m Of fmcf^ JUN 29 1967 Digitized by tine Internet Archive in 2015 https://arcliive.org/details/organitsliistorycOOhopk_0 I THE ORGAN; ITS HISTORY AND CONSTRUCTION. ^ m 29 1967 ^ , THE ORGAN ITS HISTORY ANl) CONSTRUCTION: A COMrREHENSIVE TllEATISE STRUCTURE ANT) CAPABILITIES OF THE ORGAN, WITH SPECTFICATIONS AND SUGGESTIVE DETAILS FOll INSTRUMENTS OF ALL SIZES, INTENDED AS A HANDBOOK FOR THE ORGANIST AND THE AMATEUR, EDWARD J. Hopkins, ORGANIST OF THE TEMPLE CHURCH J PRECEDED BY AN ENTIRELY NEW HISTORY OF THE ORGAN, MEMOIRS OF THE MOST EMINENT BUILDERS OF THE SEVENTEENTH AND EIGHTEENTH CENTURIES, AND OTHER MATTERS OF RESEARCH IN CONNECTION WITH THE SUBJECT EY EDWARD F. RIMBAULT, LL.D. MEMBER OP THE ROYAL ACADEMY OF MUSIC IN STOCKHOLM, ETC. LONDON : ROBEET COCKS AND CO. NEW BURLINGTON STREET, MUSIC PUBLISHERS TO HER MOST GRACIOUS MAJESTY QUEEN VICTORIA, AND HIS IMPERIAL MAJESTY NAPOLEON III, EMPEROR OF THE FRENCH. SIMPKIN, MARSHALL, AND CO. WHITTAKER AND CO. H. BAILLIERE, NEW YORK. MDCCCLV. PRINTED BY J. MALLEXT, WARDOUH STREET, LONDON. PREFACE. The following work has been undertaken with the view of supplying what lias hitherto been felt to be a great desideratum in this country ; namely, a hand-book describing the construction of the Eugbsh 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 ])roceeding to carry out this design, several plans presented themselves ; but the one that ajipeared 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 vitaKty to the Organ, into separate divisions, and then of describing the numerous parts which together fonn 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, in 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 eifected. An internal examination of numerous Organs, and a comparison of their dates of construction have been made, with the view of arriving at a correct conclusion on all these points, and the result has been given : at the same time, a date or fact may here or there have escaped the research of the writer, w ho will therefore be glad to receive any such testimony as may come under the notice of otliers, 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 improve- ments, it may be mentioned that these have in all cases been given, where positively known, in the hope of obviating future uncertainty. vi PREFACE. Amoiig the most vexed questions of the present time regarding the Enghsh Organ, are those rehiting to the compass and the temjierament of the instru- ment. To each of tliese subjects, therefore, a full chapter has been devoted, ■wliich, it is hoped, may have some influence in conducting them nearer towards a settlement. In these discussions, and indeed throughout the v?ork, 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 exten- sive 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, wiU prove of the highest value to Organists, in exemplifying what are the general principles observed by the foreign artists, to the investi- gation of wliich 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 con- venient 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 weU-known printed authorities ; wMe the particulars of the more recently constructed instruments 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 particidarly due to Mr. HiU and Mr. Walker, Mr. Kobson and Mr. Jardine, for their exposition of certain technical matters ; and to the Eev. Sir Frederic Gore Ousely, Bart, and to C. Harwood Clark, Esq. for placing their MS. note-books, containing accounts of numerous Foreign Organs, so entirely at Ins disposal. EDWAED J. HOPKINS. 69, Tachbrook Street, Pimlico. Juac, 1855. CONTENTS. THE HISTORY OF THE ORGAN. FIRST EPOCH. — THE ANCIENT ORGAN, ANTERIOR TO THE INVENTION OF THE KEY-BOARD. 1. Its Invention, 1. 2. The Hydraulic Organ. 5. 3. The Pneumatic Organ, 11. 4. Its Introduction into the Church, 13. 5. Organ-building in the Eleventh Century, 1 8. SECOND EPOCH. — THE MEDIyEVAL ORGAN, AFTER THE INVENTION OF THE KEY-BOARD. 6. The First Key-board, 31. 7. The Bellows, 32. 8. Supposed Origin of the Mixture Stops, 34. 9. The First Monastic Organs, 36. 10. The Regal, or Portative, 37. 11. The Positive, 39. 12. The Meaning of " A Pair of Organs," 40. 13. The Improved Key-board, and the Invention of the Pedal, 41. 14. Monastic Organs in England, 43. THIRD EPOCH.— THE FIRST ORGAN-BUILDERS BY PROFESSION. 15. Early German Builders, 48. 16. Early English Builders, 48. 17. Notices of English Organs, 55. 18. Improvements by German Builders, 56. 19. Italian Organ-builders, 57. 20. Notices of Foreign Organs, 58. 21. The Ancient Position of the Organ, 59. 22. The Curiosities of Organ-building, 65. 23. The Destruction of Organs in England during the Great Rebellion, 69. FOURTH EPOCH. — THE FOUNDERS OF MODERN ORGAN-BUILDING. 24. Father Smith, 75. 25. Renatus Harris, 85. 26. Father Smith's Nephews, 91, Vlll CONTENTS. 27. John Harris and John Byfield, 92. 28. Christopher Schrider, .2.9. Tlionms Schwarbrook, .46. 30. Tiie Jordans, Father and Son, 97. 31. Richard Bridge, 100. 32. Organs built by Byfield, Jordan, and Bridge, conjointly, 100. 33. John Byfield, junr. 101. 3 k Messrs. Glyn and Parker, 101. 35. John Snetzler, 102. 36. Messrs. Crang and Hancock, lOi. 37. Samuel Green, 104. 38. John Avery, 107. 39. The Englands, Father and Son, 107. 40. Progress of Organ-building in Germany, 108. 41. Andreas Silbermann, 109. 42. Gottfried Silbermann, 1 10. 43. Johann Andreas Silbermann, 110. 44. Johann Daniel Silbermann, 111. 45. Cotemporaries and Successors of the Silbermanns, 111. THE ORGAN, ITS STRUCTURE, &c. Preliminary Observations, 1. DIVISION I. — THE EXTERIOR OF THE ORGAN. CHAPTER I. — THE ORGAN CASE. 1. Its nature and use, and the materials of which it is formed, 3. 2. The general structure of the organ-case, and the means of ingress, 3. 4. The general arrangement of the front pipes, 3. 6. The various figures in which the front pipes are arranged, 4. 15. The arrangement of the front pipes in regard to the sound they produce, 4. 21. Of the decoration of the front pipes, 6. DIVISION II. — THE WIND-COLLECTING PORTION OF THE ORGAN. CHAPTER II. — THE BELLOWS. 23. Their use, 7- 24. The different kinds of organ bellows ordinarily met with ; which the oldest ; their names ; and why so called, 7- 29. Particulars concerning the diagonal bellows, 8. 30. Their number, 9. 31. Arrangement, 9. 33. Method of operation, 9. 35. Their original defects, 10. 38. How remedied, 11. 41. The horizontal bellows, 11. 44. Their structural features, 12. 45. The working of the horizontal bellows, and the room which the compressed air makes for itself between the plates and folds of the reservoir, 15. CONTENXa. ix 62. The construction of tlie reservoir, 1 G. 65. The construction of the feeder, 16. 66. The blowing action, 16. 68. An early defect and its remedy, 17. 6.9. The counter balances, 17. 70. The waste pallet, 18. 75. The unsteadiness of the organ-wind arising from unskilful blowing, or from irregular consumption, 1.'). 84. The concussion bellows, 21. 87. The anemometer, 21. DIVISION 111. — THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN. CHAPTER III. — THE WIND-TRUNKS. })3. The wind-trunks, 23. CHAPTER IV. — THE WIND-CHEST. 99. The wind-chest ; its use, 25. 103. Its attendant parts, 26. CHAPTER V. THE SOUND-BOARD. no. The formation of a sound-board, 28. 117. How the sound-board-pallets are brought under control, 29. 119. The sound-board bars, 29. 123. The sound-board grooves, 30. 126. The sound-board pallets, 30. CHAPTER VI. — THE TABLE. 135. The table, 33. CHAPTER VIT. — THE UPPER BOARDS. 146. The upper-boards, 35. CHAPTER VIII. — THE SLIDERS, BEARERS, AND PIPE-RACKS. 158. The action of a slider, 38. 166. The bearers, 38. 168. The pipe-racks, 39. CHAPTER IX. — THE ARRANGEMENT OF THE GROOVES AND STOPS. 171. The situation of the large and small grooves in the sound-board, 40. 177. First plan of groove arrangement, 41. 180. Second plan, 42. 182. Third plan, 42. 184. The arrangement of the stops on the sound-board, 43. DIVISION IV. — THE MECHANISM OF THE ORGAN. CHAPTER X. — THE CLAVIERS AND KEY MOVEMENTS. 188. The mechanism of the organ, 43. 191. The manuals, 44. 198. The pedals, 46. 199. The situation of the claviers, 46. 204. The key-movement, 47. 213. The action of the key movement, 48. 221. The roller-board movement, 50. 223. The extension of the key-movement, 50. X CONTENTS. CHAPTER XI. — THE COUPLERS AND SFORZANDO PEDAL. 230. Manual couplers, 52. 235. The sforzando coupler, 54.. 237. Pedal couplers, 55. CHAPTER XII. — THE PNEUMATIC ACTION. 24.1. The pneumatic action, 57- CHAPTER XIII. — THE DRAW-STOP ACTION. 249. The wooden-trundle draw-stop action, 60. 250. A description of its several parts, 61. 255. How the draw-stop action operates, 61. 257. The iron-trundle draw-stop action, 62. CHAPTER XIV. — THE SHIFTING MOVEMENT AND THE COMPOSITION PEDALS. 260. The shifting movement, 63. 262. The composition pedals, 63. 264. The single-action composition pedal, 63. 266. The double-action composition pedal, 64. 271. The composition pedal action, 64. 272. The way in which the action operates, 65. CHATTER XV. — THE ECHO AND SWELL. 281. The Echo, 66. 283. The nag's head swell, 66. 284. The Venetian swell, 66. CHAPTER XVI. — THE TREMULANT. 298. The tremulant, 70. DIVISION V. — THE SOUND-PEODUCING PORTIONS OF THE ORGAN. CHAPTER XVII. — THE MATERIALS USED FOR ORGAN PIPES. 306. Tin, 72. 316. Metal, 74. 317. Spotted metal, 75. 318. Lead, 75. 319. Antimony metal, 75. 320. Zinc, 76. 321. The casting of the metal, 76. 322. Wood, 76. 324. The seasoning of the wood, 76. CHAPTER XVIIl. — THE PLAN, OUTLINE, AND STRUCTURE OF ORGAN PIPES. 326. The plan and outline of the pipes, 78. 331. Cylindrical pipes, 78. 332. Open cylindrical pipes, 78. 333. Stopped cylindrical pipes, 78. 335. Half-stopped cylindrical pipes, 79. 337. Perforated cylindrical pipes, 79. 340. Conical pipes, 80. 342. Conical pipes surmounted by a bell or outspreading top, 81. 343. Inverted cone, 81. CONTENTS. 3t4. Inverted cone surmounted by a bell, 81. 345. Wooden pipes, 81 . 346. Open fom-sided pipes, 82. 31'7. Stopped four-sided pipes, 82. 31.8. Half-stopped four-sided pipes, 82. 31.!). Pyramidal pipes, 82. 351. Pyramidal and inverted, 82. 353. The classification of the pipes into Jlue and reed pipes, 83. 354. Flue pipes, 83. 355. Reed pipes, 83. 357. The separate parts of a metal flue pipe, 83. 362. The way in which the several parts of metal pipes are united together, 84. 867. Wood flue pipes ; open, stopped, and half-stopped, 85, 371. How the several parts are worked together, 86. 380. Origin and continuance of the tone in flue pipes, 87. 386. The mouth of a flue pipe ; and the influence of its proportions on the tone of the pipe, 88. 387. The voicing of metal and wood flue pipes, 88. 3.03. The influence of the material, form, and scale, on the tone of a pipe, 91. 405. Influence of the strength and quantity of the wind on the character and strength of the tone, 92. 410. Formation of a reed-pipe, 93. 418. The formation of the tubes, 94. 419. The difi"erent kinds of mouth-pieces or reeds. The open, closed, and free reeds, 94. 423. The influence of the tube, its shape, scale, and material, on the strength and cha- racter of the tone of a reed-pipe, 95. 424. The influence of the reed and tongue on the tone of the pipe, 96. 425. How a sound is produced from a reed-pipe, 96. 427. How the pitch of the sound of an organ-pipe is determined, 96. CHAPTEK XIX. — THE STANDARD LENGTH OF ORGAN PIPES. 433. The names of the sounds produced from organ pipes, 98. 436. The classification of those sounds into octaves, and the difi^erent methods by which the several octaves are distinguished from one another, 99. 446. The size of the pipes mostly used for stop measurement, 101. CHAPTER XX. — THE SIZE OP TONE OF ORGAN PIPES. 475. The scale of organ-pipes ; and the influence which an alteration in the proportion exercises on the length. CHAPTER XXI. — ORGAN STOPS. 481. Definition of a stop, and an explanation of the various kinds, 106. 490. The size of the stops ; how ascertained, 108. 4.03. The classification of the stops, in regard to their tone — producing part, into reed stops and flue stops, 108. 495. Classification of the flue-stops, in regard to certain peculiarities in their structure, into diapason- work, covered-work, and flute -work, 109. 501. Classification of organ stops, in regard to the sound they produce, into foundation, mutation, and compound stops, 110. xii CONTENTS. CHAPTER XXII. THE NAMES OF ORGAN STOPS. .511. The name and description of stops found in English organs, together with their length or size of tone on the manual and pedal, 112. 572. Compound stops, 120. 589. Reed stops, 122. CHAPTER XXIIl. THE ORIGIN AND NECESSITY OF FOUNDATION, MUTATION, AND COMPOUND STOPS. 608. The introduction of stops of various sizes, founded on a phenomenon in nature, 126. 617- How the sizes of the harmonic-corroborating stops are deduced and fixed, 127. 623. Reasons for marking the length of the stops on the knobs, 128. 62-i. Theoretical exceptions sometimes taken to certain organ-stops, 128. CHAPTER XXIV. — PARTICULARS CONCERNING THE SCALE AND THE BALANCING OF ORGAN STOPS. 627. The comparative scale of the foundation and mutation stops, and ranks of pipes, 130. 657. The increase of scale in a stop as the pipes become shorter, and why necessary, 137. 662. 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 neces- sity thereof, 138. DIVISION VI. THE TEMPERAMENT, TUNING, AND PITCH OF THE ORGAN. CHAPTER XXV. THE TEMPERAMENT OF THE ORGAN. 674. The temperament ; the phenomenon in nature that occasions its necessity ; and the different systems, 140. 678. Unequal temperament, 140. 680. Quarter tones, 141. 685. Perfect temperament, 142. 687. Equal temperament, 143. 689. A reason in favor of unequal temperament, 143. 690. That reason considered, 143. 695. Illustrations of sacred music, as sounded on an unequally tempered organ, 144. 698. Unequal temperament advocated, on the score that it preserves a distinct character of key, 152. 700. Equal temperament recommended on the same grounds, 153. 702. Temperament, as the only source of distinction of key, questioned, 154. 703. Pitch, supposed to exercise an influence in establishing the character of key, 154. 704. The internal resources of the musical art capable of giving any character to any key, 155. 705. Characteristics of equal temperament, 156. CHAPTER XXVI. THE TUNING OF THE ORGAN. 709. Laying the bearings ; and extending their influence to the stops generally, 158. 713. How the pitch of the several kinds of organ-pipe is altered, 159. 