dulciana 8 feet 30. Principal 4 feet. Choir, 8 Stops. 31. Flute 4 feet. 32. Fifteenth 2 feet. 33. Sesquialtera 34. Cremona 8feettone. 35. Harmonic Flute , 8 feet. 36. Harmonic Flute 4 feet. 37. Piccolo 2 feet. Solo, 6 Stops. 38. Horn 8 feet. 39. Orchestral Hautboy 8 feet. 40. Corno dl Bassetto 8 feet tone. Pedal, 8 Stops. 41. 42. 43- 44. Double Double Diapason ... 32 feet. Double Open Diapason 16 feet. Double Dulciana 16 feet. Open Diapason 8 feet. Compass of all the Manuals, C C 45. Principal 4 feet. 46. Mixture. 47. Trombone 16 feet. 48. Tromba 8 feet. Pedal C C C. 1. Swell to Great. 2. Choir to Great. Couplers. 3. Great to Pedal. 4. Choir to l'eil..l. Swell to Pedal. 269. Salisbury. The specification of the organ that Harris built for Salisbury Cathedral, with its " Fifty Stops, four sets of Keys, and Eleven Stops of Echps," is sufficiently curious to warrant its insertion here ; particularly as it has never before been printed. Although, according to tradition, it was a very fine instrument, yet its unusually large size was to some extent due to " show ;" not made up so much 'by the introduction of Half or Incomplete Stops — for there were but two Stops of less than the full range in the whole organ, if we except the Echos — as (i) from the adoption of a system of " Communication," whereby some Stops belonging to one Manual were made to act on a second, drawing separately and sounding indepen- dently, as though composed of entirely distinct sets of pipes ; (2) by making every rank of the Chorus -work in the Echo draw separately ; and (3) by providing three Manuals out of the four with a " Spare Stop." The custom of bringing Stops, or portions of Stops, from one Manual on to another "by Communication," as it was AN ACCOUNT OF COUNTRY ORGANS. 551 termed, was a favourite one with Harris. The Bass of the Open Diapason, Stopped Diapason, and Principal, of the Choir organ at St. Mary Axe, are borrowed in this manner ; and, this plan having been followed by the above- mentioned and other builders, examples still exist in the instruments at Isleworth, St. Bartholomew the Great, St. Dionis Backchurch, &c. In the particular instru- ment, however, under consideration, no less than thirteen of the fifteen Great organ stops were made to act after this manner, on a separate Manual as a second Great organ. The principal of making up an imposing-looking specification by such means, appears to have been disapproved of by the younger Harris and Byfield ; for they, in their agreement for the Doncaster organ, contracted for 23 Stops, '^without any communication, or any set of Pipes made to serve in a double capacity in or upon both organs."* Harris's Salisbury scheme was as follows : — Great, 16 Stops. 1. Open Diapason 8 feet. 2. Open Diapason 8 feet. 3. Stopped Diapason 8 feet tone. 4. Principal 4 feet. 5. Flute Sfeettone. 6. Twelfth 2|feet. 7. Fifteenth 2 feet. 8. Tierce 1 4 foot. Larigot i J foot. Sesquialtera, IV ranks. Cornet V ranks 8 feet tone. Trumpet 8 feet. Clarion 4 feet. Cromhorn Sfeettone. Vox Humana 8 feet tone. 12. ■3- 14. '5- 1 6. Spare Stop. Borrowed Great, 14 Stops. 22. Open Diapason 8 feet. Stopped Diapason 8 feet tone. Principal 4 feet. Flute 4feettone. Twelfth 2|feet. Fifteenth 2 feet. Tierce 14 foot. 24. Larigot ; i J foot. 25. Sesquialtera, IV ranks. 26. Trumpet 8 feet. 27. Clarion 8 feet. 28. Cromhorn 8 feet tone. 2g. Vox Humana 8 feet tone. 30. Spare Stop. Borrowed, 8 Stops. 31. Open Diapason to Gamut G 8 feet. 32. Stopped Diapason 8feettone. 33. Principal 4 feet. 34. Flute 4feettone. 35. Twelfth 2f feet. 36. Fifteenth 2 feet. 37. Bassoon 8 feet. 38. Spare Stop. Echo, to Middle c 39- 40. 41 • 42. 43- 44- Open Diapason 8 feet. Stopped Diapason 8 feet tone . Principal 4 feet. Flute 4 feet tone. Twelfth .• zffeet. Fifteenth 2 feet. 1 1 Stops. Tierce if foot. Larigot i^ foot. Trumpet 8 feet. Vox Humana 8 feet tone. Cromhorn 8 feet tone. 50. Drum Pedal, tuned to CCf Towards the end of the last century, the Cathedral underwent an extensive repair. While the alterations were in progress, King George the Third, who was then residing chiefly at Windsor, visited Salisbury, and, hearing that the means depended on the contributions of the gentlemen of Wiltshire and Berkshire, said to Bishop Barrington, " I desire that you will accept a new organ for your Cathe- dral, being my contribution as a Berkshire gentleman." The present instrument • Historical Introduction, page 131. , , ,, , i. ^i. t-i, t t The Drum Pedal was made with two Pipes, tuned at half tones from each other. There were such devices in existence, at the commencement of the present century, in the followmg organs ;— Christ Church, Spitalfields tuned to C. St. Botolph, Aldgate tuned to D. St. Johns, Wappinfe tunedtoD. St. Nicholas, Deptford tuned to D. Abingdon, Berks. 552 APPENDIX. was accordingly built, by Green, in 1792, and cost 1000 guineas and the old organ. It contains 25 Sounding Stops, of which the following is a list :— Great, 10 Stops. 1 . Open Diapason. 2. Open Diapason. 3. Stopped Diapason 4. Principal. 5. Twelfth. 6. Fifteenth. 11. Stopped Diapason. 1 2. Dulciana to Tenor c. 13. Flute. 7. Sesquialtera, III ranks. 8. Furniture ... II ranks. f Trumpet, Bass. 5- I Trumpet, Treble. 10. Cornet, V ranks to Middle c'. Choir, 6 Stops. 14. Principal. 15. Fifteenth. 16. Bassoon, Swell, 8 Stops, Compass from Gamut G to E in alt. '7 Open Diapason. Stopped Diapason. 19. Dulciana. 2o,' Principal. 21. Trumpet. 22. Hautboy. 23. Cornet, III ranks. 24. Vox Humana. »5 Pedal, I Stop. Double Diapason Pipes to F F F F. Couplers. 1. Swell to Choir. 2. Swell and Choir to Great. 3. Pedals to Great. Octave Coupler Diapasons. to the Double There is a tradition that part of Harris's organ went to Abingdon Church, in Berkshire. The Choir organ, with additions, was re-erected at Helston, in Corn- wall, by Green & Blythe, where it was opened December 8, 1799. 270. Bristol Cathedral. The old organ was built by Renatus Harris in 1685. Upon its removal (on • the rebuilding of the present organ) it was found to be completely worn out and worm-eaten. Upon the restoration of the Cathedral, the present organ was erected in the north aisle. The inside wood-work was entirely renewed. .The wood pipes were retained, as also the front pipes, which are of pure tin, and formed the two open diapasons of the Great organ from G G to middle C, and the lowest octave of the two principals. With the exception of the above, and the Trumpet and Clarion of the Great organ, the whole of the other part was renewed, but the old metal was used as far as possible. The whole of the metal pipes are spotted metal. The present organ was rebuilt by Mr. W. G. Vowles, of I5ristol, in 186 1. Great, 1 2 Stops, G G to G. 1. Open Diapason (large scale). 2. Open Diapason (small scale). 3. Clarabella to Gamut G. 4 Stopped Diapason. 5. Principal. 6. Principal. 13. Stopped Diapason. 14. Dulciana to Gamut G.. 15. Viol daGamba to Gamut G. 1 6. Flute. 7- 8. 9- 10. Twelfth. Fifteenth. Sesquialtera, Mixture IV . II ranks ranks II. 12. Trumpet. Clarion. s, GG to G. i7- 18. Principal. Piccolo, wood 19. Cremona to Tenor c. AN ACCOUNT OF COUNTRY ORGANS. 553 Swell, II 20. Double Dulciana. 21. Open Diapason. 22. Stopped Diapason. 23. Harmonic Flute. 24. Principal. 25. Twelfth. Pedal, Open Diapason, wood. | Stops, Gamut G to G. 26. Fifteenth. 27. Mixture, II ranlcs. 28. Cornopean. 29. Trumpet. 30. Hautboy. 1. Swell to Choir. 2. Swell to Great, unison. 3. Swell to Great, octaves. 4- 3 Stops, CCC to F. 32. Bourdon, wood. Couplers. I 23. Principal, metal. Pedals to Choir. 5. Pedals to Great, unison. 6. Pedals to Great, octaves. 7. Pedal organ in octaves. 3 to the Great organ. 3 to the Swell organ. Composition Pedals I 2 acting on the Couplers and Pedal I organ Draw-Stops. The old case, which is very richly carved (said to be the work of Grinling Gibbons), has been carefully preserved and adapted to the enlarged instrument. The Choir organ case, at the back of the organist, is entirely new, and being of Gothic design, contrasts strangely with the old organ case. 271. Bristol. The organ in St. James's Church', Bristol, was built in 1 824, by Smith, of that city, under the direction of Dr. (then Mr.) Hodges. It has four Manuals ; the Stops of one of which, however, are " by communication," obtained from the Great organ. The Sesquialtera in the Great organ, and the Cornet in the Swell, are not separate Stops, but are simply connecting movements for drawing the preceding three single-ranked Stops in combination. This instrument was the first in Eng- land that had a Covered Stop on the Pedal down to C C C C, the 32-feet sound. It also presents the earliest English specimen of an Octave Manual Coupler. The Swell Stops and Sound-board, moreover, are continued beyond the compass of the Manual, i.e., up to c* in altissimo, so that the Octave Coupler operates with more than usual effect. The following is a list of the Stops : — Great, 14 Stops. 1. Open Diapason 8 feet. 2. Open Diapason 8 feet. 3. Stopped Diapason Sfeettone. Principal 4 feet. 5. Principal 4 feet. 6. Twelfth 2ffeet. 7. Fifteenth 2 feet. 8. Fifteenth 2 feet. 9- . 10. Larigot i^foot. 11. Twenty - second Sesquial- tera Ill ranks. 12. Mixture II ranlss. 13. Trumpet S feet. 14. Octave Bassoon 4 feet. Inside Choir, 5 Stops. Chiefly borrowed, by communication, from Great organ. 15. Open Diapason 8 feet. 1 6. Stopped Diapason 8 feet tone. 19. 17. Principal 4 feet. Swell, 9 Stops. Flute 4 feet'. Clarionet 8 feet tone. 20. Open Diapason 8 feet. 21. Stopped Diapason 8 feet tone. 22. Principal 4 feet. 23. Twelfth 2ffeet. 24. Fifteenth 2 feet. 25, Tierce iffoot. Cornet, III ranks. 26. Hautboy 8 feet. 27. Trumpet , 8 feet. 28. Cremona 8 feet tone. SS4 APPENDIX. Pedal, 5 Stops. Double Stopped Diapason ... jz feet tone. Open Diapason 1 6 feet. Stopped Diapason i6feettone. Principal 8 feet. Bassoon i6 feet. Accessory Stops, Movements, ^c. 1 . Coupler, Swell to Great. 2. Coupler, Swell Octave to Great. 3. Couplef, Swell to Choir. 4. Couplet, Choir to Great. Compass. Great, CO toeMn alt. Choir, C C to e5 in alt. Inside Choir, C C to e' in alt. 5. Coupler, Great to Pedal. 6. Coupler, Choir to Pedal. 7 to 10. Four Wind-trunk Valves. Swell, Tenor c to c* in alt. Pedal, C C C to Tenor c. The dimensions of the Case are as follows :— viz., height, 28 feet ; width, 1 6 feet ; depth, 10 feet ; and the Choir organ is in front. 272. Wells Cathedral. The old organ in this Cathedral was built by Father Smith, in 1664 ; and re-built by Green in 1786. An octave and a half of Pedals and Double Pedal Pipes were added by Smith, of Bristol, about the year 1830. It contained 23 Sounding Stops. The present organ was.erected by Mr. Henry Willis in 1857. Great, 13 Stops, C C to G in alt., 56 Notes. 1. Double Diapason, metal 16 feet. 2. Open Diapason, metal 8 feet. 3. Open Diapason, metal 8 feet. 4. Stopped Diapason, wood ... 