722. The pitch of the organ altered by the heat and cold in different seasons. The extent of this alteration, 160. CHAPTER XXVII. — THE PITCH TO WHICH AN ORGAN SHOULD BE TUNED. 730. The question a most interesting one, 163. 731. The presumed lower pitch of two centuries since, 163. 732. The difficulties inseparable from that theory, 163. 735. The compass of the human voice supposed to have changed, 164. CONTENTS. XIII 736. The old composers supposed not tn have consulted the convenience of tlie voices they wrote for, 1 6 k 737. The early Knglish composers supposed to have written without regard to any definite pitch, KM.. 738. Everything questioned except the presumed lowness of the old pitch, 16.5. 73.'). Strong grounds for believing in the former existence of a high ecclesiastical pitch, 165. 7W. Tlie sixteenth and seventeenth century organs in Germany a whole tone sharp, 16.'). 7H. A high ecclesiasticiil pitch believed to have existed formerly in England as well as in Germany, 166. 7f'2. The very low notation of ancient church music favourable to this view, 166. 7-13. The frequent transpositions of early churcli music into higher keys in performance, also in support of this view, 16(i. 71-7. Father Smith's pitch flatter than the presumed ecclesiastical pitch of preceding centuries, 167- 748. The flattened pitch accompanied by a raised notation, 168. 7 (••''. The pitch lower again, at the commencement of the eighteenth century in England, 168. 7">0. A similar alteration of pitch, at the same period, in France and Germany, 168. 7.')1. The lower pitch in the last century accompanied by a further ascent in the nota- tion, 168. 753. To which of the three church pitches formerly in use should a church organ be tuned ? DIVISION VII. CHAPTER XXVIII. — ON THE CORRECT USE OF THE STOPS. 757- General rules for the use of the stops, 171. 764. The character of tone of some of the leading stops ; and the purposes to which they may be applied, 171 . 774. On the combination of the stops for the production of any required strength of tone, 173. 788. On the adaptation of the organ-tone to the true purposes of choral accompani- ment, 176. DIVISION VIII. — THE CAUSE OF MA^Y OF THE FAULTS WHICH ARISE IN AN ORGAN, TOGETHER WITH THEIR REMEDIES. CHAPTER XXIX. The unbidden Sounding of a Pipe from Causes in the Region of the Pallets. 792. Ciphering caused by dirt on the pallet, 17-9. 794. Ciphering from a pallet-spring being too weak, 179. 795. Ciphering caused by the pallet catching on a direction-pin, 179. 796. Ciphering from damp loosening the leather, or heat warping the pallet, 180. 798. Ciphering caused by a pull-down being rusty, 180. The unbidden Sounding of a Pipe from Faults in the Key-Movement. 799. Ciphering from some adhesive substance falling between the keys, 180. 800. Ciphering caused by a key warping, 180. 801. Ciphering from a sticker binding, 181. 802. Ciphering caused by a backfall getting oflF the sticker, 181. 803. Ciphering from grit in the centre-holes, or by a swelling of the movement, 181. xiv CONTENTS. The unhidden Sounding of a Pipe from Defeds in the Sound-hoard. 805. A running caused by an upper-board being too loose, 182. 806. A running caused by a sound-board bar separating from the table, or by an un- sound bar, 182. 807. A humming caused by one slider touching and partly drawing a second, 182. 808. A humming caused by pipes standing in too close proximity, 183. Defects in the Key-Movement. 809. A springing in the key-movement, 183. 810. A dead resistance opposed to the finger by the key-movement, 183. 811. A thumping at the keys, 183. 812. A rattling in the key-movement, from the noisy nature of the materials, 183. Sl^. A rattling sometimes caused by trackers flapping together, 184-. 815. A key down without producing any sound, 184. 816. The touch of the manuals too shallow at certain seasons, and too deep at others, 185. 818. An unevenness in the level of the keys of the manual, 185. 819. A key screwed up too high, sometimes causes the speech of the pipes to tremble, 185. 820. A ciphering caused by the breaking of a pedal-spring, 185. Disarrangements connected icith the Draw-stop Action and Sliders. 821. A draw-stop rod will sometimes come out too far, or go too far in, 186. 822. A draw-stop sometimes very stiff, 186. Defects in the Bellows and the Winding of the Organ. 823. A creaking from friction at the centres, 186. 824. A clacking caused by hard valves, 187. 825. A gasping from the valves being too few and small, 187. 826. Bellows work quicker in hot weather, 187. 827- Bellows produce a cracking sound after damp weather, 187. 828. Tremulousness, from the length and elasticity of the column of wind, 187. 829. Tremulousness from shortness of supply, 188. 830. Unequal intonation caused by small grooves and pallet holes. A robbing, 188. 831. A hissing arising from an escape of wind, 189. Faults connected with the Speech of the Pipes. 833. Small pipes are frequently dumb, tremulous or weak in their speech, 1 89. 834. Flue pipes become unequal in their strength and quality of tone from various causes, 189. 835. A pipe sometimes sounds its octave, from the effects of dirt, or over-blowing, 190. 836. The tone of wood-pipes influenced by change of temperature, 190. 837. Stopped wood-pipes sometimes deranged by heat and drought, 190. 838. Reed-pipes very susceptible of change of temperature, 191. DIVISION IX. — SUGGESTIONS FOR THE CONSIDERATION OF THOSE WHO HAVE TO SUPERINTEND THE CONSTRUCTION AND ERECTION OF AN ORGAN. CHAPTER XXX. — THE COMPASS OF THE CLAVIERS, AND OF THEIR SEPARATE DIVISIONS OF THE ORGAN. 844. Precedents for nearly every variety of clavier range, 192. 845. 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, 193. 846. How the true manual compass is to be ascertained, 193. 849. Arguments against the CC manual compass, and in favour of a longer range, 194. CONTENTS. XV 855. Much room and a great expenditure of funds required to extend the compass of a numual organ below CC, 857. The true method of increasing the resources of a manual organ, ]!)(!. 858. How it may bo ascertained whether certain keys are essential or not as manual ones, UtT- 861. The ameliorations that might be effected on a given specification, by regulating the outlay otherwise than in the construction of unessential manual notes, 1!)8. 876. Other views in favour of GG manuals, and against CC, considered, 201. 887. How the CC manual compass was first exceeded, 203. 88!). The confusion in the size of the stops caused by their elongation, 203. 894. The upward range of the manuals, 205. CnAPTEU XXX t. — OF THE PEDALS AND PEDAL OUGAN ; TIIEIU GRADUAL INTRODUCTION INTO ENGLAND; AND THEIR " CORRECT COMPASS. 902. The insufficiency and incorrectness of GG pedals for practical purposes, 208. 903. The wrong pitch in which GG pedals execute on the manual stops such passages as do come within their range, 208. 904. The impossibility of satisfactorily uniting CCC pipes to GG pedals ; and the false pitch in which the pipes sound when they are so united, 208. .')06. The false readings which the CCC pedal pipes create, 209. 921. The introduction of "Double Pedal Pipes" as the first pedal stop, not in accord- ance with the laws of organ-building, 211. 925. The premature introduction of double pedal pipes often a hindrance to the intro- duction of more important pedal stops, 212. 926. The arrangements of a CC organ contrast favourably with those of GG compass, 213. CHAPTER XXXII. — THE SITUATION FOR THE ORGAN. 930. Acoustical facts to be consulted, 215. 931. How sound is produced and propagated, 215. 932. How brief sounds disperse, 215. 933. How sustained sounds more completely occupy space, 216. 934. The distribution of a sound that cannot travel backwards, 216. 937. Sound weakened by divergence, 217- 938. Echo, 217. .039. Resonance, 217- 948. Impediments to the equal distribution of sound, 219. 949 Absorbents of sound, 219. 950. Church arrangements that are favourable to sound, 219. 951. Absorbents sometimes introduced to subdue excessive echo, 219. 952. Velocity of sound, 220. 955. The apparent strength of a sound dependent on the position of the auditor, &c. 220. 957. Penetration of sound, 221. 959. The west-end of a church, as the situation for the organ, 221. 960. Old examples of west-end organs in continental churches, 221. 962. The merits of the west-end, as the situation for the organ, considered, 222. 972. An architectural objection to the organ occupying the west-end, 223. 973. Examples of divided west-end organs in continental churches, 223. 979. Smith and Harris's parish church organs usually placed at the west-end, 224. 980. Their cathedral organs usually placed on the choir screen, 225. 981. Harris's proposal for a grand west-end organ in St. Paul's Cathedral, 225. 982. The erection of Father Smith's organ on the choir screen of St. Paul's, opposed, 225. XVI CONTENTS. .086. The comparative merits of the several side situations considered, 226. 995. The east-end of an aisle, or a chancel chapel, as the situation for the Organ, con- sidered, 228. 1001. The chancel an eligible position for a divided organ, 229. 1002. The relative position of the vocal choir and organ, 230. 1003. Recent arrangements in cathedrals, 231. CHAPTER XXXIII. — THE SIZE OF THE ORGAN. 1008. The organ should be proportioned to the congregation and church, 233. 1009. Certain influencing circumstances to be taken into account, 233. 1010. An approximate calculation of the number of stops necessary for an organ to have, 233. 101 1. Too small an organ in a church most undesirable, 234. 1012. The strength of the human voice, as compared with that of the organ-wind, 234. 1013. The general requisites of a church organ, 234. 1014. An organ of sufficient dimensions in a church a great acquisition, 235. 1016. The power of an organ partly due to its extent of tone, 236. 1018. How the acoustic capacity of a manual organ is increased to adapt its tone to a large building, 237. 1019. The acoustical grounds on which double stops are introduced into an organ, 238. 1021. The effect of a large organ not constructed on acoustic principles as well as on harmonic, 238. CHAPTER XXXIV,— VARIOUS MATTERS CONNECTED WITH THE DIVISION OF THE STOPS, AND THEIR SELECTION ACCORDING TO THEIR SIZE. 1023. The proportionate division of a given number of stops among the several depart- ments, 240. 1028. The size of stop that should form the basis of the manual and pedal tone, 241. 1029. Stops of one size only, for manual or pedal, incorrect, 241. 1030. The proper size for the stops, and the order in which they should be selected, 241. 1032. The stop from which the harmonic corroborating stops must be measured, 242. 1039. The meaning of the German terms l6-feet manual, 8-feet manual, and 4-feet manual, 243. 1040. Stops of one class alone not sufficient to produce the best organ effect, 244. 1041. The proportion to be observed in the number of stops of different sizes, 244. CHAPTER XXXV. — ^THE COMPOSITION OF THE MIXTURES. 1054. Why should there be breaks in a compound stop ? 248. 1055. A compound stop without a break, not in accordance with the suggestions of nature, 248. 1056. The same compound not productive of the same effect in different parts of the scale, 248. 1057. Might not a rank " die out," instead of presenting a break? 249. 1058. The valuable aid rendered to the treble of an organ by the return ranks, 249. 1059. On what keys the breaks had better take place, 250 1060. Where the broken ranks should return to, 250. 1063. Plans for compound stops, 251. I. Composition for a full mixture of III ranks, 251. II. Ditto for a clear mixture of IV ranks, 252. III. Ditto for a sharp mixture of IV ranks, 252. IV. Ditto for a quint mixture of IV ranks, 253. V. Ditto for a full mixture of IV ranks, 253. rONTHNTS. XVII VI. Composition for a sliarp mixture of V ranks, 2't l. VII. Ditto for a full mixture III ranks, and a sliarp mixture III ranks, 2")r). VIII. Ditto for a full mixture III ranks, and a sharp mixture IV ranks, 2.")(;. IX. Ditto for a full mixture 1 1 1 and IV ranks, and a sliarp mixture V ranks, 2!W. X. Ditto for a sesquialtera 11 ranks, a full mixture I i 1 ;Hid IV ranks, ami a sharp mixture V ranks, "258. CllAl'TKR XXXVI. THK liXTKlilOR Ali R.VNOKMENT OK Tllh; ORGAN. 1(19."). The organ case, 2(il. 1 1(12. The manuals and pedals; their width : and their proper situation in rc2;anl to ca''!! other, 2()2. IIK). The organ-stool, 26.5. 1118. The .swell pedal, 2G:j. 1120. The music-desk, 2Gfi. 1121. The composition pedals, 2()(). 1122. The arrangement of the draw-stops, 2()'(i. CHAPTER XXXVII. THE INTERIOR ARRANGEMENTS OF TIIK ORGAN. 1 143. The building-frame, 270. l\U. The platform, 270. 11 K). The distribution of the sound-boards, 270. 1151. The cause of the bad proportions of many English organs, 271. 11 ')■!•. Much room conducive to the orderly arrangement of the organ, 272. 1156. The advantages of large sound-boards, 272. IKSl-, " Unoccupied space" in an organ not "lost room," 27-1'. 1165. The Abbe Vogler's symplification system, 274. 1173. Passage-boards advantageous in more ways than one, 276. 1174. The pipes should be so arranged that the small ones are accessible, 276. 1176. Double grooves in the bass of large sound-boards advisable, 277. 1177. The roller-boards, 277. 1178. The bellows, 277. 1182. The wind-trunks, 278. 118.3. The swell-box, 278. 1181.. The scale for the pipe-work, 279. 1202. The materials for the pipe-work, 285. 1213. The price of the organ, 288. CHAPTER XXXVIII. — PLANS FOR ORGANS OF VARIOUS SIZES. I. Specification for a small Organ of VIII Sounding Stops, I Manual and Pedal, 298. Second Specification ditto, 2.04. II. Specification for an Organ with XIII Sounding stops, II Manuals and Pedal, 2.94. III. Specification for an Organ with XVI Sounding Stops, II Manuals and Pedal, 297. IV. Specification for an Organ with XX Sounding Stops, II Manuals and Pedal, 299. V. Specification for an Organ of XXVIII Sounding Stops, III Manuals and Pedal, 801 . VI. Specification for an Organ with XXVII Sounding Stops, II Manuals and Pedal, 305. VII. Specification for an Organ of XXXVI Sounding Stops, III Manuals and Pedal, 306. VIII. Specification for an Organ of L Sounding Stops, III Manuals and Pedal, 308. IX. Specification for an Organ of XC Stops, IV Manuals and Pedal, 311. b APPENDIX, CoMi'RisiNo AN Account of Foreign and Ruitisii Oroans. 1 . Haarlem — the Cathedral Church of St. Bavon, 315. 2. Rotterdam — the Catheclval Church of St. Lawrence, 31 (i. 3. the Octagon Church, 31?. 4. Amsterdam — the Old Church, 318. .5. the New Church, 319. 6. Nymengen — St. Stephen, 320. 7. Gouda— St. John the Baptist, 321. 8. The Hague— Lutheran Church, 322. .9. Delft— the New Cluirch, 322. 10. Utrecht — the Principal Protestant Church, 323. 11. Tkiebel — the State Church, 324.. 1 2. Paris— the Abbey of St. Denis, 325. 12a. St. Vincent de Paul, 32?. 13. - — - the Madeleine, 32?. 13b. St. Eustace, 329. 14. Amiens— the Cathedral, 330. 15. St. Remy, 330. 16. Tours— the Cathedral, 331. 17. Rouen— St. Ouen, 332. 18. Abbeville — the Cathedral, 333. 19. Paris— St. Sulpice, 333. 20. Beauvais— the Cathedral, 335. 21. Antwerp— the Cathedral, 336. 22. St. Paul, 337. 23. Brussels — the Cathedral Church of St. Gudule, 338. 24. Liege— St. Martin, 338. 25. Cologne— the Cathedral, 339. 26. the Minorets' Church, 340. 27. the Jesuits' Church, 340. 28. St. Maria de Capitol, 341. 29. . . St. Coluniba, 342. 30. St. Ursula, 342. 31. Bonn— the Cathedral, 343. 32. the Protestant Church, 343. 83. CoBLENTZ — the Church of Castor, 344. 34. Strasbourg — the Cathedral, 344. 35. St. Thomas, 345. 36. the " Temple neuf," 346. 37. Friburg in Briscau — the Cathe- dral, 347. 38. the Lutheran Church, 347. 39. Frankfort — the Cathedral, 348. 40. St. Paul, 34.9. 41. FuLDA— the Town Church, 350. 42. GoTHA — St. Augustine's, 351. 43. St. Margaret, 351. 44. Haarhausen — 3.52. 45. Eltsleben — 352. 46. Waltershausen — 353. 47. Zerbst — St. Nicholas, 354. 48. Langensulza— St. Boniface, 355. 49. MunLiiAusEN— 355. 50. Merseburg — the Cathedral, 35G. 51. Halle— St. Maurice, 357. 52. Loiz — the Marien-Kirche, 357. 53. Katsch ER— the Catholic Church, 358. 54. Erdmannsdorf — 359. 55. Krumols — the New Catholic Church, i 359. [ ^G. Halberstadt — the Great Church, 360. 57. Hirschberg — Christ Church, 361. 58. Naumberg— St. Wenzel, 362. 59. Trebniz— the Catholic Church, 363. 60. Salzwedel — St. Catherine, 363. 61. Weissenfels — the Lock Church, 364. 62. Celle — the Ludwigs' Church, 364. 63. Verden— the Cathedral, 365. 64. Bremen — the Cathedral, 365. 65. Hamburg— St. Michael, 366. 66. St. Catherine, 368. 67. St. Jacobi, 369. 68. St. Nicholas, 371. 69. St. Peter, 372. 70. LuBECK — the Marien Kirche, 373. 71. the " Little Organ," ditto, 374. 72. the smaller Church, 375. 73. Wismar— St. Mary, 376. 74. Perleberg — 377. 75. Berlin- — St. Mary, 377. 76. the Garrison Church, 378. 77- Kronstadt — the Cathedral Church, 379. 78. Leipzig — the University Church, 380. 79. Dresden — the Royal Catholic Church, 381. 80. ■ the Royal Church of the Evan- gelists, 382. 81. St. Mary, 382. 82. St. Sophia, 383. 83. the Church of the Holy Cross, 384. 84. Freiberg in Saxony — the Cathe- dral, 385. 85. Prague^ — St. Dominico, 386. 86. GoERLiTZ — St. Peter and St. Paul, 387- 87. St. Mary, 388. 88. Liegnitz— St. Peter and St. Paul, 388. AI'I'KNIUX. xix 8!). JjRESi,An — the Cathedral of St. Jolm, 88!). MO. Clioir Oi-ffm, ditto, !l(),v. the littk- Orijan, ditto. ;3()0. St. Marv Ma^rdalcn. :?!tl. St. Klizaboth; 93. small Oi-ijan, ditto, ;>.');>. Ok St. HcM-niiardin, .%. small Organ, Tarisii Church, Ml. 120. Rome— St. Peter, 411. 121. second Organ, 113. 122. Milan— the Cathedral, 41 k 123. second Organ, 115. 12 k St. .Viessandro, 11 (i. 12.5. St. Maria della Grazia, 117. 126. St. Raphael, 417- 127. CoMO— the Cathedral, 418. 128. Church of the Santissimo Cro- cifisso, 419. 129. Florence— Church of the Badia, 419. 130. St. Marco, 420 131. St. Gictano, 420. 132. Genoa — Santa Maria des Virrnes, 421. 133. St. Ambrogio, 422. 13k the Carigrana Church, 422. 13.5. St. Felipo Neri, 423. 136. Cathedral of St. Pierre, 424. 137. — 425. 138. Siena— the Cathedral, 425. 139. the Conventual Churcii, 426. 140. Seville — the Cathedral, 427- 141. the second Organ, ditto, 430. America. 142. New York- Trinity Church, 431. 143. Church of the Annunciation, 432. 141.. the Presbyterian Church, 433. A Table of Foreign and English Equivalent Terms, 434 to 443. British Organs — London an 145. Panopticon, 443. 167. 146. St. Paul's Cathedral, 445. 147. Westminster Abbey, 446. 1 68. 148. Buckingham Palace (Chapel), 447. 16.9. 149. (private apartments), 447. 150. The Temple Church, 448 170 151. Christ Church, Newgate Street, 449. 171. 152. St. Sepulchre's, Snowhill, 450. 172. 153. St. Andrew's, Holborn, 452. 173. 154. St. Peter's, Cornhill, 452. 155. St. Michael's. Cornhill, 45.3. 174. 156. St. Stephen's, Walbrook, 455. 175. 157- St. Edmund the King, Lombard 176. Street, 455. ' 177- 158. St. Mary-at-Hill, 456. 178. 159. St. Stephen, Coleman Street, 457. 179. 160. St. Botolph, Aldgate, 457- 180. 161. St. Ann's, Limehouse, 458. 181. 162. Wesleyan Chapel, Poplar, 459. 1S2. 163. Christ Church, Spitalfields, 459. 183. 164. St. Luke's Church, Old Street Road, 184. 461. 185. 16.5. St. Leonard's, Shoreditch, 462. 186. lh'6. St. John's, Hacknev, 462. D ITS Environs. St. Mary's Catholic Chapel, Moor- fields, 463. St. Mark's, Pentonville, 464. St. Dunstan's in the West, Fleet Street, 46 k Foundling Hospital, 465. St. Clement Dane's, Strand, 466. St. Martin's Hall, 466. German Lutheran Church, Savoy, 467. Exeter Hall, 467- St. Martin's in the Fields, 469. Chapel Royal, Whitehall, 471. St. Margaret's, Westminster, 472. St. Philip's, Waterloo Place, 472. St. James's, Piccadilly, 473. St. George's, Hanover Square, 474. Hanover Square Rooms, 474. The Cyclorama, 475. St. Katherine's, Regent's Park, 475. Christ Church, Marylebone, 476. Chapel Roval, St. James's, 477- St. Paul's,' Wilton Place, Knights- bridge, 477. XX APPENDIX, 187. 188. 18.9. 1.90. 191. 192. 193. 194. 195. 205. 206. 207. 208. 209. 210. 211. 212. 213. 214. 215. 21fi. 217. 218. 21.9. 220. 221. 222. 223! 224. 225. 226. 227. 228. 229. 230. 231. 232. 233. 234. 235. 236. 2.37. 238. 239. 240. 241. 242. 243. 282. 283. 284. 885. 286. 287. 288. 289. 290. 2.91. St. Miclmol's, Chester Square, 478. St. Gabriel's Church, rimlico, 479. Holy Trinitv, Bnimpton, 480. St. Luke's, 'Chelsea, 480. St. John's, Waterloo Road, 481. St. Peter's, Walworth, 1-82. St. George's, Camberwell, 482. St. Giles, Camberwell, 482. St. Saviour's, Southwark, 483. 196. St. Olave's, Southwark, 484. 197. St. John's, Southwark, 485. 198. St. James's, Bermondsey, 486. 19.9. St. Mary's, Rotlierhithe, 486. 200. The Hospital, Greenwich, 487. 201. Lue Church, Kent, 4S8. 202. St. Mary's, Clapham, 488. 203. Croydon Church, 489. 204. Hampton Court Palace, 489. Country Organs. Windsor — St. George's Chapel, 490. St. George's Hall, 4.91. Eton College, 492. O.XFOKU— Christ Church, 492. Magdalen College, 493. Radley— St. Peter's, 494. Gloucester — Cathedral, 4.95. the Shire Hall, -495. Tewkesbury — the Abbey, 496. Hereford — Cathedral, 497. Worcester — Cathedral, 497. the Shire Hall, 498. Stratford-on-Avon — 499. Kidderminster — Town Hall, 500. Birmingham- — Town Hall, 500. Licufield— Cathedral, 502. Shrewsbury — St. Mary's, 502. St. Chad's, 503. Chester — Cathedral, 504. St. John's, 504. Liverpool — St. George's Hall, 505. GreatGeorgeStreetChapel,508. Collegiate Institution, 509. Manchester— the Cathedral, 509. St. Luke's, 510. Holy Trinity Church, 511. St. Peter's Church, 512. Ashton-under-line — 518. Stockport — Sunday School, 514. Oldham — Parish Church, 515. Huddersfield — Buxton Road Chapel, 516. Highfield Chapel, 517. Halifax — Parish Church, 518. Harrison Road Chapel, 519. Bradford — Eastbrook Chapel, 520. Leeds — St. Peter's Chapel, 521. Brunswick Chapel, 521. Preston — Parish Church, 522. St.Walburgh's Cathol. Church, 253. Organs in Scotland, I Glasgow — the City Hall, 554. Edinburgh — the Music Hall, 555. Dublin — St. Patrick's Cathedral. .556. Christ Church Cathedral, 557- Trinitv College Chapel, 558. St. Nicholas, 558. St. Francis Xavier, 559. Belfast — St. Malachy, 560. St. Patrick, 560. Casuel — Cathedral, 5()1. 244. Lancaster — St. Thomas, 523. 245. Carlisle — the old Cathedral Organ, 524. 246. Newcastle-on-Tyne— St.Nicholas, 525. 247. Durham — Cathedral, 526. 248. York— Cathedral, 527. 249. Doncaster — St. George, 529. 250. Lincoln— Cathedral, 530. 251. Boston — Centenary Chapel, 531. 252. Newark — Parish Church, 532. 253. SouTHWELi Collegiate Church, 533. 254. Nottingham — St. Mary, 533. 255. Mechanics' Hall, 534. 256. Peterborough — Cathedral, 535. 257. Lynn Regis— St. Margaret, 535. 258. Norwich— Cathedral, 536. 259. St. Peter Mancroft, 537- 260. Gt. Yarmouth — St. Nicholas, 538. 261. Ely— Cathedral, 539. 262. Cambridge — Trinity College, 540. 263. St. John's College, 541. 264. TuRVEY— 541. 265. Northampton — All Saints', 542. 266. Exchange Room, 542. 267. Rochester — Cathedral, 543. 268. Canterbury — Cathedral, 544. 269. Tonbridge Wells — Trinity Church, 544. 270. Cranbrook — Parish Church, 545. 271- Chichester — Cathedral, 545. 272. Winchester — Cathedral, 547. 273. Salisbury — Cathedral, .547. 274. Bristol— Cathedral, 550. 275. St. James, 550. 276. Wells— Cathedral, 551. 277. E.xeter — Cathedral, 551. 278. RiroN— Cathedral, 552. 279. Bangor — Cathedral, 553. 280. St. Asaph's- Cathedral, 553. 281. St. Datid's— Cathedral, 554. RELAND, &C. 292. Cai^uel- Rom. Cath. Cathedral, 561. 293. Cork— St. Mary, 562. 294. Cloyne— Cathedral, 562. 295. Kilkenny — St. Canice, 563. 296. TuAM— Cathedral, 564. 297. Newfoundland — Cathedral. 565. 298. Boston, United States — Tremont Temple, 566. 299. Henley-ontThames — 5(>7. 300. Carlisle — new Organ for Cathedral, 567. LIST OF WOOD CUTS, DIAGRAMS, &c. XXI TIIH HISTORY OK Tiri'! OROAN. No. (i. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 50. 51. 52. o3. Aiuicut Organ, iVoni Kirchcr's Mu- xurgia, 3. Tho " Maoraphe d' Ariuiluii," an He- brew instruMiont, from tho same, 4. An Hyiliaiilic-organ, from Ilaiiscr's KiirhfuDiiixi/i, 10. Antient Organ, from the sculptures on tho obelisk at Oonstantinople, 12. from the MS. Psalter of Eadwinc, in the libriuy of Trinity College, Cam- bridge, 18. Ancient Organ and various Musical In- struments, of the time of Charlemagne, from Gori's Thesaunis Diptychorum, 30. Ancient Key-board, from I'netorius' I'heatrum Iiistrumeninrum, 31. An Organist perfonning upon an instru- ment with broad-k(^ys, from Gafluriiis' Theorica Jllit.sir/i, 32. Curious Mode of I Slowing, from T'raito- rius' Tlieatriim InstiHinenlorum, 33. The llellows " a la lanterno," from Mer- sennus' Ilimnonie Universdk, 34. 1 1 . The Ilcgals, from Luscinius' Mmuryia, 38. The Positive-organ, from Wilphlingse- der's Erotemata Musiccs Practictc, 40. The Old Organ of Lincoln Cathedral, from Dugdale's Monasiicoii, (il. Autograph of Bernard Smith, 80. 10 12. 13. 14 THE CONSTRUCTION OF THE ORGAN. Aj'rangcmont of pipes in a seniieii'clc, 4. ■ ■ in an anglo, 4. in " niches," 4. in a "breasted" form, 4. of the " ogee" form, 4. in the flats, 5. 5. The diagonal bellows, 8. The horizontal ditto, 8. Section of diagonal ditto, 10. 10. The top board, 12. 12. The middle board, 13. The bottom board, 13. Section of horizontal bellows, 13. Inverted ribs, 13. Direct parallel ribs, 13. Triangular ribs, 14. Valves in the middle and bottom boards, 14. 14. The middle frame, 15. Folds of the reservoir, 16. Folds of a single feeder, 16. Cockoo feeder, 17. Folds of ditto, 19. Cockoo feeder with reversed lining The double feeder, 20. The concussion bellows, 21. The anemometer, 22. Front view of a portion of a wind chest, 25. Side view of a wind chest, 26. The sound board, 27. The bo.x pallet, 31. 31. The jointed pallet, 32. The valve pallet, 32. The table, 33. The upper boards, 35. The sliders and bearers, 37. The pipe racks, 39 Groove arrangements, 41. 42. 42. Side view of manual keys, 45. Side view of pedal keys, 46. 20. No. 54. The fan-frame movement, 47. 55. The stickers, 47. 56. The backfalls, 48. 57. The trackers, 48 58. The rollers, 49. 59. The squares, 51. 60. The manual coupler, 52. 61. The sliding coupler, 53 62. The sforzando coupler, 54. 63. The pedal roUer movement, 55. 64. The pedal coupler, 55. 65. The pneumatic action, closed, 58. 66. open, 58 67. The wooden-trandle draw stop action, 61. 68. The iron-trundle ditto, 62. 69. Tho composition pedal action, 64. 70. The tremulant, 71. 71. Open cylindrical pipe, 79. 72. Stopped cylindrical pipe, 79. 73. Half-stopped cylindrical pipe, 79. 74. Cylindi-ical pipe (the clarionet), 80. 75. (the Vox Humana), 80. 76. Conical pipe, with a bell, 80. 77. (the spitz flote), 80. 78. (the gemshorn), 80. 79. Inverted cone-shaped pijie, 81. 80. (the dolcan), 81. 81. surmounted by a bell, 81. 82. Four-sided pipe, 81. 83. Stopped four-sided pipe, 82. 84. Pyramidal pipe, 82. 85. Inverted pyramidal pipe, 82. 86. 82. 87: Portion of body of a metal flue pipe, 83. 88. Foot of ditto, 84. 89. Languid of ditto, 84. 90. Wooden flue pipe (the body), 85. 91. The hohl flute, 85 92. Mouth of a block pipe, 86. 93. A wood languid pipe, 86. 94. Section of a German wood pipe, 86. 96. Section of an English metal pipe, 86. 95. Section of a German metal pipe, 80. 97. The block of a reed pipe, 93. 98. The reed, 93. 99. The tongue, 93. 100. The tuning wire, 94. 101. The tuning horn, 159. 102. 159. 103. Mop used in tuning, 100. ERRATA IN " THE CONSTRUCTION OF THE ORGAN," &c. Page 17, last lino but one, after influence of, read the. 18, Sec. 71, last line but one, instead of by s, read by the. 32, the position of the two wood-cuts should be reversed. 33, See. 137, last line, after scries, read tcith Pipes above. 50, Sec. 222, fourth line from the end, for roller, read rollers. 56, Sec. 240, fifth line, for doubter, road double. 58, Sec. 243, for///, read fgs. 58, Sec. 243, eighth line, for m read w, and for t read /. 59, Sec. 245, fifth line, for n read g ; and in seventh line, for q rcail p. 60, Sec. 247, fourth line, for pallet read pallets. 83, second lino, for second read sound. 84, Sec. 362, for t/ius read then. 86, Sec. 372, third line, for i read o. — Sec. 374, the comma should be after the word outside in the sixth line, and not after cvtcrior in the seventh. — Sec. 375, fourth line, for it is, read theg are. 109, Sec. 495, the misprints, " Principal-werk, Gedact-werk, and Flote-werk," shoiild be erased. 120, Sec. 569, second line, for " 1^ foot on the Manual, and 2^ on the Pedal," read Ij foot on the Manual, and 2f feet on the Pedal. 158, Sec. 709, fourth line, for of third, read of a third. 164, Sec. 737, fifth line, for lower, read low. 166, Sec. 742, fifteenth line, for " practised E la," read " practised above E la." eighth line, the punctuation should be erased. 1 73, Note, fourth line, for Stop, read Stops. 186, Sec. 822, fouith line from the bottom, for " disturbing," read " permanently disturbing." 204, Sec. 889, last line but two, for iu read in. 208, See. 903 ('side note), for writing read uniting. 263, Sec. 1105, second Line, for 2| inches, read 2| inches. Sec. 1109, first Une, after " short," insert " in fi-ont of the centre." 269, Sec. 1142, third line, for read {\. 283, Sec. 1196, thirteenth line, after " plugging," insert " making a wider wind- way." 284, Sec. 1198, second line, for Diapasons, read Diapason. 