8 feet. 5. Principal, metal 4 feet. 6. Principal, metal 4 feet. 7. Twelfth, metal 3 feet. 8. Fifteenth, metal 2 feet. 9, Sesquialtera, III ranks, metal 10.* Mixture ...Illranks,metal 11. Posaune, metal 16 feet. 12. Trombone, metal 8 feet. 13. Clarion, metal 4 feet. Choir, ry Stops, C C to G in alt., 56 Notes. 14. Double Diapason, wood 16 feet. 15. Open Diapason, metal 8 feet. 16. Dulciana, metal 8 feet. 17. Stopped Diapason, wood ... 8 feet. 18. Principal, metal 4 feet. 19. Flute Harmonique, metal ... 4 feet. 20. Piccolo Harmonique 2 feet. 21. Clarinet and Corno di Bas- setto 8 feet. 22. Oboe (Orche.stral), from Fiddle G 8 feet. Swell, 10 Stops, C C to G in alt., 56 Notes. 23. Double Diapason and Dul- ciana 16 feet. 14. Open Diapason, metal 8 feet. 25. Stopped Diapason, wood ... 8 feet. 26. Principal, metal 4 feet. 27. Fifteenth, metal 2 feet. 28. Echo Cornet, III ranks. 29. Contra Fagotto, wood 16 feet. 30. Trumpet, metal 8 feet. 31. Hautboy, metal 8 feet. 32. Clarion, metal 4 feet. Pedal, 7 Stops, CCC to F,io Notes. 33. Double Diapason, wood 16 feet. 34. Violone, Open, metal ...; 16 feet. 35. Principal, metal 8 feet. 36. Fifteenth, metal 4 feet. 37. Mixture, III ranks, metal. 38. Trombone, wood ., 8 feet. 39. Posaune, metal 16 feet. 1. Swell to Great. 2. Choir to Great. Couplers. 3.- Swell to Pedals. 4. Great to Pedals. 5. Choir to Pedals. AN ACCOUNT OF COUNTRY ORGANS. 555 273. Exeter. The organ in Exeter Cathedral was originally built by John Loosemore, in 1665 ; but it has since received many improvements from Schrider, Jordan, Micheau ; also from Robson, Lincoln, and Gray. On the east front of the Case, along the impost, is the following inscription: — "John Loose- more made this Organ, 1665." The Swell and the Treble of the Double Diapason were added by Jordan, Bridge, and Byfield, in the latter half of the last century ; the Dulciana was introduced by Lincoln ; and the lower part of the Swell, as well as some of the Pedal Pipes, by Gray. In 1859 the Organ was taken to pieces. It was at first intended merely to remove the keys, &c., from their old position between the Great and Choir organs to the south side of the case, so that the organist might be able to hear the voices, whether they were in the choir or in the nave ; but, on examining the old work, it was seen that this could not be done without having entirely new mechanism. This being so, it was thought a pity to let the opportunity slip of affecting a re-arrangement of some parts, by which greater completeness would be given to the whole instrument. The chief alteration was in the Double Diapason. As it then stood, the lowest 15 notes were produced by open pipes, each of which had an octave helper; the remaining portion of the Stop consisting of Stopped Pipes. The lower two octaves had at some period been disconnected from the Manuals, and were exclusively played by the Pedals— a very unsatisfactory arrangement. By making use of a tower of 7 open pipes which stood in the case, and had never been used, and by making the 1 5 lower ories, mentioned above, speak without their helpers, and by putting the helpers where wanted, to speak their own pitch, a scale of 3 octaves of open double pipes was obtained, minus 2 semitones ; viz., from G G G to F, except G G g4, there being no pipe available for this note, and no room in the case to put a new one ; moreover, there was no G Gi in the rest • of the organ. The Stopped Pipes to C C were then carried down, so that a complete range of Stopped Doubles from C C upwards was obtained on the Great Manuals. The Open Doubles were placed exclusively on the Pedals, and by a mechanical contrivance they may be used either as 32-feet pipes from GGG, or as i6-feet pipes from C C, or may be used both together. The 2 J octaves of the Stopped Pipes may also be used separately on the Pedals, thus forming a Bourdon 16. feet Pedal Stop. The Pedal-board, on the radiating and concave principle, of 2j octaves, extends from C to F, and can be coupled to the Great organ, either in unison from C C upwards, or in octaves from GGG, the notes below repeating. The other altera- tions consist of a new- great Trumpet, a new Hautboy in the Swell, the substitution of a Clarabella in the Great organ for the old Mounted Cornet, and a new Bellows. - The work was admirably done by Mr Henry Willis. I. Double Diapason. 1. Open Diapason. 3. Open Diapason. 4. Stopped Diapason. 5. Principal. 6. Twelfth. Great, 11 Stops. 7. Fifteenth. 8. Sesquialtera, V ranks. 9. Clarion. 10. Trumpet. 11. Clarabella. 12. Stopped Diapason. 13. Dulciana. 14. Principal. Choir, 5 Stops. 15. Flute. 16. Cremona. SS6 APPENDIX. Swell, 6 Stops, Compass from Gamut G to F in alt. 20. Sesquialtera. 21. Hautboy. 22. Trumpet, 17. Open Diapason. 18. Stopped Diapason. 19. Principal. Compass. 2j Octaves of Pedals, from C to F, 30 Notes. | 1. Swell to Great. 2. Swell to Choir. Couplers. Pedals to Great. Pedals to Choir. 4 Composition Pedals. 5. Octave Pedals, 274. RiPON Cathedral. There is a fine organ in this Cathedral, built by Father Schmidt. About thirty-five years since, some new Stops were added by Wren & Boston, of Manches- ter ; and, at the same time, a new Case was made to the instrument. The organ now contains 26 Sounding Stops, of which the following is a list : — Great, i 3 Stops 1. Double Stopped Diapason, 7, Twelfth. 2. Open Diapason. %. Fifteenth. 3. Open Diapason. 9. Tierce. 4. Open Diapason Treble (by Wren 10. Sesquialtera & Co., Manchester). II. Mixture. 5. Stopped Diapason. 12. Cornet. 6. Principal. 13. Trumpet. Choir, 5 Stops. 14. Open Diapason. 17. Principal. 15. Stopped Diapason. 18. Flute. 16. Dulciana, Swell, 7 Stops. 19. Open Diapason. 23. Cornet. 20. Stopped Diapason. 24. Trumpet. 21. Dulciana. 25. Hautboy. 22. Principal. Pedal, I Stop. 26. Open Diapason C C down to GGG 2iifeet len Couplers. Swell to Great. | Great to Pedal. | Choir to Pedal. 275. Bangor Cathedral. This organ was built by Samuel Green, in 1779. No alterations or improve- ments have been made, except a few pedals which pull down the keys of Great organ, which were added by Bucher &' Fleetwood, of Liverpool, in 1826. Great, 7 Stops. 1. Open Diapason. 2. Stopped Diapason. 3. Principal. 4. Fifteenth. 8. Stopped Diapason 1 1 . Open Diapason, 12. Stopped Diapason. 5. Sesquialtera, Treble. 6. Sesquialtera, Bass. 7. Trumpet. Choir, 3 Stops. 9. Dulciana. Swell, 5 Stops. 13.. Principal. 14. Hautboy. J 10. Principal. 15. Cornet. AN ACCOUNT OF COUNTRY ORGANS. 557 276. St. Asaph's Cathedral. This organ was built by Hill in 1834. In 1859, additions and improvements to the organ, under the superintendence of the organist, Mr. Robert Augustus Atkins, were carried out by Hill & Son, much to the satisfaction of the Dean and Chapter. Great, 1 1 Stops, G G to F in alt. 1. Open Diapason 8 feet. 2. Open Diapason 8 feet. Gartiba 8 feet. Stopped Diapason 8 feet. Principal 4 feet. Nason Flute 4 feet. 7. Wald Flute 4 feet. 8. Twelfth 3 feet. 9. Fifteenth 2 feet. 10, Sesquialtera, III ranks. 11. Trumpet 8 feet. Open Diapason 8 feet. Stopped Diapason 8 feet. Viol di Gamba 8 feet. Choir, 6 Stops, GG to F in alt. Principal 4 feet. Suabe Flute 4 feet. Cromorne 8 feet. 15- 16. 'T- IS. Double Diapson 16 feet. 19. Open Diapason 8 feet. 20. Vox Angelica, II ranks 8 feet. 21. Stopped Diapason 8 feet. 22. Principal 4 ieet. Pedal, 1%. Open Diapason 16 feet. Swell, 10 Stops, Tenor C to F in alt. 23. Fifteenth 2 feet. 24. Mixture, III ranks. 25. Cornopean — 8 feet. 26. Oboe 8 feet. 27. Tremulant. 2 Stops. I 29. Bourdon i6feettone. Swell to Great. I Couplers. Great to Pedals. I 3. Choir to Pedals. 277. St. David's Cathedral. The organ in St. David's Cathedral was originally built by Father Schmidt, of whose workmanship (excepting the old oak case) only the Open Metal Diapason Pipes remain ; the rest is the production of Mr. Lincoln, and was supplied about - twenty-five years ago. The Compass of the Great organ is from C C to F in alt, Mr. Lincoln having added five notes to the original range, which was C C to C in alt. Of the reeds in the Great organ, the Posaune only is complete ; but the instru- ment is pierced and ready for the Clarion, although there are as yet no pipes for it. There is no Choir organ, which is a sad defect, as it is so much required in the Cathedral service. Great, 12 Stops., Double Diapason {i.e. Bourdon and Tenoroon). Open Metal Diapason (Schmidt's). Open Wood Diapason. Quint. Principal. Wald Flute. Twelfth. 8. Fifteenth. 9. Sesquialtera. 10. Mixture. 11. Posaune (very fine). 12. Clarion (no pipes as yet). Double Diapason. Diapason, metal. Diapason, wood. Principal Piccolo. I. Swell to Great Swell, 9 Stops, from Tenor C. 18. Doublette. 19. Cornopean. 20. Hautboy. 21. Clarion. Pedal, I Stop. Open Diapason from CC C 16 feet. Couplers. I 2. Pedals to Manuals. I 3. Two Octaves of Pedals. 558 APPENDIX. ORGANS IN SCOTLAND AND IRELAND. 278. Glasgow. The large and fine organ in the City Hall, Glasgow, containing fifty-five Slops and upwards of three thousand Pipes is, by many degrees, the most complete instrument yet erected in Scotland. Each manual has a range of five complete octaves, or sixty-one notes, extending from C C to C in alt., thus affording facility for the just execution of any known orchestral music, without the distortion, in- version, and consequently frequent mutilation of its passages. The Pedal Clavier has a compass of two octaves and a third, and, besides being capable of connection at will with any or all of the Manuals, comma.nds an independent organ of its own. The general contents of the instrument are as follow : — ' Great, 15 Stops. I. Bourdon 16 feet. 2i Open Diapason 8 feet. 3. Stopped Diapason 8 feet. 4. Gamba 8 feet. 5. Octave 4 feet. 6. Piccolo 4 feet. 7. Twelfth 3 feet. 8. Fifteenth 2 feet. 9. Ottavina 2 feet. 10. Sesquialt:era, III ranks. 11. Mixture Ill ranlcs. 1 2. Flute Harmonique 8 feet. 13. Flute Harmonique 4 feet. 14. Posaune 8 feet. 15. Clarion 4 feet. Swell, 16 Stops. 16. Bourdon 16 feet. 17. Open Diapason 8 feet. i8. Keraulophon ' 8 feet. 19. Stopped Diapason 8 feet. 20. Clarionet Flute 8 feet. 21. Octave 4 feet. 22. Flute 4 feet. 23. Fifteenth 8 feet. 24. Flageolet ^ feet. 25. Sesquialtera, III ranlis. 26. Mixture II ranlis. 27. Contra-Fagotto 16 feet. 28. Cornopean 8 feet. 29. Oboe g feet. 30. Voix Humaine ; 8 feet. 31. Clarion 4 feet. Choir, 10 Stops. 32. Open Diapason (tin) 8 feet. 33. Clarionet Flute 8 feet. 34. Stopped Diapason Bass 8 feet. 35. Salcional 8 feet. 36. Octave 4 feet. 37. Flut^ 4 feet. 38. Fifteenth 2 feet. 39. Piccolo 2 feet. 40. Corno di Bassetto 8 feet. 41. Voix Celeste 8 feet. Pedal, 6 Stops. 42. Contra" Bourdon 32 feet. 43. Open Diapnson 16 feet. 44. Bourdon 16 feet. 45- 47- Octave 8 feet. Fifteenth 4 feet. Trombone 16 feet. Coupling Stops, Sr'c. 48. Swell to Great Manual, Unison. 49. Swell to Great Manual, Super Octave. 50. Swell to Great Manual, Sub Octave. 51. Choir to Great Manual, Sub Octave. 52. The Reeds and Harmonic Flutes Great to Swell, Unison, by a Pedal. 53. Swell Manual to Pedal. 54. Great Manual to Pedals. 55. Choir Manual to Pedals. of AN ACCOUNT OF SCOTCH AND IRISH ORGANS. SS9 There is a tremtilant in connection with the Swell, and six composition Pedals for producing varied combinations of the Great organ Stops, besides two for the Swell : and the organ is further provided with the Pneumatic Lever for lightening the touch. The last four Stops of the Great (the harmonic flutes and reeds) are placed on a distinct Sound-board, in order that they may be supplied with air at a higher pressure than that allotted to the rest of the Great organ ; and this pressure is again increased in the three upper octaves of these Stops. Furthermore, by a peculiar meqhanical arrangement,, these four Stops can at pleasure be thrown out of connection with the Great organ keys, and placed under the command of the Swell Manual. 279. Edinburgh. The organ of the Music Hall, at Edinburgh, is a particularly fine instrument. It was built in the year 1843, by Mr. Hill, of London, and contains 38 Sounding Stops, of which the following is a list : — Great, 14 Stops. I. Tenoroon 16 feet. z. Bourdon, to meet No 16 feet tone. 3. Unison open 8 feet. 4. Unison closed, Treble 8 feettong. 5. Unison closed, Bass 8feettone. 6. Quint * 5jfeet. 7. Octave 4 feet. Wald Flute 4 feet. • Duodecima zj feet. Super Octave 2 feet. Sesquialtera, III ranks i|- foot. Mixture II ranks Jfoot. Doublette ... II ranks 2 feet. Posaune 8 feet. Choir, II Stops. Clarabella 8 feet. Unison closed, Bass 8 feet tone. Salicional 8 feet. Viol di Gamba 8 feet. Closed Flute 4 feet tone. Celestina 4 feet. 21. Oboe Flute 4 feet. 22. Piccolo 2 feet. 23. Cremona 8 feet tone. 24. Corno Flute 8 feet. 25. Cornopean, Bass 8 feet. Swell, 10 Stops. 26. Tenoroon Dulciana 16 feet. 27. Unison, open 8 feet. 28. Unison, closed 8 feet tone. 29. Octave 4 feet. 30. Suabe Flute 4 feet. 31. Flageolet 2 feet. 32. Doublette II ranks 2 feet. 33. Echo Cornet, IV ranks. 34. Oboe 8 feet. 35. Cornopean 8 feet. Pedal, 3 Stops. 36. Contra Bass, open 16 feet. 1 38. Trombone, of wood 16 feet. 37. Bourdon, stopped iSfeettone. | Accessory Stops, Movements, Sr'c. 1. Coupler, Swell to Great. 2. Coupler, Choir to Great. 3. Coupler, Great to Pedal. 4. Coupler, Choir to Pedal. 5, 6, 7. Three Composition Pedals, Compass. Great, C C to f= in alt. I Choir, C C to P in alt. | The Cas* is 35 feet in height, and 17J feet in width. Swell, Tenor c to P in alt. Pedal, C C C to Tenor d. 560 APPENDIX. 280. Edinburgh University, ThisJine instrument was built for Professor Donaldson in 1861 by Hill & Son, who took even more than their usual pains and interest in its construction. In consequence of inability to obtain a sum sufficient to carry out the original design in its integrity, some omissions-were necessary. Since Professor Oakeley's succes- sion to the Chair of Music, these omissions have been supplied, and various additions have from time to time been made. The Solo organ has been enclosed in a swell box, by which addition its stops are much softened and mellowed. This portion of the instrument now contains some admirable Solo Stops. The Clarionet and Oboe are especially successful imitations of the orchestral instru- ments whose name they bear ; and to this Manual four very delicately-voiced registers have been contributed by Messrs. Forster & Andrews, of Hull, namely — Nos. 2, 3, 4, and 8, the last of which is from Cavailld-Coll, of Paris, and is of different construction to the Vox-humana in the Swell. Additions of importance have also been recently been made to the apparatus for supplying wind. A five- inch hydraulic engine, supplying the pneumatics, has been exchanged by Messrs. Joy for a seven-inch engine, the former one having proved unequal to its work. A second feeder has been added to the larger engine, of the same size as the other feeder blown by it ; but delivering into the low-pressure reservoirs, and thus assisting the other engine and its feeders which supply the speaking part of the organ which, without such assistance, were only just equal to the supply demanded from them. The pneumatics are thus rendered efficient by the supply of a full pressure of wind, and the speaking part of the instrument receives an addition equal to twenty more degrees wind than before the second feeder was added. The organ has lately (through the munificence of Sir David Baxter, Bart., a great benefactor to the University) received the addition of a handsome oak case, and the larger pipes in the side wings or towers have been gilded. In the centre are placed the arms of General Reid, the founder of the Chair of Music. As some additions to the Pedal organ may at some future time be made, the names of the four Stops in contemplation are given in italics in the subjoined list : — Great, 12 Stops, CC to G. 1. Double Open Diapason, metal to C 16 feet. 2. Open Diapason, metal 8 feet. 3. Stopped Diapason, wood ... 8 feet. 4. Gamba, metal 8 feet. 5. Principal, metal 4 feet. 6. Harmonic Flute, metal to C 4 feet. 7. Twelfth, metal 2J feet. 8. Fifteenth, metal 2 feet. 9. Mixtur, IV ranks, metal. 10. Trompet, metal 8 feet. ii.*Clarion, metal 4 feet. 12. Harmonic Mixture, XIV ranks (Tenor c) Swell, 13 Stops, same Compass. 13. Bourdon, wood 16 feet. 14. Open Diapason, metal 8 feet. 15. Stopped Diapason, wood 8 feet. 16. Dulciana, metal 8 feet. 17. Principal, metal 4 feet. 18. Flute, metal 4 feet. 19. Fifteenth, metal 2 feet. 20. Mixtur, 11 ranks. 21. Oboe, metal 8 feet. 22. Horn, metal 8 feet. 23.*Clarion, metal 4 feet. 24.*Vox Humana, metal 8 feet. 25.*Contra Fagotto, metal 16 feet. Choir, 10 Stops, same Compass. z6.*Double Diapason, wood 16 feet. 27. Open Diapason, wood 8 feet. 28. Stopped Diapason, wood 8 feet. 29. Dulciana, metal 8 feet. 3".*Salicional, metal 8 feet. 31. Gamba, metal 8 feet. 32.* Gemshorn, to Tenor c, metal 8 feet. 33. Suabe Flute, wood 4 feet. 34. Gemshorn, metal 4 feet. 35. Piccolo, wood and metal ... 2 feet. AN ACCOUNT OF SCOTCH AND IRISH ORGANS. Solo, 9 Stops, same Compass. S6i 36.*Hohl Flute, wood 8 feet, 37.*Elute d'Amour, metal, lower octave, wood ;. 8 feet. 38.*Salicional to C, metal 8 feet. 39.*Flauto traverso, metal 4 feet. 40.*Dolcean, metal 4. feet. Pedal, 10 Stops, CCC to F. 41. *Clarionet, metal '. 8 feet. 42.*Oi-chestral Oboe tj G, metal 8 feet. 43.*Voix humaine 8 feet. 44.*Cor Anglais, metal 16 feet. 45. Double Open Diapason, wood 31 feet. 46. Open Diapason, wood 16 feet. 47. Keraulophon, metal i6 feet. 48. Violon, wood 8 feet. 49.*Fifteenth, metal 4 feet. 5o.*Trombone, wood 16 feet. 51. Trumpet, metal 8 feet, 52. Mixture, III ranks. 53. Violon 16 feet. 54. Double Open Diapason, metal 32 feet- Couplers. I. Pedal to Great. 6.*Solo to Swell, a. Pedal to Swell. 7. Swell Unison to Great. 3. Pedal to Choir. 8.*Swell Sub-octave to Great. 4. Choir to Great. 9.*Swell Super-octave to Great. 5.*Solo to Great. io.*Swell to Choir. Composition Pedals. Three to Great. | Two to Swell. | Tremulant to Swel). Summary. Sounding Stops 50 Couplers 10 Total number of Pipes 3>*S' I Total Drawstops 60 With proposed Pedal Stops 3,4*i 281. St. Andrew's Cathedral, Inverness. This fine instrument is the gift of Miss Macpherson-Grant of Aberlour, and was built by Messrs. Hill & Son of London, from the specification, and under the superintendence of Professor Oakeley, and contains the following Stops : — Great, CC to G, 10 Stops. I. Bourdon 16 feet. z. Open Diapason 8 feet. 3. Cone Gamba •. 8 feet. 4. Stopped Diapason 8 feet. 5. Principal 4 feet. 'Swell, CC to 11. Bourdon and Double Open ... j 6 feet. 12. Open Diapason 8 feet. G, Stopped Diapason 8 feet. 14. Principal 4 feet. Choir, CC to 19. Dulciana 8 feet. 20. Gedact 8 feet. 21. Gemshorn. 4 feet. Pedal, CCC to E, 3 Stops. 24. Open Diapason 16 feet. 25. Bourdon 16 feet Couplers. 6. Wald Flute 4 feet. 7. Twelfth 3 feet. 8. Fifteenth 2 feet. 9. Mixture, III ranks i^ foot. 0. Trumpet 8 feet. S, 8 Stops. 5. Mixture, 3 ranks. 6. Cornopean 8 feet. 7. Oboe 8 feet. 8. Vox humana ..1 8 feet. 5 Stops. 22. Suabe Flute 4 feet. 23. Clarionet 8 feet. 26. Violone 8 feet. 1. Swell to Great. 2. Swell to Pedal. Three to Great Organ Great to Pedal. Choir to Pedal. Compensation Pedals. I Two to Swell I The total number of Pipes is 1590. Tremulant to Swell. ' Added or transplanted by present Professor. AAA 562 APPENDIX. The organ is provided with three Manuals, and is blown by Joy's Patent Water Engine. It was the original intention of the Committee to have placed the organ in the small chamber to the left, but the presentation of such a handsome gift rendered this fortunately impossible, and the end of the south transept was selected — a position which has met with the approval of musical authorities. Room is provided for additional stops, with 32 feet open Diapason on the Pedal, and should such be added, the organ would be one of the largest in Scot- land. 282. Dublin. The original organ in St. Patrick's Cathedral, Dublin, was built by Renatus Harris, in 1697 ; in confirmation of which, the following is extracted from the Chapter book : — " 12th August, 1695. The Dean and Chapter agree with Renatus Harris, of Londoii, Organ Builder, to make and set up a Double organ for the sum of jo5°5- III the Gre^t organ. Open Diapason of metal. Stop Diapason of wood, Principal of metal, Nason of wood, a great 12th of metal, 15th of metal, Sesquialtera of metal, a Mixture of metal, a Cornet of metal. In the Little organ — a Principal of metal. Stop Diapason of wood, 15th of metal, Nason of wood, being in all 13 Stops, consisting of 800 Pipes, Sound-board, &c., &c. The Pipes of the old organ to be removed, and to allow £6^ for the same." "nth March, 1697. Organ erected and examined by the several Vicars." " loth May, 1697. Further contract for additional Stops for .^350, to be paid at Strongbow's Tomb, in Christ Church, on stated times named — viz.. Trumpet Stop, Echo Stop, Time Stop (.?), entire Open Diapason, Flute of metal, Great Furniture of 3 ranks." By whom the present organ was rebuilt, &c. (probably by Byfield), we have no means of ascertaining ; it has evidently been altered and improved of later years, by its having a Pedal organ of two Octaves and two Notes. The organ contains : — Great, 1 1 Stops, G G to F in alt. 1. Open Diapason. 2. Large Open Diapason. 3. Stopped Diapason. 4. Principal. 5. Twelfth. 6. Fifteenth. 7. Tierce. 8. Sesquialtera Ill ranks. g. Furniture ITT ranks. 0. Cornet from Tenor C, V ranks. 1 . Great Trumpet. Choir, 4 Stops, GG to E in alt. 12. Stopped Diapason. 13. Dulciana. 14. Flute. 1 5 . Large Principal, stopped and open, borrowed from the Great organ by means of tubes. Swell, 8 Stops, from Gamut G. r6. Double Diapason. 20. Twelfth. 17. Open Diapason. 21. Fifteenth. 18. Stopped TDiapason. 22. Hautboy. 19. Principal. 23. Trumpet. Pedal, 2 Stops, from CCC to E, two Octaves and two Notes. 24. Double Diapason, 16 feet. | 25. Stopped Diapason, 8 feet, unison. Couplers. Great to Swell. I Pedals to Great. AN ACCOUNT OF SCOTCH AND IRISH ORGANS. 