288, See. 1212, last Une, for notes, read note. 300, Sec. 1 237, fourth line from the bottom, for " 5| feet," read " 5^ feet." 313, Sec. 1269, last line but one, for " point," read "points." 315, Stop No. 11, for " If feet," read " if foot." 317, No. 3, second line, for "and Pedal," read "and a Pedal." 318, Stop No. 11, for " 1 feet," read " 16 feet." 321, No. 7, Stop No. 50, for " 3 feet," read " 4 feet." 322, No. 8, last line but two, for " Fuur," read " Four." last line, for " altissimo," read " alt." 325, No. 12, fifth line, for " Bourbordes," read " Bombardes." 332, No. 17, last line, for " 5^ feet," read " 5^ feet." 335, No. 20, Stop No. 12, for " if foot," read " if foot." 342, No. 29, second Kne, for " that," read " the." 343, No. 31, Stop No. 19, for "3 feet," read "2 feet." 345, Stop No. 21, for " li foot," read " 1^ foot." 361, Stop No. 57, for " 6j feet," read " 6| feet." No. 57, Stop No. 11, for " U foot," read " 1^ foot." 365, Stop No. 23, for " 22," read"" 2|." 377, No. 74, Stop No. 11, for " If," read " 1^." 379, No. 77, after Stop 46, instead of " 5, 6, and 7," read " 44, 45, and 46." 388, No. 88, Stop No. 13, for " 3^ feet," read " 3 J- feet." 389, No. 88, Stop No. 20, for " 1| foot," read " 1^ foot." 399, No. 107, second line, for " name," read " names " 469, No. 174, there is a Bourdon on the Pedal of the Exeter Hall Organ, making the number of Sounding Stops 42 instead of 41. 495, No. 212. The Gloucester Shire Hall has, in the Great Organ, a IV-rank Sesquialtera and no Viol di Gamba ; in the Choii-, a Suabc Flute and no Fifteenth ; and in the Swell, a Gamba and no Cromorae. It has also 14 Accessory Stops and Movements; namely, 6 Couplers and 8 Composition I'edals. AN HISTORICAL ACCOUNT OF THE ORGAN, BY EDWARD P. RIMBAULT, LI &c, &c. I EERATA. Page 42, sixth line from the bottom, for " may have been," read " was." 56, third line from the bottom, for Russian province," read Prussian province." I'REFACE. When I uiicKn-took to prefix to my friend Mr. Hojikins's valuable treatise on the cojistruction of the Organ an historical account of that noble instru- ment, my intention was to give a resume of what had already been written, with the addition of such new particidars as the course of years had accumu- lated in my note-books. But upon collating the various writers, their state- ments 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 particulars hitherto unknown. All modern writers have been perplexed witli the notices of the Organ handed down to us by tlie ancient Greeks, and have endeavoured to reconcile; them with om- present ideas of tlie instrument. The key-hoard has been a constant source of difficulty, and the epigram, or rather enigma, of the Emperor Julian has been often cited to prove that the ancients were acquainted with it. The discovery of a treatise on Organ-building by a movtk of the eleventh century (printed in the following pages) settles for ever this important question. Another source of difficulty is the common expression, in mediseval times, of " a pair of organs." Some of our ablest antiquaries 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 lat^r period in the History of the Organ, the biograpliies of Smith and Harris have been involved in much obscui'ity. Father Smith fathered all our old organs, of whatever kind or description ; and so little attention has been paid to dates, that we are told, "Harris's most celebrated organs are those of St. Sepulclire'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 coteraporaries tlie Silber- manns, have also received the same attention ; and if the information regarding them is somewhat scant, it is all my research has enabled me 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 ; XXVI PREFACE. which, added to Mr. Hopkins's able cliapter on tlie " Situation of the Organ," will, it is to be hoped, be found of some practical utility. Thv rescue of this noble instrument from the " holes and corners " to which modern ecclesiolo- gists have ofttimes assigned it, is part of our creed. It will be observed that my historical account deals more with facts than with 0])inions. Tor 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 M'hich 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 Paris/i C/ioir ; Mr. Sutton's Skort Account of Organs huilt 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 pubHcations of the Encyclo- pedie-Roret. If I have not named other modern works purporting to treat of the Organ historically, it is because I have found them miworthy of credit. It only remains to tender my obligations to those gentlemen who have kindly assisted me in the course of the following essay. I must especially thank my friend, E. W. Eairholt, Esq. E.S.A. for the valuable extracts from Mr. Rolfe's MSS. (inserted in p. 45), and for other information ; "William Chappell, Esq. E.S.A. for two or tliree curious notices ; Mr. Hill, the eminent Organ-builder, for the loan of G. P. England^'s MS. Account Book ; Alfred Price, Esq. of Gloucester, for liis MS. translation of Herr Seidel's Treatise on the Organ, before mentioned ; and lastly, Robert Hendrie, Esq. for his kind- ness in giving me permission to use his excellent translation of Theophilus's Chapters on the Organ. EDWARD E. RIMBAULT. 29, St. Mark's Crescent, Regent's Purk, June, I80.5. THE HISTORY OF THE ORGAN. FIRST EPOCH. THE ANCIENT ORGAN, ANTERIOR TO THE INVENTION OF THE KEY-BOARD. 1. Its Invention. The early history of ancient musical instruments is surrounded by mystery and fable; tlieir invention being usually attributed to the heathen deities. Patient investigation is required to sift the historical from the fabulous mat- ter, and it then remains a matter of doubt whether the result does not excite, rather than satisfy, our curiosity. Tlie word organ, used in the Old Testament and in the Psalms, 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 parti- cular musical instrument called an organ ; for 'dpyavoi', with them, was a general name for an instrument, a ivorh, or an inqdement of any kind : hence, opya- viv.ii;, instrumental; ifjavomioi;, an instrument maker; and ipyavmotla, the fabri- cation of an instrument. And, in all the Greek musical theorists^ organic is a general term applied to instrumental music*. It is of much unportance to the history of an art, that the origin, etymologj^, and primitive acceptance of its terms sho^lld be minutely traced. In the present instance, the extended application of the word organum, throughout the middle ages, has given rise to much confusion and misunderstanding. It is, however, perfectly clear, to those who have investigated the subject, that the Greeks un- derstood by the word cfjavov, and the Romans by their organum, not an organ, in our sense of the term, but an instrument of any kind ; applying the expres- sion, however, more particularly to musical instrumentsf. * See note in Burney's History of Music, vol. i, p. 252 ; also Liddell and Scott's Greek and English Lexicon. f Organum. A general name given to any instrument, machine, or contrivance by ■which human labour is assisted, in agriculture, architecture, warfare, &c. ; diiFering, how- ever, 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, B 2 THE HISTOKY OF THE ORGAN. The organ [ougab) mentioned in Genesis (chap, iv, v. 21) certainly little resembled the modern instrument of that name, although it may be regarded as furnisliing the first hint*. It was probably a series of reeds, of unequal length and thickness, joined together; being nearly identical with the pipe of Pan among tiie Greeks, or that simple instrument called a mouth-organ, which is still in common usef. The classical ancients ascribe its invention to Pan, the great sylvan god; and, accordingly, he was usually figured with the instrument in liis 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 Mm, and feeding on the banks. This shows that it was regarded as properly a sylvan and pastoral instrument ; and so it seems to be mentioned by Job (ch. xxi, v. 11, 12). Pan himself thought it superior to the lyre of ApoUo, whom he challenged to a trial of skill ; and the challenge being accepted, the umpire (being no other than Midas) decided in favoiu- of Pan's pipes. The Greek and Latin shepherds made this primitive instrument of strong X, 1, 3. Cohimell, 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. Nero, 41. Lamprid. Alex. Ser. 27. Id. Heliog. 32) ; but which also bad a special name of its own, in allusion to the water ori- ginally employed, instead of weights, for working it. — Rich's Companion to the Latin Dic- tionary and Greek Lexicon, p. 458. * " 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 Mersenius {De Instrum. Harm. lib. 10, prop. 44). The Hebrew word in Job is ougab, 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, Jistida ex novarum 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. f It is indeed remarkable that the lyre (kinnor) and syrinx (ougab) were the two first instruments 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 kinnor. The principle of the instrument is so simple, that it has been one of the most diffused of musical instruments. A syrinx, ov fistula Panis, 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 different parts of Asia. The numben 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. 66.5, note. THK IlISTOUY OV TUK OUO.VN, 3 r(M>(ls, OV some other suitable wood. It origiiiiiUy consisted of seven or eight reeds of ])rogressive lengths, fastened togellier with wax. Tlie number was iiftcrwiirds extended to ten or twelve*. The syrinx, or ])ipe of Pan, by its form and arrangiMiient, may be regarded as the lirst 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 tlui fatiguing motion of the head or hands, by inflating tlic {)ipcs in some other maimer, men seem to have laboured for centuries. Th(^ first ste]) towards this cTid was the invention of a wooden box, the top of which was bored with just so many holes as there were ])i]3cs to stand on it. In these they now placed the pipes in the same order as they occupied in the Pan-pipes. Erom the chest (the modern w'ni(l-c/u:if) proceeded a small reed (now the wliid-trunk), into which they blew with the mouth. l?ut 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, impos- sible. 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, wliich either opened or stopped the entrance of the wind into the pipes. Father Kircher, in his Miisurgia, fol. 1650 (lib. ii, p. 53), has given us a drawing of this instnment, which is here copied : The slides stood in an inclined position, and, in order to open them, lever."? were added, which were connected with the slides by cords or strings (the origin of the pnll-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 sufiicient to supply the instrument, and then a more suitable contrivance for the production of wiud was devised. Thus we have a new class of instrument, called by the Greeks ofyavov mfviAariMv, and by the Romans tibia utricularis. Virgil has an elegant passage, in wliich he describes the shepherd Tonius plajdng 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, * This instrument is described by Viri;il, and the use of it by Lucretius, lib. v. It is frequently depicted upon ancient medals. B 2 4 THE HISTORY OF THE ORGAN. Multotiesque alto flatum e pulmonibus liaiistum ' Utrem implet ; cubito vocem dat tibia presso, Nunc hue nunc illuc digito saliente. . . ." "VVlicn soberly considered, tliis instrument appears to be notliing more than the origin of the bagpipe. It consisted of pipes pierced with lateral holes, and an inflating pipe, wliich the performer applied to his mouth to fill the leathern bag with wind. The apphcation of the inflating tube, it is evident, related only to the smaller iiistrimients, such as that described by Virgil ; the larger ones were supplied with wind by the compression of the leathern bag or bel- lows*. This contrivance proved of so much advantage to the improving in- strument, 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 in- creased and enlarged, and the box widened, the next improvement was the enlargement of the wind-tube {trunJc). 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 instrument called Macraphe d' Aruchin, affords an illustration of an organ of this kind : From the progressive inventions we have recorded, it -w'ill be observed that many portions of the modern organ were already to be met with in the in- strimients of the ancients, in a more or less complete state. We may there- fore 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 aU these inventions date from a period before the bhth of Clirist. * M. Fetis has written a long paper to prove that the Pneumatic Organ of the ancients was nothing more than a bagpipe ! This learned writer has, however, been led into an error by considering only a portion of the ancient authorities, i.e. those relating to the tibia utricularis. See a translation of M. Fetis' paper in the Harmonicon for 1829, p. 4. M. Fetis 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 instru- mentorum vetcnim, is purely imaginary." The passage from Virgil is cited by M. Fetis. Till'; IIISTOItY OF TIIK ()R(iAN. 5 2. 'riic ll//r curious description of the pneumatic organ is given by Cassio- dorus, who llourislicd under King Vitigas, tlie (Joth, a. D. 514, in his ('oni- mentary on the 150th Psahnf. " The organ," says he, " is an instrument composed of divers jjipes, formed into a kind of to\v(M", which, by means of bellows, is made to })roduce a loud sound ; and, in order to express agreeable melodies, there are, in the inside, movements made of wood, that are pressed down by the fingers of tlu^ phiycr, which produce the most pleasing and bril- liant touesj." 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 de(!orations, those now in use. The following passage from Aldhelm§, who died A.D. 709, wiU show that our ancestors at that time were accustomed to gild the external pipes : " Maxima millenis auscultans organa flabrio, Mulccat auditum ventosis follibus iste, Quamlibet auratis fulgescant cjstera capsis." 4. Its Introduction into the Church. The organ was early used in the public service of the church. Platina tells us II that it was first employed for religious worship by Pojje Vitalian I, A.D. 666; but, according to Julianus (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^. The use of instruments in churches was much earlier ; for " 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 ayepcoxofi " 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. Wackerbath's copy of the eight Greek lines contains no fewer than twenty errors. * Didron's Annales Archeologiques, Paris, 1845, contains an article on Organs by M. Coussemaker. Our engraving is derived from this valuable work. f The passage is also quoted by Bede, tom. viii, 89,9, 900. J Organum itaque est quasi turris qusedam diversis fistulis fabricata. quibus flatu follium vox copiosissima destinatur ; et ut earn modulatio decora componat, linguis quibus- dam ligneis ab interiori parte construitur, quas disciplinabiliter magistrorum digiti repri- mentis, grandisonam efficiunt et suavissimam cantilenam. In Psalm cl. I De laude Virginum. Bibliotheca Maxima Patrum, tom. xiii, p. 3. This pas- sage was first pointed out by Mr. Sharon Turner, Anglo-Saxons, iv, 417. II Lives of the Popes ; Rycaud's translation, p. 114. 1[ See Lorinus, Psal. 33. 14 THE HISTORY OF THE ORGAN. we are told that St. Ajnbrose joined instruments of music with the public ser- vice in the cathedral church of Milan ; wliich example of liis was so well approved of, that, by degrees, it became the general practice of other chui-ches. Nay, the antiquity of instrumental church-music is still liigher, if "we may -credit the testimony of Justin Martyr and Eusebius, the latter of whom lived fifty, and the former two hundred, years before the time of St. Ambrose*. We have seen, from the Epigram of the Emperor Julian, before quoted, that an organ capable of being used in rehgious ceremonies existed long before the erection of Christian churches ; we camiot then refuse to credit the testimony of J ulianus, as to its admission into the service of pubUc worship at an earher period than that commonly assignedf. It was some time before organs became common in the churches of Europe. Pepin (the father of Charlemagne), king of the Eranks, an ardent worshipper of God, first introduced singing and the ceremonies of the Eomish 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, surnamed Copronymus, sohciting him to forward one to France. The emperor compUed with the request, and in the year 757, or tliereaboutsj, sent liim as a present, in charge of a special embassy§, a great organ with leaden pipes ||, which was placed in the church of St. CorneOle, at Compiegne. It also ap- pears that an organ, constructed by an Arabian named Giafar, was sent to Charlemagne by the renowned " Commander of the Faithful," the caliph Haroun Alrascliid — an incident introduced with considerable effect by Madame de Genlis, in her romance, Les Chevaliers dii Ci/gne. This was the instrument, in all probability, which Walafrid Strabo described as existing in the ninth century in a church at Aix-la-ChapeUe. Its softness (query ?) of tone, he adds, caused the death of a female^. The French artists were eager * Hawkins, bk. iv, chap 32. t Bingham (Christian Antiq. bk. viii, c. 7 — 16), and his followers, assert that the organ was first introduced into churches by Marinus Sanutas, in 1 2.90 ! 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 Divin Psal. 1653. X Siegebert says 766 : but Walter Odington,of Evesham (who wrote in the 13th century), is a preferable authority. His words are, " Anno Domini IWl, venit Organum primo in Francium missum a potissima Rege Grecorum Pipino imperatori." — De speculatione Mu- siccB. § The deputation to King Pepin was headed by Stephanus, a Roman Bishop. — Aven- tini. Annates Bavaria. II Alax. Sardus, De rerum Inventoribus, lib. i. ^ Eginhard, in his Annals of Louis le Debonnaire, and Nigellus, in his poem on the life and actions of Louis the Pious, printed in the Scriptores Italici de Muratori, both Till': HISTORY OK TIIH OltOAN. 15 to equal these specimens of foreign ingenuity ; and so successful were tlieir efforts, that, in ihc iiintli century, it is said, the best organs were made in France and Cerinaiiy. Their su])eri()rity was acknowledged by John VllI, in a letter to Anno, Bishop of Fricsiiigcn, from whom he re((uested an organ, and a master for the instruction of the Roman artists. The passage runs thus: " Precamur id optimum organum cum artifice, (jui lioc moderari, et facere ad onmem moihdutionis eiheaciam possit, ad iustructionem musicte dis- ciplinse nobis aut deferas, aut mittas*." Soon afterwards, wc find them in common use in England, constructed by English artists, witli pipes of copper fixed in gilt iramesf. St. Dunstan, in the reign of Edgar, erected or fabricated an organ, the pipes of which were made of brass^. The following notice of this instrument is preserved by William of IMalmesbury : — " Ideo in multis locis munificus, quaj tunc in Anglia magni miraculi essent, decusque et ingenium conferentis ostendercnt offerre credo. Itaque signa sono et mole prcestantia, et organo ubi per sereas fistulas musicis mensuris elaboratas, ' duduin conceptas follis vomit anxius auras.' Ibi hoc distichon laminis ajreis impressit — Organo de Sancto Praesul Dunstanus Aldlielmo ; Perdat hie oeternum qui vult hinc tollere regnum^." This worthy prelate also caused an organ to be erected in the Abbey-cliurcli of Glastonbury. In the same century. Count Elwia presented an organ to the Convent of Eamsey, on which 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 bellows, emit a sweet melody, and a far resounding peal||." In the old church of Winchester was a monster organ, according to its speak of the organ at Aix-la-Chapelle ; but they allude to the hydraulicon, not tothe pneu- matic-organ. The former was in the palace of the King, the latter in the church. His- torians have strangely confounded the two. * Sandini, in Vit. Pont, i, p, 29-1'. See also Dr. Lingard's Antiquities of the Anglo- Saxon Church, ii, p. 376. t Aldhelm in Gale, pp. 266, 420, cited by Lingard, Anglo-Saxon Church, ii, p. 376. See also the curious passage from Aldhelm quoted in a previous section, ante, p. 13. X St. Dunstan died A. D. .988. § Gale, torn, iii, p. 366 ; Wackerbarth's Music and the Anglo-Saxons, p. 19. II The original Latin of this passage is thus given in the Acta Sanctorum : — " Tri- ginta prseterea libras ad fabricandum cupreos organorum calamos erogavit, qui in alveo suo, super unam cochlearum dense ordine foraminibus insidentes, et diebus festis foUium spira- mento fortiore pulsati, prajdulcem melodiam et clangorem longius resonantem ediderunt. De ^dnotho juniore, qui, senescente altero JSdnotho, curse exterioris pro eo occepit administrationem. — Acta S. S. Ord. Benedict Sceculo v, p. 756. See also Gale, torn, iii, p. 420. 16 THE HISTORY OF THE ORGAN. description by the monk Wulston*, whose fidehty, as Lingard remarks, can- not be questioned, since lie dedicated his poem to Bishop Elpliegef, by whose order the organ was built about the close of the tenth century. The portion of Wulston's poem relating to the orgaTi is as follows : — " Talia et auxistis liic organa qualia nunquam Cernuntur, gemino constabilita solo. Bisseni supra sociantur ordine folles, Inferiusque jacent quatuor atque decern, Flatibus alternis spiracula maxima reddunt Quos agitant vaJidi septuaginta viri ; Brachia versantes, multo et sudore madentes, Certatimque suos quisque movet socios, Viribus ut totis impellant flamina sursum Rugiat et pleno capsa referta sinu Sola quadringentas quae sustinet ordine musas Quas manus organic! temperat ingenii. Has aperit clausas, iterumque has claudit apertas Exigit ut varii certa camsena soni. Considuntque duo concordi pectore fratres, Et regit alphabetum rector uterque suum. Suntque quaterdenis occulta foramina linguis, Inque suo retinet ordine quseque decem : Hue alias currunt, illuc aliseque recurrunt Servantes modulis singula puncta suis ; Et feriunt jubilum septem discrimina vocum Permixto lyrici carmine semitoni : Inque modum tonitrus vox ferrea verberat aures, Prteter ut hunc solum nil capiat sonitum. Concrepat in tantum sonus bine illincque resultans, Quisque manu patulas claudat ut auriculas, Haudquaquam suflFere valens propiando rugitum, Quem reddunt varii concrepitando soni : Musarumque melos auditur ubique per urbem, Et peragrat totam fama volans patriam. Hoc decus Ecclesife vovit tua cura Tonanti, Clavigeri inque sacri struxit honore PetriJ." Thus translated by Mr. Wackerbarth§ : — " 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 he be- low. 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 liis companions to drive the wind up mth all his * Called Wulston or Wolston the Deacon. He died A. D. 963. t Elphegus Calvus received the Bishopric of Winchester in A. D. 935, and held it till 951. I Acta Sanctorum Ordinis Benedict Scec. v, p. 631 — 2. ^ Music and the Anglo-Saxons, p. 12 — 15. TIIK lIISTOltY OK TIIK 0110 AN. 17 Rtroni^-tli, Hint I he riill-bosoiiicd box iiiuy ^wak w illi its I'our Imiidrcd pipes which I he haiid of I he organist governs. Some when closed lie opens, others w hen open he closes, as tlie individual nature of the varied sound re(|uircs. Two l)rcthren (religious) of concordant spirit sit at the instrnineni, 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 iiither, others thitlier, each preserving the proper point (or situation) for its own note. They strike the seven differences of joyous sounds, adding the naisie of the lyric semitone. Like tliunder the; iron tones batter the ear, so t hat it may receive uo sound but that alone. To such an amount docs it reverberate, echoing in every direction, that every one stops with his hand his ga])ing ears, being in no wise able to draw near and bear the sound, wliich so many combinations produce. The music is heard tliroughout the town, and the flying fame thereof is gone out over the whole country. This honor- able church has your care dedicated to the lluler of the thunder, and built up in lionour of the key-bearing St. Peter*." 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 tluee and a half octaves. Of the first position, we have no proof whatever in the poem itself. Of the second, all the miter says is that it was provided with the seven sounds and the " lyric semitone," wliich latter clearly means the B flat. The alphabet alluded to was the handles of the rods or levers by wliich the instrument was played ; the key -board was not yet invented. Of the third position, it is clear that the compass did not exceed ten notes, " and for each note forty pipes," wliich makes up the number of /otir hundred. The seventy stout bellows-blowers must still remain a perplexing question. The bretliren of Winchester were a rich and a large body, and the writer probably meant that it was the ofBce of seventy inferior monks, at different periods, to succeed * Mason {Essays on English ChurcJi Music, p. 37) gives the following metrical translation of eight lines of Wulstan'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, rang'd in stated row. Are join'd above, and fourteen more below : These the full force of seventy men require, Who ceaseless toil, and plenteously perspire ; Each aiding each, till all the wind be prest In the close confines of th' incumbent chest, On which four hundred pipes in order rise To bellow forth the blast, that chest supplies." Bedos, and after him Mason, erroneously say that tliis organ was erected at Westminster. 18 THE HISTORY OF THE ORGAN. each other in tliis labour. Or probably seventy may be a corruption of the text for seven. An interesting representation of the pneumatic organ of about this period is preserved in a MS. Psalter of Eadwine, in the library of Trinity College, Cambridge*. It is here copied : At the close of the tenth century many organs existed in the churches of Germany. Michael Prsetorius, in his Syntagma Musica, mentions (under the date 944) those in the Paulina Church at Erfurt, in St. James's Church at Mag- deburg, and in the Cathedral at Halberstadt, Notwithstanding the imperfec- tion of these instruments, they everywhere produced the greatest astonish- ment, and the churches were desirous of possessing so efficacious a means of attracting a congregation. We therefore tind, in this century, that organs multiplied not only in the cathedral churches of the episcopal seats, but also in many churches and monastic establishments. 5. Organ-Building in the Eleventh Century. The following very curious treatise upon the Construction of Organs is part of a larger work upon Divers Arts, by a raouk named Theopliilus. There is a considerable diversity of opinion as to the exact period at wliich the writer flourished. Lessing, Leist, Easpe, and Emeric David, have placed him in the tenth century, a period too early. Guichard, Didron, and Texier consider that he belongs to the twelfth or thirteenth century. Mr. Hendrie, * Under the press mark Insig. R, 17, 1- It is engraved in Strutt's Horda, i, pi. 33. THE HISTORY OF THE ORGAN. 19 in his loariied preface to the English translation of Thcophilus*, sliows, pretty clearly, that the work in question may be assigned to the early luilf of the eleven f/i century. The most ancient manuscripts that have descended to us, are of the latter part of the twelfth, or the early part of the following century. One is pre- served at WolfeiibiUtel; another in tlie Imperial Library, Vienna; a tliird is in tlie University liibrary, Cambridge; auil a fourth among tlie Ilarh'iaTi MSS. in the British Museum. The three first-named manuscripts end abruptly, closing with tli(> first chajitcr on the Construction of the Organ. The Ilarlcian MS, enriches the musical encpiirer with t/iree new chapters upon the mode of building the " King of Instruments" in the eleventh centuryf. Theo])hilus's treatise has escajied the notice of all writers, both foreign and Enghsh, who have devoted their time and talents to the consideration of mu- sical antiquities. Such being the case, the author has considerable pleasure in being the first to introduce it into that department of musical history to wliich it particularly belongs. *• Theophili, qui et Rugerus, Presbyteri et Monachi Libri III, de Diversis Artibus. Opera et Studio Roberti Hendrie. Londini, Johannes Murray, MDCCCXLVII. 