563 283. Dublin. The organ in Christ Church Cathedral, Dublin, was originally built by Byfield, of London, in A.D. 1751, but has been altered by various builders, and numerous additions made at different times. It originally consisted of 2J rows of keys. Great and Choir organs, G G long octaves to d' in alt.. Swell from fiddle g to d' in alt. An excellent Swell was added in 1845, from CC to F in alt. The older organ formed a portion of the one built by Renatus Harris for the Temple Church, London. Upon the erection of the present instrument by Byfield, he took the Old organ in exchange as part of payment, which instrument was sold, after his death, for ;£soo, and placed in Wolverhampton Church. This organ originally contained a Double Bassoon to the D D key (D D D Pipe^, which appears to have been the first double Reed introduced into any British organ. : alt. Great, 10 Stops, GG to F i 1. Double Open Diapason, 2. Open Diapason, No. i. 3. Open Diapason, No. 2. 4. Stopped Diapason. 5. Principal. Choir, 5 Stops, GG to F in alt 6. Twelfth. 7. Fifteenth. 8. Doublette, 8ve, ijth, and zznd. 9. Sesquialtera, III ranks (useless). 10. Trumpet (entirely useless). 11. Open Diapason, from middle D upwards. 12. Dulciana. Stopped Diapason., Principal. Flute. Swell, 1 1 Stops, CC to F in alt. »7 22. Fifteenth. 23. Doublette, 8ve, 15th, and 22nd. 24. Sesquialtera. 25. Oboe. 26. Trumpet. 1 5. Double Stopped Diapason. 17. Open Diapason. 18. Dulciana. 19. Stopped Diapason. 20. Principal, 21. Twelfth. Pedal, 2 Stops, CC to D, two Octaves and two Notes. Open Diapason, 16 feet. | - 28. Principal, 8 feet. Coupling Actions. Swell to Great. I SweU to Pedals. | Great to Pedals. 284. Dublin. The greater portion of the organ in Trinity College Chapel, Dubhn, was built by Telford, of Dublin, in 1838. It occupies the case of an organ built by Green, of London. The Choir of Green's instrument was not removed, on account of its excellence ; the Swell, Great, and Pedal organs are alone new. Great, 8 Stops, GG to F in alt. 5. Twelfth. 6. Fifteenth. 7. Sesquialtera. 8. Trumpet. 1. Open Diapason 2. Open Diapason. 3. Stopped Diapason. 4. Principal. Choir, 4 Stops, GGtoE in alt. 9. Stopped Diapason. I 11. Principal, 10. Dulciana. Fifteenth. 1 3 Double Stopped Diapason. 14. Open Diapason. 15. Dulciana. 1 6. Stopped Diapason. 17. Principal. Swell, 9 Stops, C, Afiet, to F in alt. 18. Principal. 19. Fifteenth. 20. Oboei 21. Trumpet. A A A 2 S64 APPENDIX. Pedal, 5 Stops, GG to F, Octave and a half. 22. 'Unison. 23. Principal, 24. Twelfth. 25. Fifteenth. 26. Trumpet. Coupling Actions. Swell to Great, Great to Pedals. 285. Dublin. The organ in the Roman Catholic Church of St. Nicholas, Dublin, was built by Telford, of Dublin. Great, 12 Stops, FF F to F. 1 Great Open Diapason, metal 8 feet. 2. Open Diapason, metal 8 feet. 3. Dulciana, open, metal 8 feet. 4 .Stopped Diapason, wood 8 feet. 5. Principal, metal 4 feet. 6. Second Principal, metal 8 feet. 7. Twelfth, metal ..' 2| feet. 8. Fifteenth, metal 2 feet. 9 Sesquialtera, III ranks. 10. Mixture H ranks. 11. Trumpet 8 feet. 12. Clarion 4 feet. 13- 14. 15- 16. Open Diapason, metal 8 feet. Dulciana, metal 8 feet. Stopped Diapason, wood ... 8 feet. Principal, metal 4 feet. Choir, 7 Stops, FFF to F. 17. Flute, wood 4 feet. 18. Fifteenth, metal 2 feet. 19. Cremona, metal 8 feet. Swell, 10 Stops, Gamut G to F. 20. Double Stopped Diapason, metal 16 feet. 21. Open Diapason, metal 8 feet. 22. Dulciana, metal — 8 feet. 23. Stopped Diapason, wood 8 feet. 24. Principal, metal 4 feet. 2J. Twelfth, metal 2J feet. 26. Fifteenth, metal 2 feet. 27. Sesquialtera, [I[ ranks. 28. Trumpet 8 feet. 29. Hautboy 8 feet. Pedal, 5 Stops, FFF to F. 30. Double, open, wood 16 feet. 33. 31. Unison, open, metal 8 feet. 34, 32. Octave 4 feet. Twelfth 2f feet. Fifteenth 2 feet. 286. Dublin. The organ in the Roman Catholic Cburch of St. Francis Xavier, Gardener Street, Dublin, was built by Flight & Robson, and finished and erected by Gray & Son. Great, 13 Stops, FF F to G in alt. Feet. 1 . Double Diapason, metal and wood 16 2. Great Open Diapason, metal 8 3. Small Open Diapason, metal 8 4. Stopped Diapason, wood ... 8 5. Quint, metal 5 6. Principal, metal 4 Pipes. Feet. 7. Twelfth, metal 2| . 51 8. Fifteenth, metal 2 63 9. Twenty-second, metal i . 51 10. Sesquialtera, III ranks, metal i . 63 II. Mixture Ilranks i . 51 12. Trumpet, metal 8 . 63 13. Clarion, metal 4 Choir, 8 Stops, FFF to G. 14. Open Diapason, metal ...... If. Dulciana, wood and metal... 16, Stopped Diapason, wood ... 17. Keraulophon, metal 63 SI 63 44 18. Principal, metal 4 19. Flute, wood 4 20. Fifteenth, metal 2 21. Cremona, metal 8 Pipes. ■ 63 ■ 63 . 63 . 189 . 126 • 63 • «3 63 5' 64 39 AN ACCOUNT OF SCOTCH AND IRISH ORGANS. Swell, 12 Stops, FFto G in alt. Feet. Z2. Double Stopped Diapason, bass-wood i6 23. Double Open Diapason, treb. metal 16 24. Open Diapason, metal 8 25. Stopped Diapason, wood S 26. Principal, metal 4 Pipes. 5' 5' Feet. 27. Flute, wood 4 28. Fifteenth, metal z , 29. Sesquialtera III ranks 30. Cornopean, metal 8 31. Trumpet, metal 8 . 32. Hautboy, metal 8 33. Clarion, metal 4 , S65 Pipes. • 51 • 51 ■ '53 ■ 5' 5' ■ SI SI 2S Pedal, 2 Stops, FFF to F. 34. Double Open Diapason, wood 16 ... 25 | 35. Unison Open Diapason Accessory Stops, Movements, &»c. I to 8. Eigiit Composition Pedals. | 9 to 12. Four Coupling Actions. 287. Belfast. The organ in the New Church of St. Malachy, Belfast, was built by Telford, of Dublin, in 1849. It has three complete Manuals, from C C to F in alt., and a Pedal, from C C C to E— two octaves and four notes ; also 33 Sounding Stops, of which the following is a list : — Great, 13 Stops, C C to Fin alt. 1. Bourdon, wood 16 feet. 2. Tenoroon, metal 16 feet. 3. Great Open Diapason, metal 8 feet. 4. Small Open Diapason, metal 8 feet. 5. Stopped Diapason, wood ... 8 feet. 6. Principal, metal 4 feet. 7. Twelfth, metal zf feet. Choir, 7 Stops, CC to F in alt. 8. Fifteenth, metal 2 feet. 9. Doublette, metal i foot. 10. Sesquialtera, metal, III ranks. 11. Mixture, metal Ilranks. 12. Posaune, metal 8 feet. 13. Clarion,metal 4 feet. 14. Dulciana, metal 8 feet. 15. Stopped Diapason, wood ... 8 feet. 16. Clarabella, wood 8 feet. 17. Viol di Gamba, metal 8 feet. Swell, 10 Stops, CC, to Fin alt. 18. Principal, metal 4 feet. ig. Wald FJute, wood 4 feet. 20. Fifteenth, metal 2 feet. 22 *3' 24. 25. 31- 26. 27- Double Stopped Diapason, wood 16 feet. Open Diapason , metal 8 feet. Dulciana, metal 8 feet. Principal, metal 4 feet. Twelfth, metal 2f feet. Pedal, 3 Stops, CCCtoE,2f) Notes. Grand Double Open Diapa- I 32. Double Trombone 16 feet. son i6feet. 133. Unison Trombone 8 feet. Fifteenth, metal., 2 feet. Doublette, metal 1 foot. 28. Sesquialtera, metal. Ill ranks, 29 Cornopean, metal 8 feet. 30. Hautbois, metal.. 8 feet. Couplers, &^c. 1. Swell organ to Great Manual. 2. Swell organ to Choir Manual. 3. Swell organ to Pedals. The largest Pipe is 16 feet long; the smallest, | of an inch, 4. Great organ to Pedals. 5 to 8. Four Composition Pedals. 288. Cashel. The organ in Cashel Roman Catholic Cathedral, Ireland, was erected, in 1846, by Bevington & Sons. It is one of the largest organs in the South of Ireland. Great, 11 Stops, FFFto F. Pipes. Iso 1. Tenoroon, metal 2. Bourdon Bass FFFF 3. Open Diapason, F F F, metal 60 4. Stopped Diapason 60 5. Principal 60 6. Twelfth 60 7. Fifteenth 60 Pipes. 8. Sesquialtera, IV ranks 240 9. Mixture Ill ranks 180 10. Trumpet 60 11. Clarion 60 900 566 APPENDIX. Choir, 9 Stops. Pipes, 1 2. Open Diapason, F F F, metal 6o 13. Dulciana, FF "... 49 14. Stopped Diapason, Treble \(,a 15; Stopped Diapason, Bass, FFF J 16. Principal, F F F 60 17. Flute.FFF 60 Swell, 8 Stops, Tenor C to F. Pipes. 18. Fifteenth 60 19. Clarionet 42 20. Bassoon, bass, F F F 18 409 21. Double Diapason 42 22. Open Diapason 42 23. Stopped Diapason 42 24. Principal 42 25. Flute, open, wood 42 26. Cornet, III ranks 126 27. Cornopean 42 28. Oboe 42 420 Pedal, I Stop. 29. Open, wood, C C to F F F F 24 feet. Accessory Stops, Movements, &'c. I to 6. Six Composition Pedals. | 7 to 10. Four Coupling Movements. Pipes. Great organ 900 Choir 409 Swell 420 Pedal Total., Pipes. 20 .1749 289. Kilkenny. The organ in the Cathedral Church of St. Canice, Kilkenny, was first erected in the Great Exhibition Buildings at Dublin, and was afterwards sold to the Dean and Chapter of the above Cathedral. The case is Gothic, handsomely carved. The organ contains 3 rows of Keys — Great, Swell, and Choir; and Pedal, of 2 Octaves and 2 Notes. J Great, 1 1 Stops, C C to F in alt., 54 Notes. Pipes. 1. Open Diapason, No. i 54 2. Open Diapason, No. 2 , 54 3. Stopped Diapason I 4. Claribel J 54 5. Principal 54 6. Twelfth 54 Pipes. 7. Fifteenth 54 8. Sesquialtera, III ranks 162 ,9. Mixture ...11 ranks 108 10. Trumpet 54 IT. Clarion ^4 Swell, 8 Stops, Tenor C to F in alt., 42 Keys. 12. Double Diapason 42 13. Open Diapason 42 14. Stopped Diapason 42 ij. Principal 42 16. Doublette (15th, 22d) 84 17. Double Trumpet 42 18. Cornopean 42 19. Clarion 42 20. Double Diapason, Bass, closed wood... 54 21. Double Diapason, Treble, closed) wood t 54 22. Stopped Diapason ^4 23. Dulciana, Tenor c 42 Choir, 8 Stops, C C to F in alt, 54 Notes. 24. Viol de Gamba, Tenor c 42 25. Principal, C C 54 26. Flute, Tenor c 42 27. Cremona, G 35 Pedal, I Stop, C C C to C, 27 Notes. Great Open Diapason (16 feet) 27 Pipes. 1 . Swell to Great. 2. Swell to Choir. 3. Pedals to Great. Coupling Actions. 4. Pedals to Choir. 5. Pedals to Swell. AN ACCOUNT OF SCOTCH AND IRISH ORGANS, ETC. 567 290. Tasmania. The new organ in the Town Hall; Hobart Town, was built, under the superin- tendence of Mr. Richard Limpus, organist of St. Michael's Church, Cornhill, by- Mr. J. W. Walker. It has 3 complete Manual organs — compass of each from C ^ to G, 56 notes ; and an independent Pedal organ, of 3 complete Stops (prepared for a fourth), viz.", from C C C to F Tenor, 30 notes. The instrument is enclosed in a stained case, with decorated Speaking Pipes in front, and stands about 16 feet 6 inches wide, 16 feet deep, and 19 feet 6 inches high. The whole of the Pipes and interior works are constructed to suit a warm climate. It is proposed even- tually to apply water-power to the Bellows. Great, 11 Stops, CC to G. Feet. Pipes. Feet. 16 tone. 8. Fifteenth 56 ... 2 Mixture, III ranks ... 168 ' Pipes. I. Bourdon 56 I. Open Diapason 56 3. Gamba 56 4. Stopped Diapason -56 5. Princpal. 56 6. Wald Flute 56 7. Twelfth 56 8 tone. 4 4 Trumpet 56 Clarion 56 728 Swell, 9 Stops, C C to G. 12. Bourdon 5^ 13. Open Diapason 56 14. Stopped Diapason 5^ 15. Principal 5^ 16. Piccolo i6 17. Twelfth and Fifteenth 112 ... 16 tone. 8 tone. 2f &2 18. Mixture, V ranks ... 280 19. Orchestral Oboe 56 20. Cornopean 56 784 21. Keraulophon 56 22. Stopped Diapason 5^ 23. Harmonique Flute ... 56 24. Concert Flute 56 Choir, 6 Stops, C C to C. 25. Flageolet 56 26. Clarionet, Tenor C ... 44 8 tone. 8 tone. 4 tone. 324 Pedal, 3 Stops, CCCtoF, Tenor. 27. 