8vo. The author owes his Ivnowledge of this curious treatise on the organ entirely to Mr. Hendrie's valuable book. The following translation is taken (with permission) from that gentle- man's publication. f This manuscript is upon vellum, in octavo, and is written in a clear German character of the very commencement of the thirteenth century. Sir F. Madden, the keeper of the manuscripts at the British Museum, and whose authority is conclusive, states that it is of that period, and that it was certainly written in Germany. It contains 115 folios of the books of Theophilus, and five folios of recipes relating to the arts, written by another hand of the period. A treatise, " De Unguentis," follows ; it is a collection of medical recipes. The title and preface to the first book are unfortunately wanting ; in so volumi- nous and superior a copy something might have been otherwise adduced from these which would have unravelled the mystery which shrouds the age and country of our author. The credit of discovering this important manuscript is entirely due to Mr. Hendrie. See his preface to Theophilus, p. xxvi. C 2 20 TIIK lIISTOliY OF THE ORGAN. (OIIIGIXAL.) CAPUT LXXXI. i)E ORGANIS. Factueus organa primum habeat lectionem mensurse, qualiter metiri de- beant fistulfe graves et acuta? et superacutfB ; deinde faciat sibi fermm longum et grossum ad mensuram, quam vult habere fistidas, c[Uod sit in circuitu, rotun- duin smrnnti diligeiitia limatum et poHtum, in una summitate grossius et modice attenuatum, ita ut possit imponi in alteram ferrum curvum per quod circum- datur, juxta moduin ligni in quo volvitur runcina^ et in altera summitate gra- cile, secundum mensuram inferioris capitis fistulse, quae conflatorio debet im- poni. Deinde attenueter cuprum purum et sanissimum, ita ut unguis impressus altera parte appareat. Quod cum fuerit secundum mensuram ferri lineatum et incisum ad longiores fistulas, quae dicuntur graves, fiat secundiun praicep- tum lectionis foramen, in quo plectrum imponi debet, et circumradatur modice ad mensuram festucEe (fistulfe), ac superliniatur stagnum ferro solidatorio, radaturque in ora longitudinis interiiis, in altera ora exteriiis eadem mensura, et superstagnetux tenue. Quae stagnatuia, priusquam rasi tractus noviter facti, modice calefacto cupro liniantur cum resina abietis, ut stagnum facilius adlifereat. Quo facto, complicetur ipsum cuprum circa ferrum et circumligetur filo ferreo mediocriter grosso fortiter, ita ut stagnati tractus conveniant sibi. Quod filum primo induci debet parvulo foramini, quod est in gracili summitate ferri, et in eo bis contorqueri, sicque deduci in volvendo usque ad alteram summitatem, ibique similiter obfirmari. Deinde juncturis sibi convenientibus et diligenter conjunctis, ponatur ipsa ligatura pariter cum ferro ante fornacem super prunas ardentes, et sedente puero et mediocriter flante, teneatur dextera maim ligiuim gracile, in cujus summitate fissa, adlisereat panniculus cum resina, et sinistra teneatur stagnum longum gracile percussum, ut mox cmn fistula incaluerit, liniat juncturam cirni panni- culo resina infecto, apijositumque stagnmn liquefiat, ipsamque junctiu-am (addidimus) diligenter consolidet. Quo facto, refrigerata fistula, ponatur ferrum in instrumeuto toruatoris more parato, inpositoque curvo ferro et filo soluto circumvolvat unus ferrum curvum, alter vero, utrisque manibus chiro- thecis indutis, fistulam fortiter teneat, ita ut ferrum circumducatur et fistula quieta maneat, donee omnino oculis gi'atiosa sit, quasi tornata sit. Deinde educto ferro jjercutiatur ipsa fistula cum maUeo nn^diocriter juxta foramen * A few corrections have been made in the text, such as the grammatical construction obviously suggested. Tllh; IIISTOliV OK TIIK OlUiAN. 21 JITlicopfnIusi*^ Ereattjse on s(; stops are introduced and removed. In the hinder ])art, under the end of these stops, holes are made equally wide and long of the size of two fingers, tlirough wliich the wind can ascend from the lower to the np])(!r parts, so that when the stops are pressed upon them these holes may be stoj)ped by them ; when, however, they are with- drawn, they may again lie ojien. In those pieces of wood . which are joined upon the stops openings are made, carefully and in order, according to the number of the pipes of every tone, in which these pipes are placed, so that they may stand fu-mly and receive the wind from the lower parts. But in the handles of the stops letters are marked, according to the rise and fall of the sound, by which it can be known wliich tone it may be. In each one of these stops single slender holes are made, half of the little finger in length, in the front part, near the handles, length\vise, in wluch single copper-headed nails may be ]ilaced, wliich may pass tlu'ough the small windows in the middle, by means of wliich these stops are drawn from the upper side of the construction down to the lower, and the heads of the nails appear above, so that when the stops are withdrawn from the sounding instrmnents, they cannot be quite extracted. These tilings being thus arranged, these two pieces of wood, wliich perfect the organ-house, are joined together with cheese-glue; then those parts which are joined over the stops, in which the holes exist, are also pared round carefully, and scraped. CHAP. III. OF THE BELLOWS. In making the wind-chamber, join together two pieces of wood of the plane tree, in the above mode, of one foot in length, one of which may be a pahn thick, the other tliree fingers, and let them be round at one end, like a shield, and there a foot and a liaK wide, at the other end blunt, a palm in breadth. When these have been earefaUy fitted together, cut, in the round front in the tliicker wood, the openings which you wish, according to the number of the bellows, and in the blunt end one, wliich must be larger. Then cut, from each opening, a hollow leading to the larger opening, through wliich the wind may have way to the working bellows ; and you will thus glue these woods together with the cheese-glue, and you will bind them round with a bnen cloth, new and strong, which you anoint with the same casein glue that it may adliere : you also make strong iron bindings tiimed over 26 THE HISTORY OF THE ORGAN. ligatura sit, quae comprehcndat utrumquc lignum a superiore latere usque ad inferius. Deiiide acquire tibi lignum curvum de quercu, sanum et forte, quod liabeat in una fronte, a curvatura longitudinem pedis unius, in altera duorum, quod perforabis in utraque fronte tercbro magno, quo forautur modioli in rotis aratri. Sed quia foramina non possunt sibi obviare propter curvaturam, fac tibi fcrriuu quod habeat caput rotundum in modum ovi, et caudam longam gracilem, quaj imponatur manubrio, sitque juxta caput modice curvum, cum quo calefacto, combures foramina interius in curvatura, donee sibi sequaUter conve- Tiiant. Quo facto, incide ipsum lignum quadrico (quadrato ?) statum, ita ut in unoquoque latere uno palmo latum sit, ad mensuram conflatorii in obtusa parte. Post hsec conjunge ipsum lignum in longiori parte, ad inferius foramen domus organaria;, ita ut eidem bgno cauda incidatur, unius poUicis longa, quae ipsi foramini imponatur, vel inferatur, et junctura tam subtilis sit, ut nicliil flatus inter eam exire queat. Alteram vero frontem conjunges eodem modo ad conflatorium, et ipsum lignum glutine casei firmabis, atque circumvolves pauno totum lignum cum junctura, cui etiam circumtiges cuprum latum quod utriusque Hgni oram capiat. His ita completis, si volueris organa ultra maceriam muri stabilire, ita ut infra monasterium nicliil appareat, nisi sola domus cum fistuUs, et ex altera parte muri foUes jaceant, ita oportebit te ipsam domum convertere ut linguce versus foUes extrahantur, et in ipso muro arcus fiat in quo cantor sedeat, cujus sedes ita aptetur, ut pedes supra conflatorium teneat. Est autem foramen quadrum in medio arcus trans maceriam, per quod domus cum fistulis exponitur ; et super coUum conflatorii, quod in muro infra foramen lapidibus obfirmatum est, in sua junctura sistitur, atque super duos clavos ferreos sequaliter in muro confixos nititur, cui foramini fenestra lignea appendet, quae dum clausa, sera et clave munitur, nemo ignotus super- veniens cognoscere valet quid in ea contineatur. Exterius quoque, super organa, pannus spissus bgnis interius extensus, in modum domunculBe, a laqueari in funiculo ad arcendum pulverem dependeat, qui funiculus super ipsum laquear circa rotulam arte compositus, dum cantandum est organis trahitur, et domunculam elevat, finitoque cantu, denub super organa depo- nitur. Habet quoque ipsa domuncula pinnam ex eodem panno, lignis quatuor in speciem trianguli extensam, in cujus summo sperula (spligerula ?) lignea stet, cui funiculus inhseret. EoUes et instrumentmn super quod jaceant, secun- dum situm loci ad libitos tuos dispone. THE HISTORY Ol' TIIK ORGAN. 27 wiUiiii and willioul, (lial llicy ii'ii.V not become disunited from the woodwork, these you will lix. ou with long nails, headed and tinned, so tliat between the two oix'iiiiigs a biiuliiig may exist, whieli may include; each wood from the upper (o llu; lower side. Then pro(uu'e for yourself a curved piece of oak wood, sound and strong, which must have at one end, from the curve, the l(Miglh of one foot, in the other of two, which you will ])ierce in each end with a large auger, with wliich the niidtUe portions arc; pierced in the wheels of ploughs. But because the openings cannot meet together, on account of the curve, make for yourself an iroTi wliich may have a round head, like an egg, and a long thin stem, which is fitted with a handle, and let it be slightly curved, near the head, with wliich, made hot, you bum the holes curved inside, until they meet together in an even manner. Wluch being done, cut this wood in a square manner, set so that it be one palm wide in each side, to the size of the wind-chamber in the blunt part. After these things join this wood on the longer part, to the lower opening of the organ construction, so that a projection may be cut to the same wood a thumb in length, Avliich can be placed, or forced into this opening, and that the join be so subtle that no wind can escape from it. You join on in the same manner the other end to the bellows, and will fasten this wood with cheese-glue, and will wrap round the whole wood, with the join, with cloth, to wliich you also fix a wide piece of cop- per which may also compass the edge of each wood. These tilings being thus completed, should you wish to establish the organ beyond the masonry of the wall, so that nothing may appear beneath the cloister, unless the erection alone with the pipes, and that the bellows may extend from the other side, you must so turn the construction that the stops may be drawn out towards the bellows, and an arch may be made in the wall itself in which the chanter can sit, whose seat is so adapted that he can keep his feet above the bellows. There is also a square opening in the middle of the arch tlirough the masonry, tlirough wliich the construction with the pipes is laid out ; and upon the neck of the bellows wliich is in the wall beneath, the opening is made fijm with stones, it is supported at its junction, and is rested upon two long iron nails evenly fixed in the wall ; to this opening a wooden window hangs, which, when shut, is defended by a lock and key, that no stranger coming unawares be able to learn what may be contained in it. Outside also, above the organ, a tliick drapery, extended inside with wood Hke a dome, for warding off the dust, can hang by a rope from the ceiling, which rope, arranged with art around a wheel above the ceiling itseK, is drawn whilst the organ is sounding, and thus raises the roof, and the chant being finished, it is lowered upon the organ. This dome also has a spire, made from the same cloth, extended by four pieces of wood in shape of a triangle, at the top of which a small wooden ball can stand, to wluch the rope cleaves. The bellows, and the instrument upon which they may he, arrange at your pleasure according to the situation of the spot. 28 TUK HISTORY OF TlIK ORGAN. CAPUT LXXXIV. DE DOMO CUPREA ET CONFLATORIO EJUS. Secundum abundantiam fisttdarum dispone iougitudinem et latitudinein domus, et fac formam in argilla macerata, siccatamque diligenter incide ([ua- cunque mensura volueris, et cooperi cera, diligenter inter duas jcqualiter spissas liastulas cum rotundo ligno attenuata. Deinde incide foramina lin- guarmn in ipsa cera, et foramen inferius, per quod ventus introeat ; additis spiraculis, cimi infusorio cooperi eadem argilla semel, et iterum ac tertio. Oumque siccata fuerit forma, eodem modo funde quo supra formam tmibidi. Conflatorium quoque formabis in argilla procedentibus undique inferius venti aditibus, ad similitudinem radicis unius arboris, et in siunmo in imum foramen convenientibus. Quod cum mensurate dispositum cultello incideris, cooperi cera, et fac sicnt supra. Cumque domum fuderis conjunges interius altitudine unius digiti a fundo, tabulam cupream ductilem sub foraminibus linguarum sequaliter, ut supra earn ipsse liugufe jaceant, ita ut possint sequaliter produci et induci, illitisque ipsis linguis tenui argilla, reliquum domiis perfundes liquefacto plumbo, per omnia, super ipsas linguas usque ad summum. Quo facto, ejicies ipsum plumbum cbligenter designabisque foramina fistularuin in linguis ; deinde in ipso plumbo et cum gracili ferro, vel terebro, perforabis diligentissime. Deinde sub linguis ventorum aditus facies, induces ipsas linguas singulas in suis locis, atque repones plumbum et cum malleo in per- cutiendo conjunges domui, ut uicliil spiraminis exeat, nisi per foramina quibus fistulse imponendse sunt. Cum vero conflatorium fuerit fusum et limatum, atque miiuscujusque follis fistula suo inductorio coaptata, conjungi et firmiter consolidari debet ad domum organariam iirferius, ita ut ventus suos aditus libere inveniat, et per alias juncturas nullatenus exeat. Hoc quoque soller- tius* procurandum est, ut in capite umuscujusque follis, ante foramen fistulse suae, cuprum tenue dependeat ; quod spiraminis claudat aditum, ita ut cum follis flando deponitui" illud cuprum se elevet, et ventus pleniter exeat ; cum- que follis elevatur ut per ventilabrum suum flatum resumat, iUud cuprum os ejus penitus claudat, et ventum quem emisit redire non permittat. * In MS. sollerterius. TlIK IIISTOliY OK Till', OilOAN. 