28. 29. Open Diapason 30 Bourdon 3° Violoncello 3° 16 16 tone. . 30. Spare Slide for Trom- bone .. 16 90 I. Swell to Great. 2 Great to Pedals. Great Swell Choir .. Pedal Couplers Couplers. Swell to Pedals. Choir to Pedal.1. Summary. 5. Super Octave to Great. Four Composition Pedals. Pipes. ,. 728 .. iH .. 324 ,. 90 Totals 1926 Stops. .. II ... 9 ... 6 3 5 34 INDEX TO HISTORY OF THE ORGAN. A. Page Agricola (Rodolph), organ-builder, &c 74 Andre, of Brunswick, organ-builder 53 Antegnati, of Brescia, a celebrated family of organ-builders 75 Athenasus, his description of the hy- draulic organ ■. 9 Avery (John), notice of, and list of his organs 148 B. Bagpipe, its origin 4 Barbye, organ-builder 58 Beck (David), of Halberstadt, organ- builder 74 Bedos (Dom), his work entitled L'Art du Facteur des Orgues 12 Bellows, the ancient, described 33 — r— "alalanteme" 35 its. first invention 4 Berhhard, the reputed inventor of the pedal 44 Beton, or Betun (William) organ-builder 57 Beynton, Richard, organ-builder 58 Blowing, ancient mode of 34 Bonani's (Father), Gabinetto Armonko, notice of curious organs from 86 Borton, Robert, organ-builder 50 Bridge (Richard), biographical notice of, and list of his organs 140 Broughe, organ-builder 58 Browne (Thomas), organ-builder 5^ Bumbulum cum fistula aerea, an organ so called 3° Byfield (John), biographical notice of, and list of his organs 130 (John), jun., biographical notice of, . and list of his organs I4I Byfield, Bridge, and Jordan — list of organs by these builders conjointly ... 141 C. Carillon-playing described 32 Casparini (Eugenius), organ-builder. 155 Cassiodorus, his description of the pneu- maticorgan 16 Castendorfer (Stephen), organ-builder... 53 Chamberlyn, - or Chamberlaine (John), organ-builder 55 Chappington (John), organ-builder 59 Churches, organs first introduced into ... 17 Colonna (Vincenzo), organ-builder 75 Columbi (Vincenzo), organ-builder 75 Page Constantinople, representation of an organ on the obelisk at 16 Couper (John), organ-builder 47 Crang and. Hancock (Messrs.), notice of these builders 145 Ctesibius, his invention of the water organ 10 Curiosities of organ-building 84 D. Dalham (George), organ-builder 69 Dalham (Thomas) .62 to 66 Dallam (Robert), organ-builder 66, 158 Dallans (Ralph), organ-builder 69 Dempsey (James), organ-builder 60 Duddyugton (Anthony), organ-builder... 55 Dunstan (St.), organs erected by 18 Durham Cathedral, Smith's specification of organ for 107 Ancient Kites and Monuments of ... 48 E. Eadwine's Psalter, representation of an organ from 21 Egan (Nicholas), organ-builder 72 Englebrecht (Ulric), priest and organ- builder 53 England (George), notice of, and list of his organs 150 (George Pike), notice of, and list of his organs 150 English organ-builders, early 54 Engler (Michael), organ-builder 155 Exeter Cathedral, Roger North's descrip- tion of the organ there 61 F. Faber (Nicholas), priest and organ-builder 53 French organ-builders, some notice of... 153 G. Gabler (Johann), organ-builder 155 Gaffiirius's (Franchinus) Theorica Musica, • engraving of an organ froni 33 German organ-builders, early 53 improvements by 73 further progress of 152 Giafar, the Arabian, an organ con- structed by 18 Gibbs, organ-builder 59 Glyn & Parker (Messrs.), notice of these builders, and list of their organs 142 Gori's Thesaurus Diftychorum, curious representation of an organ from 30 570 INDEX TO HISTORY OF THE ORGAN. Page Green (Samuel), biographical notice of 146 list of his organs 147 Griffin (Thomas), organ-builder 143 H. Hancock, organ-builder 145 Harris (Renatus), biographical notice of 119 list of his organs 123 (John), biographical notice of 130 list of his organs 132 (Renatus, jun.) 129 (Thomas), organ-builder 116 Hanson (John), organ-builder 58 Hauser's ICirchenTnusik, representation of an hydraulic organ from 13 Hayward (Robert), organ-builder 60 Herbst (Heinrich), organ-builder 155 Hermann, a Jesuit, organ-builder 75 Hero of Alexandria, his description of the organ 10, 156 Hildebrand (Zacharie and Johann Gott- fried), organ-builders 155 Ightam, old organ at 95 Ireland, organs in 72 Italian organ-builders 75 John de John, organ-builder 57 Jordan (Abraham), fatlier and son, bio- graphical notice of. 136 list of their organs 138 Julian the Apostate, his epigram on the organ 15 K. Kepler, his opinion of the water organ 1 1 Key-board, the first 31 the improved 43, 74 Kleng (Georgius), organ-builder 44 Kircher's (Athanasius) Musurgia, en- gravings of primitive organs from 4, 6 Kranz (Henry), organ-builder 53 Krebs (Frederick), organ-builder 53 Levfes (William), organ-builder 57 Leslie (George), organ-builder 72 Lincoln Cathedral, engraving of old organ 79 Lobsinger (Hans), of Nuremberg, inven- tor of the bellows with one fold 74 Loosemore (John), of Exeter, organ- builder 61 Lucinius's Musurgia, ^graving of the Regals from 40 M. Mace's (Thomas), MuskKs Monument, notice of a chamber organ from 86 IWacraphe d'Anichin, a Hebrew instru- ment 6 Mersennus's Harmonic Univa'selle, en- graving of an ancient bellows from ... 35 Micheau Paul, organ-builder 151 Minstrel's Gallery 38 Mixture Stops, their supposed origin ... 35 Monastic organs, the first 37 Page Monastic organs in England 45 MUller (Christian), .organ builder 155 (Nicholas), organ-builder 53 N. North (Hon. Roger), his description of the organ of Exeter Cathedral 61 0. Organ (the), anterior to the invention of the key-board i as mentioned in Genesis and other books of the Old Testament 2 Cilician 3 Hydraulic 6, 13 Altar 10 Pneumatic 14 first introduced into the Churck ... 17 Anglo-Saxon 18 Mediaeval, after the invention of the key-board 32 Monastic 37 Portative 38 Positive 40 its position in ancient times 77 at Magdalen College, Oxford, erroneous account concerning... 93 Organs in Scotland, Ireland, and Wales 70 existing old English 95 meaning of " a pair," explained ... 42 notices of English 69 notices of foreign 75 English, prior to the Rebellion ... 95 their destruction in England during the great Rebellion 88 Organ-builders, payments to old, in mo- nastic times 47 early, in Germany 53 early, in England 54 improvements by German 73 Italian 75 French 153 Organ-building, the curiosities of ,.. 84 the founders of modem 99 Organ Cases, curious decorations of, in former times 87 Organist, duties of this officer in mo- nastic times 46 Organum, the Greek and Roman use of the word I the term, in the middle ages 36 . P. "Pair of Organs" explained 42 Parker, organ-builder 142 Paul's (St.) Cathedral, queries about the organ no Pedal (the), its invention 43 Pepin (King), his introduction of the organ into France 17 Pepys' Diary, extracts from, concerning organs 94 Perugino (Luca Blasi), organ builder ... 75 Portative organs explained , 38 Position of the organ in ancient times ... 77 Positive organs explained 40 INDEX TO HISTORY OF THE ORGAN. S7I Page Powell (Dr.) his account of hydraulic organs 13 his notice of the curiosities of organ building 84 Prsetorius' Theatrum Instrumentorum sm Sciagraphia, representation of key- board from ._. 31 rejpresentation of the ancient mode of blowing from 34 Preston, of York, organ-building 60 Pull-downs, their origin 5 R. Radnor, old organ at 96 Rebellion, destruction of organs during the great 8g RegalSi the term explained 38 engraving of, from Luscinius's Mu- surgia 4° Robartt, organ-builder 59 Roder (Johaim Michael), organ-builder 155 Roose (John), organ-builder 47 Rosenburger, or Rothamburger(Comad), organ-builder S3 S. Salisbury Cathedral, account of a curious print of Harris's organ 122 Schowt, or Stut Qohn), organ-bailder... 58 Schrider (Christoph.), biographical notice of 132 list of his organs 133 Schwarbrook (Thomas), biographical no- tice of, and list of his organs 134 Scotland, organs in , 7° Seidel, his account of "grotesque" organs 87 Silbermann (Andreas), biographical no- tice of, and list of his organs 152 (Gottfried), ditto i53 (Johann Andreas), ditto 1 54 (Johann Daniel), ditto • • ■ 154 Contemporaries and successors , of this celebrated family 154 Smid (Erhart), organ-builder 53 Smith (Christian), Father Smith'snephew 128 Smith (Father), biographical notice of... 99 ■ list of his organs 112 (Gerard), Father Smith's nephew .. 128 Smyth (Thomas), organ-builder : 55 Snetzler (John), biographical notice of... 143 list of his organs I44> l^° Sterzing (Adam), organ-builder 155 Page Stops, mixture, their supposed origin ... 35 Swell (the), invented by the Jordans 136 Syrinx, or Pipe of Pan 2 T. Temple organ (the), account of the cele- brated contention concerning loi Tertullian, his opinion of the water organ 1 1 Thamer of Peterborough, organ-builder 60 Theophilus, the Monk, his curious Trea- tise on Organ-building in the nth century 221030 Thessner (Zacharius), organ-builder 154 Tibia Utricularis 5 Todino (Michele), of Savoy, organ- builder 86 Traxdorf (Heinrich), organ-builder 53 Treasorer (William), organ-maker 57 V. Vaucks, John, organ-builder 58 Van Os (Albert), called "Albert the Great," priest and organ-builder 53 Valve, origin of the 4 Vincentino (Don Nicola), harpsichord in- vented by 85 Vitruvius, his description of the hydraulic organ ' 6 Vossius, his account of an hydraulic organ 9 W. Wagner (Joachim), organ-builder 155 Wales, organs in 72 Whitehall Chapel, entries relative to Harris's organ for 121 Wilphlingseder's (Ambrosius) Erotemata Mmices Practice, engraving of a. positive organ from ,. 4' Winchester Cathedral, description of its organ at the close of the loth century 19 Wind-chest, origin of the 5 Wind-trunk, origin of the 4 Wotton (William), of Oxford, organ- builder 54 Wulstan, his description of an organ at Winchester 19 Wyght or White, organ-builder 57 Y. York Minster, Robert Dallam's specifica- tion of his organ for 67 Fabric rolls of 47 INDEX TO CONSTRUCTION OF THE ORGAN. A. Page Accompaniment (Choral), the adaption of the organ tone to the purposes of 198 Acoustic capacity of a manual organ, how increased to adapt its tone to a large building 256 Acoustic principles, the effect of large organs not constructed on 257 Acoustical facts regarding sound 235 grounds on which double stops are introduced into organs 256 Anemometer (the), explained 23 B. Bassoon 145 (Double) 144 Bellows, their use 9 diSerent kinds of 9 — — the diagonal described 9, lo the horizontal described 9, 10, 11 original defects of the diagonal 12 structural features of the horizontal 14 working of the horizontal 17 • construction of the reservoir 17 of the feeder 18 the cuckoo feeder 21 the double feeder 21 the concussion described 24 the blowing action of the 18 the waste pallet 19 defects in, and their causes 209 how they should be made 293 Block-Flute 141 Bordun 135 Building-frame (the) 287 C. Cathedral (recent) arrangements respect- ing the organ and choir 249 Celestina 140 Chancel (the) an eligible situation for a divided organ 247 Choir-screen (the) erection of Father Smith's organ on, at St. Paul's, op- posed 244 Choir (Vocal), its relative position with the organ 249 Church Organ, general requisites of a ... 253 Ciphering, the different causes of 201 Clarabella 137 Clarion 145 (octave) 146 Clarionet 145 Page Clarionet (Flute) ...., 137 Claviers (the), described 47> 49 their proper compass considered ... 213 Clear-ilute 140 Compass, the CC and GG compared, 217 to 226 Composition Pedals, their arrangement considered 282 Compound Stops considered 265 to 277 Construction of an Organ, hints to those who have to superintend the ...213 to 226 Contra-Fagotto I44 Comet 143 ^ (Mounted) 143 (Echo) 143 Comidi Bassetto 145 Como-flute 145 Cornopean 144 Coupler (sforzando) .- 56 Couplers (Manual), various kinds of 54 ■ (Pedal)J 56 Cromome, or Krumm-hom '45 Cymbal 274 D. Deciraa 140 Diapason (Double Open) 134 (Double Stopped) 13S (Open) 135 (Stopped) 137 Dolcan 137 Double Pedal Pipes. Their introduction as the first pedal stop not in accordance with the laws of organ-building 232 Double Stops, acoustical grounds on which they are introduced into organs 256 Double Trumpet 144 Doublette 141 Draw Stops, arrangement of, considered 283 Dulcet , 139 Dulciana 136 Dulciana (Double) 13S E. East-end of an aisle, or a chancel chapel, as the situation for the organ, consi- dered 247 Echo Organ (the) described 91 its cause, and its influence on the tone of an organ 237 Echo Cornet 1 I43 Electric action 69 Enharmonic Organs 173 INDEX TO CONSTRUCTION OF THE ORGAN. 573 F. Page Fagotto 145 (Contra) 144 Faults, causes of, in organs, together with their remedies 201 to 212 Feeder, construction of a 18, 20 Fifth, Quint J39 Fifteenth, Super Octave 141 (Octave) 141 Flageolet 141 Flute , 139 (Harmonic) 137 (Hohl) 138 (Spitz) 140 (Wald) 140 (clear) 140 (Oboe) 140 (Suabe) 140 (Block) 141 Furniture 143 G Gamba 137 Geigen Principal 138 Gemshom 140 Grooves, their situation 31 first plan of arrangement of ....!... . 44 second plan of ditto 45 third plan of ditto 45 double .ones in the bass advisable... 293 H. Harmonic Flute 137 Harmony (divided) on the organ 219 Hautboy 144 (double) 144 (octave) 146 Hohl Flute 138 Horn 144 Human Voice, its strength, as compared virith that of the organ-wind 252 Hydraulic engine 66 I. Intonation, unequal 210 J- Joy's Patent Hydraulic Engine 66 K. Keraulophon 138 Key. Pitch supposed to exercise an influ- ence in establishing its character 178 The internal resource of musical art capable of giving any character to any key 179 Keys, the different characters of 177 Key Movement (the) described 50 action of ; 5' Key Movement (the), defects in 205 Krumm-hom 145 " L.- Larigot 141 M. Page Manual. The meaning of the German terms, i6-feet, 8-feet, 4-feet 262 Manuals (the) 47 their true compass ascertained 215 arguments against the CC compass considered 216 How the CC compass was first ex- ceeded 224 Manuals and Pedals, their width and pro- per situation to each other 278 Mixtures 142 their composition 265 to 277 specimens of their composition in old organs 275 Mounted Comet 143 Movement (long), described) 49 Music-desk (the), considered 282 N. Nason 140 O. Oboe Flute 140 Ophicleide 144 Organ (the), case described 5, 278 Echo, described 91 cause of faults which arise in, and how they may be remedied 201 its situation considered 235 to 25 1 its size in proportion to the congre- tion and church 252 its exterior arrangement 278 to 286 its interior arrangement 287 to 306 Organs. Plans for instruments of various sizes 307 to 327 Organ Compass, the CC contrasted with the GG 234 Organ Stool (the) considered.. 282 P. Passage-boards, their advantage 292 Pallet (waste) 19 (Mr. Hill's) 33 (Mr. Holt's) 33 (valve) :. 34 (relief) •. 34 Pedals (the) described 49 their introduction into England, and their correct compass 227 the insufficiency and incorrectness of the GG compass 228 the impossibility of satisfactorily uniting CCC pipes to GG pedals 229 (Composition) described 88 Piccolo 141 Pipes, materials used for 96 tin ;... 96 metal 98 spotted metal 98 lead 98 antimony metal 99 zinc 99 wood 100 cylindrical, of various kinds loi conical, of various kinds 103 pyramidal and inverted 105 574 INDEX TO CONSTRUCTION OF THE ORGAN. Page Pipes, their standard length 1 20 names of the sounds produced from . 120 classification of sounds produced from 121 the size of those used for stop-mea- surement 123 stopped, described 127 (Flue) '. .' 106 of metal 107 ofwood 108 the speech of 109 the voicing of in influence of the materials of . . . 113 influence of the wind on the tone of 114 number of vibrations in 118 causes of their inequality of tone 211 (Front) general arrangement of ... 5 various figures in Vfhich they may be formed 6 arrangement of, in regard to... 7 sound the decoration of 8 (Reed) 106 the formation of , 115 thetubesof 116 different mouth-pieces of 117 influence of the tube on the tone of. 117 ■ influence of the tongue on the tone of 118 the production of sound from 118 very susceptible of change of temperature 191 wooden, of various kinds loi influenced by the change of temperature 212 stopped wood, deranged by heat and drought 212 Pipe-work, its scale considered ...279 to 285 the materials for, considered 285 Pitch, its influence in estabhshing the characterof key 178 how to alter that of organ pipes ... 159 altered in organs by heat and cold, in different seasons 185 that to which an organ should be tuned 187 the presumed lower pitch of two centuries since 187 the early English composers sup- posed to have disregarded definite pitch 188 ■ grounds for believing in the former existence of a high ecclesiastical pitch 189 old organs in Germany a whole tone sharp 189 the flattened pitch accompanied by a raised notation 191 lower again at the commencement of the 1 8th century, in England, France, and Germany 191 to which of the three church pitches should an organ be tuned 192 Page. Plans for Organs of various sizes 307 to 321 Platform (the) 287 Pneumatic Action (the) described 59 Posaune 144 Price of an organ considered 288 to 303 Principal, Octave 139 Proportions, bad causes of, in many organs 288 Pyramidon 135 Q- Quarter- tones 172 R. Rausch-quint 273 Reed, the open 117 theclosed 117 the free 117 Reservoir, construction of a 17 Resonance, its . influence on the tone of an organ 237 Roller-board (the) 52 RoUer-boords, how they should be dis- posed 293 Room, conducive to the orderly arrange- ment of the organ 288 unoccupied space not lost 290 S. Salcional or Salicet 138 Sesquialtera 142 Shifting Movement 88 Situation .(the) of an organ considered 235 to 251 Size of the organ, particulars concerning the 252 to 257 Sound, how produced and propagated... 235 impediments to its distribution 238 arrangements favourable to 239 velocity of 239 acoustical facts regarding 235 penetration of 240 Sounds, table of, produced by the seve- ral leading manual and pedal stops from the low C key 146 Sound-board, formation of a 30 pallets described 31, 32 bars ditto 31 grooves ditto 31 table ditto 35 upper-boards of the, ditto 38 the sliders 40 the bearers 41 the pipe-racks 41 arrangement of stops on the 42 its distribution 270 advantages of a large 272 Spitz Flute 140 Stop, its definition 128 Stop (draw), action described 62 disarrangements connected with it 186 Stops, the various kinds described 129 their size, how ascertained 130 their classification into reed stops and flue stops 130 their classification into foundation, mutation, and compound stops... 131 INDEX TO CONSTRUCTION OF THE ORGAN. 575 Page Stops, Foreign, the names of, with their English equivalents 444 to 448 — : — their names in English organs 134 Sub-bordun 134 Double Open Diapason 134 Double Dulciana 135 ■ ■ Double Stopped Diapason or Bor- dun 135 Pyramidon 135 Open Diapason 135 Dulciana 136 Harmonic Flute 137 Voix Celestes 137 Stopped Diapason 137 Clarionet Flute 137 Clarabella 137 — — Dolcan 137 ^ Viol di Gamba, or Gamba 137 Keraulophon 138 Hohl-flute (Hollow-toned Flute).:. 138 Geigen Principal (Violon Diapason) 138 Salcional, or Salicet 138 Fifth, Quint, Double-Twelfth, Dia- pente 139 Principal Octave 139 — — Dulciana Principal, Dulcet 139 Flute 139 Spitz-flute 140 Gemshom 140 Nason 140 Wald-flute (wood or forest-flute) ... 140 Clear-flute 140 Oboe-flute 140 Suabe-flute 140 Celestina 140 Tenth, Double Tierce, Decima ... 140 Twelfth, Duodecimo 141 Fifteenth, Super-octave 141 Block-flute (common or ordinaiy flute) : 141 Piccolo 141 Flageolet 141 Tierce, Seventeenth 141 . Larigot, Nineteenth Octave-twelfth 141 Octave Fifteenth, Twenty-second... 141 — -Doublette 141 Sesquialtera 142 Mixture 142 Furniture 143 Cornet 143 The Mounted Comet 143 Echo Comet 143 Double Tmmpet 144 Double Bassoon, Contra Fagotto... 144 ■ Double Hautboy I44 Trampet '44 Horn • 144 Cornopean '44 Trombone, Posaune I44 Ophicleide, Tuba Mirabilis 144 Hautboy .- 144 Bassoon, Fagotto ■ '45 Clarionet, Cormome, Cromome, or Kramm-hom, Cremona, Comi diBassetto '45 . Como-flute '45 Page Stops, Vox Humana 145 Clarion 145 Octave Hautboy.... 146 Octave Clarion 146 of various sizes, founded on a phe- nomenon' in nature 147 reasons for marking their length on the knobs 149 theoretical exceptions to certain ... 149 particulars concerning the scale and balancing of 151 the correct use of 193 general rules for the use of. 171 character of tone of some of the leading 194 the combination of, so as to pro- duce any required strength 196 their arrangement on the sound- board 46 the proportionate division of a . given number of, among the several .departments 258 various matters connected with the division of, and their selection according to their size ... 258 to 264 (Compound) considered 265 to 277 (Pneumatic draw) action 65 I Suabe-flute 140 Sub-Bordun 134 Suggestions for the consideration of those who have to superintend the construction and erection of an or- gan 213 to 226 Swell (the) described 91 Swell-box (the), how it should be made 294 Swell Pedal (the) considered 265 Square and trucker work 53 T. Table (the) 35 Temperament, the Phenomenon in nature that occasions its necessity, and the different systems 160 unequal 161 . perfect 173 equal 174 a reason in favour of unequal 143 illustrations of sacred music as sounded on an unequally tem- pered organ 164 unequal, advocated on the score that it preserves a distinct charac- ter of key 176 equal, recommended on the same grounds I77 as the only source of distinction of key, questioned 178 characteristics of equal 179 Tenth, Double Tierce 140 Tertian 140 Tierce 141 Tone, extent of, in an organ 236 Tremulant (the) described 94 Trombone 144 Trampet 144 (Double) 144 576 INDEX TO CONSTRUCTION OF THE ORGAN. Page Tuba Mirabilis 144 Tuning, laying the bearings, and extend- ing their influence to the stops generally 183 how the pitch of the several kinds of organ-pipes is altered 184 Twelfth Duodeciraa 141 V. Velocity of Sound 239 Vibrations, the number of, produced in a flue-pipe 118 Viol di Gamba 137 Vogler's (the Abb^) simplification system 290 Voix Celestes 137 Vox Humana 145 Page W. Wald-flute 140 West-end of a Church, examples of con- tinental organs so situated 240 its merits, as the situation for an organ, considered 241 an architectural objection to 242 Smith and Harris's parish church organs usually so placed 243 Harris's proposal for a grand west- end organ in St. Paul's Cathedral 244 Wind-chest, its use 27 Wind-trunks 25 how they should be made 294 Wind, unsteadiness of organ 20 INDEX TO BRITISH AND FOREIGN ORGANS. A. Page Abbeville Cathedral 349 Amiens Cathedral 347 Amsterdam Old Church 334 New Church 335 Angstadt Church 418 Antwerp Cathedral 351 St. Paul's Church 351 St. Asaph's Cathedral 557 Ashton-uhder-Lyne Parish Church 510 B. Bangor Cathedral 556 Basle, Minster Church 417 Beauvais Cathedral 350 Beddington Church 533 Bedford, Wesleyan Chapel 542 Belfast, St. Malachy 560 St. Patrick's 560 Berlin, St. Mary's Church 388 Garrison Church 389 Birmingham Town Hall 497 Bonn Cathedral 357 Bonn Protestant Church 357 Boston Centenary Chapel 53^ Parish Church 533 (U.S.) Tremont Temple 439 Music Hall 440 Bombay Cathedral 439 Botzen Parish Church 425 Bradford, Eastbrook Chapel 514 Bremen Cathedral 37^ Breslau Cathedral 398 Ditto, Second Organ 399 Ditto, Third Organ 399 St. Mary's Church 399 St. Elizabeth's Church 40° St. Bemhardine 401 Ditto, Second Organ 402 St. Vincent 402 St. Ethelbert 403 Eleven Thousand Virgins 403 St Salvator ••■ 404 Cemetery Church 4^4 St. Mauritius 404 St. Barbara '. 