29 CHAP. IV. OF TIlK COPPER CONSTRUCTION AND TTS BET-LOWS. Dispose the Icngtli and width of the case according to the nnmber of the pipes, and make a mould in beaten clay, and, being dry, cut it to wliatever size you may wish, and cover it \vith wax carefully thinned, between two rods equally thick, witli the round wood. Then cut the openings of the stops in this wax, and the hole below tltrough which the wiiul can enter ; the air-holes with the fuiniel being added, cover alfogctlier with the same clay, and again, and a tliird time. And when the mould has become dry, cast in the same manner as the form of the censer above mentioned. You will also fasliion the bellows in clay, tlie wind-issues proceeding everywhere below in the similitude of the roots of a tree, and meeting at the top in one opening. Wliich, when disposed in rule you have cut with a knife, cover with wax and act as above. And when you have cast the case, you join, inside, at the height of one finger from the bottom, a beaten copper plate, in an even manner under the openings of the stops, that these stops may rest upon it, so tliat they can be smootlily drawn forth and returned ; and lining these stops with tliin clay, you pour over the rest of the case some melted lead everywhere, over these stops up to the top. This being done, you cast out this lead and wdl carefully mark the openings of the pipes in the stops ; then you will most carefully perforate in tins lead with a thin iron or with a bore. Then you make the issues for the wind under the stops ; you introduce these stops singly in then- places, and you replace the lead and you fit them to the construction by beating with the hammer, so that no wind can issue, unless through the openings in wliich the pipes are placed. ^Tiien the wind-case has been cast and filed, and the pipe of each air-issue fitted to its conductor, it should be joined together and firmly soldered below to the organ construction, so that the wind may find its access freely, and can in nowise issue tlu-ough the other joints. This also is to be carefully provided, that a tloin piece of copper may hang down before the opening of its pipe, wliich can close the access of the air-hole, so that when by the breathing of the bellows tliis copper is displaced, it may rise, and the wind may freely issue ; and when the bellows is raised, so that it may recover air tlirougli its own ventilator, this copper can quite close its mouth and not permit the wind which it emitted to retnrn. 30 THE HISTORY OP THE ORGAN. Such is the highly interesting and valuable paper left us by this ancient monk — valuable in many points, but partictilarly so as clearing up the debated point of the invention of the clavier or key-board. The Organ of Theo- PHILUS WAS unprovided WITH ONE. In a Saxon MS. of the eleventh century, preserved in the British Museum [Cott. Tiberius, B. 6) is a drawing of the "Bumbulum cum fistula aerea," with brass pipes. Tins Bimbulum appears to be an organ, played upon in the same manner as that described by the monk. But a better representation is preserved in Gori's Thesaurus DipfycJiorum (said to be from an ancient MS. of the time of Charlemagne), wliich is here copied : King David is depicted sitting on a throne, striking a lyre with his left hand, and holding a sceptre in his right. His head is accompanied by two different kinds of ornaments. One is the glory, the emblem of sanctity and eternity, and the other a turreted crown, representing a city with a gate. This is, perhaps, the holy Jerusalem, or that happy Sion, " whose gates the Lord loveth," as David himself sings. He is probably engaged in singing psalms, assisted by four musical instruments ; the pneumatic organ, a sort of violin, a trumpet, and a set of bells. SECOND EPOCH. THE MEDIiEVAL ORGAN, AFTKR THE INVENTION OF TJIK KEY-BOARD. 6. The First Key -board. The close of the eleventh century forms an era in the liistory of organ- building, when an organ is said to liave been erected in the Cathedral at Magdeburg, with a hey-hoard consisting of sixteen, keys. In the earlier organs, the niunber of notes was very limited. From nine to eleven was nearly their greatest extent, and the execution of the plain-chant did not require more. Harmony, it will be remembered, was still unknown. The keys of the Magdeburg organ were an ell long and tln-ee inches broad. The foUowing diagram, showing their form, is copied from Pra3torius, Theatmm Instrumentorum sen SciagrapJda. 4to. "Wolfenbiittel, 1620. Dom Bedos speaks of some early organs whose keys were five inches and a half wide. The manner of performing upon these instruments was of course conformable to the size of the keys. They were struck down by the jist of the player, even to a considerable depth, whence, according to Seidel, arose the expression Organ-5m^er. This method resembles that of Can^fow-playing*, stiU. in use in some parts of France, Germany, and Holland. * Burney gives an interesting account of his ascent of one of the belfries at Ghent, to witness a performance on the chimes. " The Carilloneur" he says, " was literally at work, and hard work indeed it must be ; he was in his shirt, with the collar unbuttoned, and in a violent sweat. There are pedals communicating with the great bells, upon which, with his feet, he played the base to several sprightly and rather difficult airs, performed with the two hands upon the upper species of keys. These keys are projecting sticks, wide enough asunder to be struck with violence and velocity by either of the two hands edgeways, without the danger of hitting the neighbouring keys. The player had a thick leather cover- ing for the little finger of each hand, otherwise it would be impossible for him to support the pain which the violence of the stroke necessary to be given to each key, in order to its being distinctly heard throughout a very large town, requires." — Present State of Music in Germany, the Netherlands, &c. 1775. Vol. i, p. 14. An engraving of a Car iWojjewr, performing in the exact manner described by Burney, may be seen in the fourth book of Mersennus's iZarjwonie Universelle: Paris, 1636. 32 THE HISTORY OF THE ORGAN. The annexed very curious engraving, sho-Hnng an organist performing upon an instrument with broad-keys, is copied from Pranchinus Gaffurius's T/ieorica Musica, printed at Milan in 1492*. 7. The Bellows. We cannot but wonder at the perseverance of our ancestors, when we consider the various ineffectual efforts that were made, from time to time, to improve the bellows. For centuries they remained in the most imperfect state — sometimes twenty or more being necessary to supply the wind to a * This engraving also occurs in the same author's De Harmonia Musiconim : Milan, 1518. Mr. Wackerbarth, in his Music and the Anglo-Saxons (p. 8), says, " Now it has been so generally asserted by modern writers, though I know not on what authority, that the keys of the organ were originally some inches wide, and played on, like Carillons, with a blow of the fist, that I dare not altogether reject, as untrue, so much concurring testi- mony." It is presumed that the writer of this passage will accept the names of Dom Bedos, rractorius, and Gaifurius, as authorities. ' TIIK illSTOUY OK I'lIK ORdAN. 33 iuo(l(!r!itc sized organ. According to Wulstau (in the passage before (juoted), (luM)rgan at Winchester was provided with twenty-six bellows. The great organ of the (hthedral at llalberstadt had twenty, and that of Magdeburg twenty-four small bellows. They wen^ fashioned in folds like the forge or smith's bellows, and were not provided with weights as in our modern organs. Our ancestors had no idea of ])ro|)orti()ning the wind; but its force depended solely on tiiv strength of the bellows-blowers. It is easy to conceive that by this means the organ could never have been in tune ; because the wind was admitted unequally. Praotorius has left ns a singular representation of the ancient mode of blowing, which is here cojjied from the Theatnmi Instrumcn- tonim, Wolfenbiittel, 1620 : Upon each bellows is fixed a wooden shoe ; the men who work them hang by their hands on a transverse bar, and each man, placing his feet in the shoes of two bellows, alternately lowers one and raises the other. We copy another cui'ious representation of an early bellows, wliich is given by Mersennus, in his Harmonie Universelle : folio; Paris, 1636. It shows that the horizontal bellows, though only brought into general use in the last century, was by no means a modern invention*. The bellows is here placed at the top of the organ, and worked by a chain in the place of a feeder. Mersennus calls it bellows " a la lanterne." * The horizontal bellows is an improvement upon the old one ; as a column of air by this machine is both supplied and drawn at the same moment, by the action of a crank and other appendages, instead of levers, &c. 34 I'llK HISTORY OV THE ORGAN. 8. Stipposed Orif/in of the Mixture Stops. Seidel, in the introduction to his work on the organ*, has the following- passage : — " In the twelfth century, the number of keys was increased, and afterwards each noie (or tone) inultiphed by two, tliree, or more pipes, tuned to the fifth or octave, or to the third and tenth. By this alteration the organ became a mixture ; and so remained until the idea occurred of classifying the pipes, by which means this mixture register received a separate slide." Porkel also, in his GescJdchte der Musik (part ii, p. 368), says that, even in the 12 oldest organs, the mixture, as associated with _8_ , was introduced, not as a 5 stop or register, for there was notliing of the kind at that period, but as being invariably united to each tonef- BurneyJ is inclined to ascribe the origin of harmony to this invention. * The Organ and its Construction, a Systematic Hand-book for Choristers, Or- gaoiists, Schoolmasters, and Musical Students. 2nd edit. Breslau, 181.4. An English translation of this book has lately appeared. f Forkel cites Sethus Calvisius and Michael Prsetorius, as his authorities. X Hist, of Music, vol. ii, p. 133. TIIK IllSTOItY Ol'' TllK OliCAN. 35 His words are, " Willi respect to tlic term Organnm, as uscul l)y musical writers of the middle ages for ix voice j)art ; if we could imagine, when the first organ was erected in churches and convents, that each of them was fur- nished with such a stop as is now called the Scsqidalter, or any other com- pound stop, consisting of 4ths, 5ths, and 8ths; thus : ^ \ — ^zigz_^^~ it might not only help to account for the introduction of such strange har- mony into the church as that of Ilubald, Odo, and Guido, but even give a probable reason for the name by whicli it was called : for, whether we sujjpose singers to have imitated such sounds as every single key produced, or such as were produced by the fingers from different heys of the organ, it was natural to call the part which was added to the plain-song, Organuni, and the art of l)roducing it, Organizare*." Dr. Crotcht is of an exactly opposite opinion. He says, " The method of .accompanying the chants of the Christian church by a succession of fifths, octaves, or fourths, used in and before the eleventh century, called Organum, has been supposed to be the origin of harmony. The organ took its name from it ; and the stops called cornet, sexquialtera, twelfth, tierce, principal, fifteenth, &c. are thought to have been invented to facilitate the performance of this accompanimeutj. But if the effect of this accompaniment was similar to that of the above stops of an organ, — if, by being performed comparatively soft, it only enriched the tone, without distui'bing the melody, — then it should not be considered as the origin of harmony, having no more to do with it than the harmonies which constantly accompany the melody of a single voice or instrument. The invention of harmony may be said rather to have com- menced when these fifths, fourths, and octaves begun to be avoided." Kiesewetter, in his charming History of the Modern Music of Western Europe^, has the following conclusions on the subject : " But in what maik- ner, then, the organum may nevertheless have been, and really was, an imita- tion of the organ, and received its name from that instrument, may thus be explained. The oldest organs, of exceedingly coarse manufacture, — the broad six-inch keys of which, separated from each other by a large space, must have been pressed down with the fists or elbows, — were in truth as Httle adapted to harmonic performances as to harmonic experiments; these instruments may, notwithstanding, have afforded the first opportunity of representing to * Organizare, according to Du Cange, is canere in modum organi ; and, among his authorities, he gives the following; definition from the Catholicon or Lexicon of John de Janua, written in 1286 : Organizare, Organo cantare ; Joer ou chanter en orgres, organiser; " to play or sing like the organ." t Note in the second edition of Elemetits of Musical Composition, 1833, p. 33. X This couid not have been the case, as these stops were not invented till the Jifteenih century, when the old organum had been discarded for something better. g Translated by Robert Miiller. 8vo. 181.8. D 2 THE HISTORY OF THE OUGAN. our senses in a j)ermaHeutly coiitiiutoHs maiuu'r the ])hysical clfects of the I hen achnissible consonances, a( hiast in single UTiisons, by llie pressing down and holding out at the same time a second key : moreover, the organ- ' thnni])er' might, whether intentionally or through awkwardness, have hit upon the idea of causing one key to remain sounding, whilst the singers, to whom he had given the note, proceeded with their melody above it, as in the bagi)i])es ; or it might also have happened that, at one time or another, he would accidentally, perhaps, press down the fifth to the fundamental note, and thus have caused an agi'eeable surprise by its pleasing effect. With tliis, indeed, there might not as yet have been a proper harmony discovered ; but effects would have been perceived calculated to produce, in speciilative mu- sicians, matter for reflection, and for hazarding other systems ; the union of different human voices, which now occurred to their thoughts, was an imita- tion, not altogether happy perha])s, of that whi(;h in various instances they had discovered with the organ, and thus their diaphony, or polyphony, received the somewhat appropriate name of organum." 9. The First Mmastic Organs. In the tliirteenth century, the priests of the Greek and Roman churches thought the use of organs in divine service scandalous and profane. They preferred rendering divine worsliip as simple as possible, in order to distin- guish it from that of the Jcm-s and Pagans. Even to this day, the Greek church does not tolerate the use of organs in their public services. Not- withstanding these opinions, the use of organs, and even other instruments, became almost universal, not only in great churches, but in those of monas- teries, convents, and small towns. The liistorians of this era celebrate several monks, distinguished for the art of playing on the organ, and for their general musical abihties. For some time, however, organs were only used on great feasts and solemn occasions ; they were not used in the ordinary celebration of the offices*. The first monastic and conventual organs were very small, being mereily * On particular occasions, the performance of a band of minstrels was added to the organ. Minstrels' galleries are often seen in the continental churches, but are rarely met with in this country. There is a gallery of tliis sort over the altar-screen at Chichester Cathedral, and another, much more remarkable, near the middle of the north side of Exeter Cathedral. It is supported on thirteen pillars, between every two of which, in a niched recess, there is a sculptured representation of an angel playing upon some musical instru- ment. Among these are the cittern, bagpipe, harp, violin, pipe, tambourine, &c. The roof of Outwell church, Norfolk, and the minstrels' column at Beverley, also exhibit a great variety of musical instruments anciently used in churches. ■I'lIK IIISI'OIJV OK TMI'; OUdA.N. .