4°5 University Music Room 4°5 Brighton, Concert Hall 54^ Bristol Cathedral ■. 552 St. James's Church ■ 553 Brassels Cathedral 35^ , C. Page Carcassaune Cathedral 414 Carlisle Cathedral 523 Cambridge, Trinity College 541 St. John's College 542 Canterbury Cathedral 545 Cashel, Roman Catholic Cathedral 565 Celle, Ludwig's Church 377 Chester Cathedral 501 Chichester Cathedral 547 Coblentz, Church of Castor 358 Cologne Cathedral 353 Minoret's Church 354 Jesuit's Church 355 St. Marie de Captitol 355 St. Columba 356 — — St. Ursula 357 Como Cathedral 430 St"°. Crociiisso 431 Constance Cathedral 421 Cracow, Evangelist's Church 405 Cranbrook Parish Church 546 D. David's (St.) Cathedral 557 Delft, New Church 338 Doncaster Parish Church 529 Dresden Catholic Church 392 Evangelist's Church 392 St. Mary's Church 393 Church of St. Sophia 393 Holy Cross ; 394 Dublin, St. Patrick's Cathedral 562 Christ's Church Cathedral 563 Trinity College 563 St. Nicholas's Church 564 St. Xavier's Church 564 Durham Cathedral 526 K Edinburgh University 560 Music Hall 559 Elberfield, New Church 416 Eltsleben 366 Ely Cathedral 541 Erdmannsdorf 372 Eton College 490 Exeter Cathedral 555 F. Florence, St. Gaetanp 432 Frankfort Cathedral 362 BBB 578 INDEX TO BRITISH AND FOREIGN ORGANS. Page Frankfort, St. Paul's Church 362 Freiburg Cathedral (Saxony) 395 Friburg Cathedral (Bresgau) 360 Protestant Church 361 Cathedral (Switzerland) 409 Fulda Town Church 3^3 G. Geneva Cathedral 433 Genoa, Carigrana 433 St. Maria 432 Glasgow, City Hall 558 Gloucester Cathedral 493 Goerlitz, St. Peter and St. Paul 396 St. Mary's Church 397 Gotha, St. Augustine's Church 364 St. Margaret's Church 365 Gouda, St. John's Church 337 H. Haarhausen 365 Haarlem Cathedral 333 Hague (The), Lutheran Church 338 Halberstadt, Great Church 373 Halifax Parish Church 513 Halle, St. Maurice 370 Hamburgh, St. Catherine's Church 380 St.Jacobi 381 St. Michael's Church 379 ■ St. Nicholas Church 383 St. Peter's Church 383 Hanover, Market Church 409 Chapel Royal 410 ■ St. John's 411 Henley-on-Thames 547 Hereford Cathedral 494 Hirschberg, Christ Church 374 Huddersfield, Buxton Road Chapel 507 I. Inverness Cathedral S^i K. Katscher, Catholic Church 371, Kilkenny Cathedral 566 Kronstadt Cathedral 389 Krumols, Catholic Church 372 L. London and its Environs. St. Andrew's, Holbom 458 St. Ann's, Limehouse 463 Catholic Chapel, Moorfields 466 Chapel Royal, St. James's 478 Chapel Royal, Whitehall 473 Christ Church, Newgate Street 455 Christ Church, Spitalfields 463 St. Clement Danes 468 Crystal Palace 470 St. Dunstan's, Fleet Street 466' St. Edmund the King : 461 Exeter Hall 469 Foundling Hospital 467 St. Gabriel's, Pimlico 480 St. George's, Hanover Square 475 St. George's, Camberwell 483 London and its Environs — contd. Page German Lutheran Church, Savoy 468 St. Giles's, Camberwell 483 Greenwich Hospital 487 Hampton Court Palace 488 Hanover Square Concert Room 476 St. John's, Waterloo Road 482 St. John's Hackney ; 465 St. James's, Piccadilly 475 St. James's, Bermoiidsey 485 St. Katherine's, Regent's Park 478 Lee Church, Kent '. 487 St. Luke's, Old Street..... 464 St. Luke's, Chelsea.... 481 St. Margaret's, Westminster 473 St. Martin's-in-the-Fields 471 St. Mary's, Rotherithe 486 St. Mary's, Clapham 488 St. Mary-at-Hill 462 St. Michael's, Cornhill 459 St. Michael's, Chester Square 479 St. Olave's, Southwark 485 St. Paul's Cathedral, Transept Organ 448 Chancel Organ 450 St. Paul's, Knightsbridge .' 479 St. Peter's, Cornhill 458 St. Peter's, Walworth 482 St. Saviour's, Southwark ■■■ 484 St. Sepulchre's, Snow Hill 457 St. Stephen's, Walbrook 460 St. Stephen's, Coleman Street 462 Temple Church 452 Westminister Abbey 451 Lancaster, St. Thomas's Church 522 Langensulza, St. Boniface 368 Leeds Town Hall S'5 Leipsic University Church 390 Lichfield Cathedral 499 Liege, St. Martin's Church 353 Liegnitz, St. Peter and St. Paul 397 Lincoln Cathedral 531 Liverpool, St. George's Hall.. 502 George Street, Chapel 5°3 Collegiate Institution '■ 504 Loiz, Marien-Kirche 371 Lubeck, Marien-Kirche 384 Ditto, Second Organ 386 Lucerne Cathedral 419 Lynn-Regis Parish Church 536 M. Manchester Cathedral... 50S St. Luke's Church 5°^ St. Peter's Church 509 Free Trade Hall 508 Merseburg Cathedral 369 Milan Cathedral 428 Second Organ 429 St. Allesandro 429 Muhlhausen 368 Munich, Concert Room 424 N. Naumberg, St. Wenzel 374 New York, Trinity Church 443 Church of the Annunciation 444 Newcastle-on-Tyne Parish Church 5^4 INDEX TO BRITISH AND FOREIGN ORGANS. 579 Page Newfoundland, St. John's Cathedral ... 438 Northampton, All Saints' Church 543 Exchange Room 544 Norwich Cathedral 537 St. Peter Mancroft 538 Nottingham, St. Mary's Church 535 Mechanic's Hall ;.. 535 Nymengen, St. Stephen's Church 336 O. Oldham Parish Church 512 Oxford Cathedral 491 ■ Mag;daleu College 492 P. Paris, St. Denis, near 341 . St. Eustace ,. 344 • ^ The Madeleine 343 St. Sulpice 345 St. Vincent de Paul 342 Perleberg , 388 Peterborough Cathedral 536 Prague, St. Dominico 395 Preston Parish Church 521 Q- Quittelsdorf, Village Church 417 Radley College 492 Ratisbon, St. Emeran 425 Ripon Cathedral 556 Rochester Cathedral 544 Rome, St. Peter's 426 ■ Second Organ 428 Rotterdam Cathedral ..'. 332 Octagon Church 333 Rouen, Church of St. Ouen 348 S. Salisbury Cathedral 550 Salzwedel, St. Catharine 376 Seville Cathedral 434 • — — Second Organ 437 Shrewsbury, St. Mary's Church'. 5°° St. Chad's Church 501 Siena Cathedral 434 Page Southwell Collegiate Church 534 Stockport Sunday School 511 Strasbourg Cathedral 358 S. Thomas's Church 359 Protestant Church 360 Stratford-on-Avon 497 Stutgardt, Striftskirche 421 Jew's Synagogue 422 T. Tasmania, Hobart Town 567 Tewkesbury Abbey 494 Tonbridge Wells, Trinity Church 546 Trebniz, Catholic Church 375 Triebel, State Church 340 U. Utrecht, Protestant Church 339 V. Verdun Cathedral 377 Vienna Cathedral 406 St. Michael's Church 407 Lutheran Church '. 407 Minorets' Church 408 St. Peter's Church 408 W. Waltershaujen 366 Warsaw, Lutheran Church 406 Weingarten, Benedictine Monastery 423 Wells Cathedral 554 Winchester Cathedral 550 Windsor, Chapel Royal 489 Windsor Castle, St. George's Hall 490 Winterthur, Principal Church 420 Wismar, St. Mary's Church 387 Worcester Cathedral 495 Shire Hall 496 Y. Yarmouth Parish Church 539 York Cathedral : 527 The Nave Organ 528 Z. Zerbst, St. Nicholas 367 B E E 2 SUBSCRIPTION LIST. Ainley, W. C.,_Esq., Mold Green, Huddersfield. Ainsworth, Mr., 83, Northumberland Street, Newcastle-on-Tyne. Allen, Edwarde, Esq., Castlechurcb Vicarage, near Stafford. Andr6 and Co , Messrs. G., Philadelphia, U.S. 2 copies. Asquith, J., Esq., Organist, Parish Church, Barnsley, Yorkshire. Atkinson, F. C , Esq., Mus. Bac. Cantab., Little Horton Lane, Bradford. Aylward, T. E., Esq., Organist of LandafF Cathedral, S. Wales. Bambridge, W. S., Esq., Marlborough College. Barber, S. N., Esq.. Denmark Hill, S.E. Barrett, John, Esq., Organist and Choir Master of Bedminster Parish Church Bristol. Bateman, R. B., Esq, 91, Wilson's Row, Penrith, Batley, H. H., Esq., 71, Campbell Row, Bow, E. Beard, A. J., Esq., Tean, near Cheadle, Staffordshire. Bentley, J. M., Esq., Bowdon, Cheshire. Bere, Corelli, Esq., 20, Thurloe Place, South Kensington. Best, W. T., Esq., Organist, St. George's Hall, Livei-pool. Bishop, E. A., Esq., Organist of Inverness Cathedral. Blackburn, Edward, Esq., Rathfarnham Castle, near Dublin. Bkckstock, W., Esq., Organist of Great Bridgewater Street Chapel, Manchester. Blair, Rev. George, Curate, St. John's, Middlesboro'. Becking, — ., Esq., Organist, Torquay. Bottomley, John, Esq., Professor of Music, Wallingford. Bradley, C, Esq., Academy, of Music, Middlesboro'. Bramah, Rev. J. W., M.A., Davington Priory, Faversham, Kent. Bray, Rev. Ed., Assistant Curate of Kingston-cum-Iford, Sussex. Brown, O. B., Esq., 126, Tremont Street, Boston, Massachusetts, U.S.A. Bruce, Lord Charles, Viceregal Lodge, Dublin. Bmton, Albert, Esq., 80, Stokescroft, Bristol. Bi^ans, Rev. F. R., Elworth Vicarage, Sandbach. Bryceson Brothers and Co,, Messis., Organ Builders, Stanhope Street, Euston Road. 382 SUBSCRirXION LIST. Buck, Z., Esq., Mus. Doc, The Close, Norwich. Bunnett, E., Esq., Mus. Doc. Cantab., Assistant Organist of Norwich Cathedral. Barrage, Henry Rush, Esq., Organist and Choir Master of St, Jude's Church, Southsea. Butler, W. T., jun., Esq., Dorking, Surrey. Cambridge, F., Esq., Organist of Parish Church, 1 5, St. John's Road, Croydon. Canterbury, The Dean and Chapter of. Caiey, T., Esq., Organist, Spalding. Chadfield, Edward, Esq,, Organist, Derby. Chappie, James, Esq., Newton Abbott, Devonshire. Charlton, Daniel, Esq., Choir Master, Parish Church, Didsbury, near Manciiestcr. Chester, The Dean and Chaptei' of. Clafton, J., Esq., Organist and Choir Master, St. James's Church, Oldham. Clarke, J. G., Esq., 10, Sussex Street, Plymouth. Clayton, T., Esq., 3, Whitworth Terrace,. Park Road, Chorley, Lancashire. Collier, Henry, Esq., 10, Hall Street, Stockport. Collet, Augustus H., Esq., South I^odge, Grafton Road, Worthing. Collin, John, Esq., 2, Ashburnham Terrace, Greenwich. Conacher and Co., Messrs,, Qi'gan Builders, Huddersfield. Cooke, PL, Esq., Organist of St. George's Church, Chorley. Corbett, O., Esq., Wellington, Salop. Cox, Mr., Musicseller, Frome. Cox, Frederic T., Esq., Greenfield House, Smethwick. Cox, T., Esq., Wilts and Dorset Bank, Crewkerne. Corpe, S., Esq., 51, Lincoln's Inn Fields. Couldrey, F. K., Esq, Organist of St. Helen, Abingdon. Coxon, Frederick, Esq., Lancashire Hill, Stockport, Cramer, J. B,, Esq,, Organist, All Saints Church, The Orchard, Loughboro'. Crowe, Edwin John, Esq., Organist, Leicester. Cummings, W. H., Esq., Brackley Villas, Dulwich, S.E. Currie, F. H., Esq., Brick House, Little Dunmow, Chelmsford. Dalton, Mrs., Dean Lodge, Kimbolton. Dawkins, Rev. J. C, Anglesey, Gosport. Dawkins, W. R., Esq., 1 7, Ranelagh Grove, Pimlico. Dean, Frederick, Esq., Lancaster. Dewberry, W. C, Esq., Rose Crescent, Cambridge. Dick, P. H., Esq., 29, Union Street, Coventry. Edwards, Edwin, Esq., Public School, Rugby, SUBSCRIPTION LIST. 583 Eland, W. Shenton, Esq., Organist, Leicester. Elliot, Miss, Thomas Drake, Esq., Stratford, E. Ellis, Griffith, Esq., Heytesbury, via Bath. Ellis, R., Esq., Organist of the Parish Church, Beccles, Suffolk. Ellis, W. H. M., Esq., University Club, Dublin. Evans, E., Esq., 4, Racquet Court, Fleet Street. 2 copies. Evans, John, Esq., 1 4. Berkley Street, Liverpool. Evans, Thomas, Esq., Organist of Holy Trinity Church, Liverpool. Everest, Mr, D., Tunbridge Wells. Fai^ebrother, Bernard, Esq., Organist, Warwick. . Field, J. T., Esq., Hoghton Street, Southport. Fielden, Henry, Esq., 25, Clayton Street, Hulme, Manchester. Fincham, Thomas, Esq., Organ Builder, 3, Penton Place, Pentonville. Flack, C, Esq., Organist, St. Luke's, Chesterton, Cambridge. Fort, C. H. K., Esq.. Organist of St. George-the-Martyrs, Southwark. Fowler, Rev. E. T. Straton, Esq., M.A., Cotmanhay Vicarage, near Ilkeston. Fowles, A. Godwin, Esq., F.C.O., Sydney House, Southsea. Fox, Charles, Esq., North Street House, Plymouth. Freemantle, T., Esq., 10, Minster Yard, Lincoln. Frewer, Frank, Esq., i, Willes Road, Kentish Town. Fumivall, W., Esq., Surgeon, Hutton, near Weston-super-Mare, Somerset. Gates, R. H., Esq., High Street, Berwick-on-Tweed. Garrett, P. L., Esq., Honorary Organist, St. Thomas's, 20, Athole Street, Douglas, Isle of Man. GiU, G., Esq., Organist, St. Saviour's Church, Everton, Livei-pool. Glasspoole, Arthur, Esq., Parish Church, Wymondham, Goundry, J. W., Esq., Old Shildon, Darlington. Gray, Alan, Esq., Gray's Court, Minster Yard, York. Gray and Davison, Messrs., Organ Builders, 370, Euston Road. Greeves, Rev. Henry, Abbey, Selby, Secretary to the Diocesan Choi-al Association. Hague, Arthur, Esq., Organist and Director of Concerts at Henshaw's Blind Asylum, Manchester. Hankey, Henry Alers, Esq., Belgrave Mansions, S.W. Harding, G. V., Esq.. Professor of Music, Carmaithen. Hardman, H. C, Esq., The Hurst, Glossop, Deibyshire. Harrison and Son, Messrs. T., 55, Briggate, Leeds. Harston, J. F., Esq., 49, Castlegate, Newark. 584 SUBSCRIPTION LIST.- Haydn, Keaton, Esq., 2, Queen Street, Peterborough. Haydn, Rev. H. G., Deanery House, Brentford. Hayne, Dr. L. G., Organist of the College and School of Eton. Healey, E. W., Esq., I, Lister Street, Hull. Hedgland, William M., Esq., 1 1 7, Gower Street. Hellier, Captain T. B. Shaw, 4th Dragoon Guards, Liverpool. Hemstock, A., Esq., Organist, Diss- Hepton, Frederick, Esq., Organist, Parish Church, Didsbury, Lane. Herronn, Miss (Organist of St. Nicholas, Deptford), Storage, Deptford, S. E. Heys, O. E., Esq., Vine Cottage, Hazel Grove, near Stockport. Higgins, Charles Lonquet, Esq., Turvey Abbey, Bedford. Higham, F., Esq., Wolverhampton. Hoggett, Mr. J., Music Warehouse, Darlington. Holmes, N. J., Esq., 9, Primrose Hill Road, Regent's Park. Holmes, T. B., Esq., Balmoral Terrace, Anlaby Road, Hull. Holworthy and Co., Messrs. J., 30, Great St, Helens, E.C. Holzappel, O., Esq., Richmond, Yorkshire. Hooper, Rev. W. H., 8, Clifton Terrace, Wolverhampton. Hopkins, Thomas, Esq., Organist of St. Olave's Church, York. Hopvifood, J. T., Esq., 25, Rutland Gate, S.W. Horner, Burnham W., Esq., Organist of Parish Church, Mortlake, and Sub- Organist of H.M.'s Chapel Royal, Hampton Court. Horran, Mr., 66, Great James Street, Londonderry. Howlett, J. H., Esq., Meppershall Rectory, Shefford, Bedfordshire. Hull Subscription Library, Royal Institution, Albion Street. Hunt, George, Esq., 16, Chad Road, Edgbaston, Birmingham. Hunt, Mr., Professor of Music, Gloucester. Hutton, Rev. Henry Wollaston, Vicar's Court, Lincoln. Jefferson, R. P., Esq., Leeds. Jekyll, H., Esq., R.E., Brompton Barracks, Chatham. Johnson, John, Esq., Halton Road, Runcorn, Cheshire. Johnson, Mr. W., Organ Manufactory, Moxley, near Wednesbuiy. Johnson, Mr., Bookseller, Cambridge. Jones, Henry, Esq., 1 36, Fulham Road. Kearney, — ., Esq., Blanchville, Gowran, Ireland. Kempe, Rev. K. W., Enfield. Kendall, Rev. J. H. F,, Holbeck Parsonage, Leeds. Kershaw, J., Esq , Clare College, Cambridge. Kett, Francis L., Esq., Sutlon-at-Hone, Dartford. SUBSCRIPTION LIST. 585 King. F., Esq., Organist, Oundle. Kirk, John H., Esq., Organist, St. Mary's Church, Sheffield. Lamb, J., Esq., Pocklington. Lawrance, Edward, Esq., 2, Courtland Terrace, Merthyr Tydfil. Law, Thomas, Esq., Todmorden. Leggatt, W. A., Esq., Organist of St. Mary's (R.C.) Cathedral, Newcastle-on- Tyne. Lewis and Co , Messrs., Christchurch, Canterbury, N.Z. Lewis, Mr. Thomas C, Shepherd's Lane, Brixton. Lockwood, John F., Esq., 6, Grosvenor Street, Grosvenor Square. Longley, J. B., Esq., 162, Park Lane, Leeds. Lonley, Arthur, Esq., B.A., Norcott Court, Tring, Lovey, Miss, Loville, Ponsanooth, Cornwall. Loxley, Arthur Smart, Esq., B A., Norcott Court, Tring. Macintosh, W., Esq., 24, Paternoster Row. Martin, J. U., Esq., Organist, East Dereham. Massey, Richard, Esq., Organist of the Chapel Royal, Whitehall, I, St. Leonai-d's Villas, Priory Grove, South Lambeth. Matthews, Miss Elizabeth, Sporle, SwafFham, Norfolk. Meacock, S , Esq., High Street, Doncaster. Meadowcroft, John, Esq., 172, Oxford Street, Manchester. Melling, T., Esq., The Pavement, Clapham. Milne, Mr., Music Warehouse, Jersey. Money, J. H., Esq.,- Claremont Cottage, West Cowes, Isle of Wight. Monk, James J., Esq., Organist and Choir Master of St. Phillip's Church, 102, Chatham Street, Liverpool. Morison and Co., Messrs., 33, Euston Road, St. Pancras. 2 copies. Napleton, John, Esq., Organist, St. Philip's and St. James's, Whitton, Middlesex. Nicholson, C. L., Esq., Little Trewen, Whitchurch, near Ross, Herefordshire. . Nicholson, W. K., Esq., Point de Galle, Ceylon. Nicholson and Son, Messrs., Organ Builders, Walsall. Norbury, John, jun., Esq., 2 ;f, Taviton Street, Gordon Square, W.C' Oakeley, Professor, University of Edinburgh. Osborne, Mr , Bookseller, Worcester. Page, E. O., Esq., Organist, Manchestei". Parkinson, E. P., Esq., 40, Tregunter Road, West Brompton. S86 SUBSCRIPTION LIST. Parr, John, jun., Esq., Victoria Street, Redditch. z copies. Pearce, S. Austen, Esq,, Mus. D., Oxon., 37, Queen's Gardens, W. Perkins, F. J., Esq., Wolverhampton. Pettit, Thomas, Esq., Clarence House, East Sheen. Porter, G. H., Esq., Professor of Music, Louth. Price, W. J., Esq., Organist, Horncastle. Quade, W. J., Esq., 17, Florence Terracei Portobello Road, Notting Hill. Rea, William, Esq., 8, Higham Place, Newcastle-upon-Tyne. Rees, F. W. T., Esq., Moreton House, Shrewsbury. Reynolds, A. J., Esq., I, Chepstow Place, Birmingham. Richardson, J., Esq., Organist, The Close, Salisbury. Richardson, G. W., Esq., Organist, St. Margaret's Church, 9, Sutton Street, Durham, Risley, J. B., Esq., Brondeg Ferryside, South Wales. Roberts, J. Y-, Esq., Organist, Halifax. Robinson, Mr., Organist, Helston. Roche, Henry T., Esq., 97, Albion Road, Dalston. Rodger, J. F., Esq., i, Royal Circus, Edinburgh. Rogers, B. John, Esq., Organist, St. Patrick's Cathedral, Consular Lodge, Dundalk, Ireland. ' ,;, Rogers, G. T., Esq., Organist, St. Paul's, Newport, Monmouthshire. Rolfe, W., Esq., Organist, SwafFham. Roome, Henry, Esq., Admiralty, Somerset House. Rowe, George, Esq., 10, Sunny Bank Street, Leeds. Rowe, Reenshall, Esq., 34, Granby Street, Leicester. Ruck, E. T., Esq, 19, St. Dunstan's Hill, London. Sagar, M., Esq., Fenton Street, Leeds. Sampson, B., Esq., Organist and Choir Master, St. John's Church, 7, Neal Street, Bradford, Yoikshire. Seaton, Rev. J, A., Cleckheaton, Normanton. Severn, Charles, Esq., Organist of St. Mary's, Islington, 290, Liverpool Road, Barnsbury, N. Sharpe, A., Esq., 333, Liverpool Road, Islington, N. Simms, Ed., Esq., Professor of Music, Coventry. Simms, H., Esq., Highgate, Biimingham. Sircom, E., Esq., Stonyhurst College, Stonyhurst. Smith, G. H., Esq., 5, Wilkinson Street, Sheffield. Smith, Gilead A., Esq., Beechcroft, Oatlands Park, Walton-on-Thartlea, SUBSCRIPTION LIST. 587 Smith, W., Esq., Sutton Surrey. Snelgrove, W., Esq., Salisbury Street, Liverpool. Southgate, W. Venning, Esq., Organ Studio, 166, Strand. Spark, Dr. William, Oi'ganist of the Town Hall, Leeds. Spencer, W., Esq., Owen Sound, Ontario, Canada. Spode, Josiah, Esq., Hawkesyard Park, Rugeley, StafFordshire. "Squier, Mr., Manchester. Staniland, Mr. George, Organ Builder, Wallingford. Stanistreet, T., Esq , Professor of Music, Clonmell. Stovin, John, Esq., 67, Arundel Street, Sheffield. Stuart, E., Esq., 36, Grove Road, St. John's Wood, N.W. Sullivan, Arthur S., Esq., 47, Lupus Street, Pimlico. Taphouse, Mr., Oxford. Tate, W. H., Esq., 63, Hanover Square, Bradford, Yorkshire. Taylor, J., Esq., Organist of the New College, Oxford. Taylor, Mr. Professor, Exeter Street, Salisbury, Taylor, W., Esq., Mus. Bac. Oxon., Canterbury. Thomas, Rev. D., Vicar of Margam, Taibach. Thompson, Rev. W. Oswell, Upton-cum-Chalvey, Slough. Threlfall, • — ., Esq., St. Giles Road East, Oxford. Tomlinson, T., Esq., Gage Street, Lancaster. Tregaskis, — ., Esq., University Hall, Gordon Square. Triibner and Co., Messrs., 60, Paternoster Row. 4 copies. Turner, W. Wilson, Esq., 167, Grove Street, Liverpool. Vaughan, H. J., Esq., 11, Eton Grove, Dacre Park, Lee, S.E. Vial, W., Esq., Organist, Emanuel Church, Loughboro'. Vidgen, J. G., Esq., Brisbane, Queensland, Australia. Vincent, Charles J., Esq., Organist, St. Thomas's Church, Sunderland. Vincent, Francis C, Esq., Naval and Military Club, 94, Piccadilly. Vinning, C. S., Esq., Organist, North Berwick. Walker, Mr. H. W., Bookseller, Leeds. Wallace, Dr., Turriff, Scotland. Ward, R., Esq., Leamington. Watkins, T., Esq., 48,, Denbigh Street, Belgrave Road. Watts, James, Esq., Organist, Ormskirk, Lancashire. , Wellon, C, Esq., 1 7 8, Queen's Road, Bayswater. Whalley, — ., Esq., Organist, Clitherofe. White, W., Esq., Whalton, Nottingham. 588 SQBSCRIPTION LIST. Williams, W. J., Esq., 17, Middle Street, Brighton. Williams, W., Esq., Christ's Hospital, Hertford. Williams, — ., Esq., 17, Middle Street, Brighton. Williamson, John, Esq., South Shields. Wilson, B., Esq., Organist of Parish Church, Pudsey. Wood, D. J., Esq., Organist, Boston. Woodward, R. B., Esq., Organist of Parish Church, 80, Liverpool Road, St. Helen's. Wright, Henry S., Esq., R.A.M., 25, Clifton Bank, Rotherham. Wright, W., Esq., Organist, Christ Church, Croydon, Surrey. Wright, W-, junior, Esq., 12, Upper College Street, Nottingham Wrigley, John, Esq., A.R.A.M., St. Saviour's Church, 65, Higher Ardwick, Manchester. Yearsley, Rev. Ralph O., Sutton Bonnington Rectory, Loughboro'.