•57 iisi'd (o plav (lie luclodv ol' llic |)laiii-soiig uilli (hr voi(;cs. Tliosc organs were ciiileci Regain. 10. T/ic liejjal, or Portative. ^riio term regal or r'igol a[)i)oars to liavo come from the Italian Rhjuhcllo. Sir llt'iiry S])(;lirian tells us " That in tlu; church ol' ISt. Raphael, at V(!uice, the figure of a certain musical instrument, called a r'lgabello, was to be seen ; it was wont to he used in chiu'ches before organs came into vogue. Anotlier instrument, called liircello, succeeded the rirjabello, the use of which was intro- duced at Venice by a German*." This passage clearly shows the word regal to be a corruption or contraction of rigabellu\. Musical writers have not explained the nature of the regal, which was evidently to give out and sustain the melody of the plain-song. Carter, the well-known antiquary, calls it " a jjortable organ, having one row of pi])es, giving the treble notes. J." A writer in Rees's Encyclopedia says that " the regal, in all llomaii Catholic countries, is a portable organ used in processions, carried by one person, and played upon by another." This explanation is not quite accuj'ate, as the representations in early manuscripts invariably exhibit the instrument carried and performed upon by the same person. Snetzler, the celebrated organ-builder, remembered the regals in use, in Germany§; and, until near the end of the last century, an officer of the Royal Chapel at St. James's was styled " a tuner of the reg.'dls||." In the accounts of the Weavers' Pageant, performed at Coventry in the sixteenth century, we have the following entries : " 1554. Payd to James Hewet for liys reyggals, viijd. " 1556. Payd to James Hewet for playing of his regols in the payg- geant, viijd." * " In jUde Sancti Raphaelis Venetiis, instrumenti musici cujusdam forma extat, ei nomen rigabello : cujus in ecclesiis usus fuerit ante organa ilia pneumatica qute hodie usui- pantur. Rigabello successit aliud quod Turcello dictum est, cujus Venetias usmii induxit homo Germanus." — Sansovinm, lib. vi, Descript. Venciiarum. f Skinner, the etymologist, upon the authority of an old English dictionary, conjectures the word Rigals or Regals to signify a stringed instrument, — namely, a clavichord. In this mistake he has been followed by numerous writers. Walther is more particular in his description of the Regal : he makes it to be a reed-work in an organ, with metal and also wooden pipes and bellows adapted to it, so contrived as that it may be taken out and set upon a chest or a table. He says that the name Regal is frequently given to that stop in an organ called the Vox humana; and in this sense Mersennus uses it, in his Harmonie Universelle liv. vi, Des Orgues, Prop. viii. See Walther's Musicalisches Lexicon, Leip- zig, 1732. Cotgrave and Florio write the word rigols and rigoles. X Gent's Mag. 1801., Part i, p. 328. g See the Archeeologia, published by the Society of Antiquaries, vol. iii, p. 32. II In 17(>7, Bernard Gates received a salary of 5(il. as " tuner of the rcgalls" in the Royal Chapel. The same gentleman, in 1770, is styled " tuner of the organs." 38 THE HISTOllY OF THE ORGAN. The reijah are mentioned in Edwards' play of Damon and Pythias, 1571 ; and in Jacobo Peri's opera of Eiiridice, composed for the royal nuptials of Mary de Medici witli Henry IV of France, in the year 1600. In the Household Book of the Princess Mary, afterwards Queen Mary*, under the year 1538, we have the following entry : " Item, payd for a payr of regalls, iiij U. x s." And in an Inventory of Henry the Eighth's Musical Instruments^ taken after his deathf, we read of " tliirteen pair of single regaUs," and " five pair of double regalls." Doiihle regalls were furnished with two rows of pipes. Eepresentations of regals of various kinds may be seen in the Clironicon Ntirembergense, printed in 1493 ; and in WiUemin's admirable work entitled Monuments Frangais inedits. This instrument is also exhibited among the sculptures in the cornice of St. John's church, Cirencester ; and on the crosier of "William of Wykeham, preserved in New College, Oxford. The foUowang early form of the regals is taken from Luscinius's Mnsiirgia, seu Praxis Musicce, Strasburg, 1536 : The regals were also called portatives, from the Latin word portare, " to carry." The old poets frequently allude to them under this name. Thus Gawin Douglas : " On crowd, lute, harpe, with monie gudlie spring, Schalmes, clariouns, portatives, heard I ring." Again, in the ancient romance of Clariodus and Meliades : " The dulcet playit also vnih portative, Sad hevie myndis to make exultative." Also in the poem of the Houlate, written in 1450 : " Clarions loud knellis, Portativis and bellis." In the codicil to the will of Eichard Fitz-James, Bishop of London, proved 22nd May, 1522J, is the following bequest : " Item, I will that my payre of portatijves, being in my chapels in the palace of London, mine organs, also being and standing in my chapels witliiu * Edited by Sir Frederick Madden, 8vo. 1831. t See Sir Henry Ellis's Original Letters, illustrative of English History, Second Series, vol. i, p. 272. X Tesiamentu Vetusta, by Sir Harris Nicolas, vol. ii, p. 598. ■I'llK lllSTOUY OF Tllh; ()l!(iA\. ray three itKiiiors of Fiilliiim, lliulliuiii, iuhI Wykeham, shall there stand still and remain to my suceessor, next |{is]i()|) of JjoikIoii, thai (licy may he used there to the honor and service of Cod." In a curious account of the moveables of certain abbeys, at the dissolution of these establishments {dated 1538)*, we read : " Jivm, sold an old ])ayre oiporfalj/ffcs organs to Mr. Besum, ij s." 11. The Positive. In contradistinction to the portative, we have the positive organ ; from the Ijatin word poiicre, " to set down." This instrument was ])rovided with a key-board of fidl compass, and was of coui'se played upon with both handsf. In the series of wood-cuts known as the Trimiphe de VEmpereur Max- imilian, di'awni by Hans Bm-gmaii', in 1516, and first printed at Vienna in 1796, is an engraving of Paul Hofhaimer, organist to the Emperor MaximihanJ, playing upon a positive organ. The instrmnent is placed upon a table, an attendant blo^viiig the bellows beliiud ; the whole being drawn upon a car, which forms part of the procession. In the descriptive letter-press wliich accompanies these plates, it is said, " In the car is a ref/al and a posit//; Paul Hofhaimer, master organist, touches the last instrument." The regal may be seen in the same engraving, beliind the organist. The following figure of the positive organ is copied from Ambrosius Wil- plilingseder's Erotemata Musices Practice, Nuremberg, 1563. * Letters relating to the Suppression of the Monasteries, printed for the Camden Society, p. 269. f Sir John Hawkins says, " It is true when we speak of the organ we are to under- stand that there are two kinds of instrument distinguishable by that name ; the one, for the smallness of its size, and simplicity of its construction, called the portative ; the other, the positive, or immoveable organ ; both of these are very accurately described by Ottuma- Tus Luscinius, in his Musurgia, printed atStrasburg in 1536. As to the first, its use was principally to assist the voice in ascertaining the several sounds contained in the system, and occasionally to facilitate the learning of any cantus. The other is that noble instru- ment, to the harmony whereof the solemn choral service has, ever since its invention, been sung, and which is now degraded to the accompaniment of discordant voices in the promis- cuous performance of metrical psalmody in parochial worship." — Hist, of Music,vo\. ii, p. 163. Sir John has entirely mistaken the nature of the positive organ, as will be seen by the passages cited in the text. X Luscinius speaks highly of Paul Hofhaimer. He says " he has received great honours from the Emperor Maximilian, whom he delights as often as he plays upon the organ. Nor is he more remarkable for skill in his profession than for the extensiveness of his genius and the greatness of his mind. Rome owes not more to Romulus or Camillus, than the musical world does to Paulus." — Musurgia, 1536. Burgmair's engraving is evidently a good portrait of this eminent musician. 40 THE HISTOllY OF THE ORGAN. The positif was afterwards added to the larger organ. In our musical tlictionaries we find it thus explained : " Positif, the small organ which is placed before the great one in aU churches where there is an organ sufficiently large to be divided into two parts. The organist is placed between the positif and great organ, if the claviers or sets of keys are aU attached to the great one, and of which the lowest belongs to the positif*." We here see the origin of the cJioir organ, wliich was the smaller organ, called the positive, used in monastic times to accompany the voices of the choir. Afterwards, when the organs were joined together, and the organist took liis seat between them (or rather in a half-circle taken from the small organ), the c/^oir-organ became corrupted into the c/i(zi/--organt. It has now reassumed its ancient and original signification. 12. The Meaning of " a Fair of Organs!' This seems the proper place to explain a term which has frequently puzzled the enquirers after medieval remains ; i. e. tlie common expression of " a pair of organs." " It appears," says Mr. Albert WayJ, " that the usual term ' a pair of organs' has reference to the double bellows, whereby continuous sound was produced." This, however, cannot be the case ; as we often meet with " a pair of virginals" in which instrument wind was not required. Douce§, a high authority in these matters, teUs us that a pair of organs meant an instrument " formed with a double row of pipes." This explana- tion is obviously erroneous ; as the single regals, always termed " a pair," had but one row of pipes. The double regals, mentioned in the curious in- ventory of Henry the Eighth's musical instruments (before alluded to), had two rows of pipes. Nichols, the learned historian of Leicestershire ||, says, " a pair of organs * Danneley's Musical Encyclopedia, 1825 — a work (in spite of a few errors) of much more merit than is generally assigned to it. t In one of Matthew Locke's organ pieces, printed in his Melothesia, 1 673, the " great organ" and the " chair organ" are mentioned. I Promjitorium Parvulorum, published by the Camden Society, torn, ii in v, Organo. g Cited by Mr. Way, in the before-mentioned work. II Illuslrations of the Manners and Expenses of Ancient Times in England. 4to. 1797. TIIK HISTORY OK TllK OWCAN. 41 was tho term at that time, when there were two kinds of organs, tlie one fixed and the other portable, adapted perhaps to the size of the church mid its revenues." A rec(>nt writer*, improving upon tliis statement:, adds, " a payre of organs, consisting of two organs (X)n joined, with two sets of keys, one above the other : one ' small and calleil the choir, or more probably Ike chayrc organ ; and the other the great organ, built, as its name imports, on a large sctde, and used in forte passages." Tliis is by far the most erroneous explanation of the term yet given. The slightest acquaintance with ancient documents would^havc convinced the writer of its absurdity. Some authorities tell us that " a pair of organs" meant an organ with two stops. But this could not have been the case ; as, in Henry the Eighth's Household Book, we read of " a payer of virginalls with four stoppes." The truth is, that " a pair of organs" meant simply an organ with more pipes than one. Jonson, Heywood, and other of the older poets, always use the term pair in the sense of an aggregate, and as synonymous with set : thus we have " a pair of chessmen," " a pair of beads," " a pair of cards," " a pair of organs," &c.t Wlien speaking of a fligh t of stairs, we often say a pair of stairs. Therefore tliis ancient form of expression, although obsolete in most cases, is still in use at the present day. 13. The Improved Key-board, and the Invention of the Fedal. The Monks and Friars, those zealous guardians and preservers of learning and the fine arts, in the dark times of the middle ages, not only took great interest in the building and adornments of their churches and convents, but employed themselves in making improvements in the art of organ-building. In the course of the fourteenth century they set about improving the clumsy clavier or key-board. In particular, they made neater keys, increased their nuniber both upwards and downwards, to the extent of nearly tliree octaves, and so reduced their fall and breadth, that they no longer required to be struck down by the fist, but were capable of being pressed down by the fingers, as in the organ of modern times. * A paper " On Organs in Churches," by Arthur Ashpitel, in the Transactions of the British ArcJuBological Association, 1846, p. 289. f " A. pair of cards, Nicholas, and a carpet to cover the table." A Woman tcilled with Kindness. Heywood. Printed before 1604. " Have you ne'er a son at the groom porters to beg or borrow a pair of cards ?" Jonson's Masque at Christmas, 1616. " Go, get a. pair of beads, and learn to pray, sir." A Wife for a Month. Fletcher. 1624. " Was there no talk of a pair of organs, a great gilt candlestick, and a pair of silver snuffers ?" — A mad World, my Masters. Middletun. 1608. THE HISTORY OF THE ORGAN. In 1359 or 1361, Nicholas Faber, a priest, built the great organ in the Cathedral at Halberstadt. It had fourteen diatonic and eight clu-omatic keys, the compass extending from great ^ — to ^ ) a The great B stood in front, was thirty-two feet long, and three and a quarter inches (?) in diameter. According to Praetorius*, 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. Tliis is the earliest autkentic account of an organ provided with the semi- tones of the scale. Dom Bedosf, indeed, teUs us that " haK-notes were in- vented at Venice in the twelfth century but as his statement is unsupported by proof, we prefer following the earlier authority of Praetorius, 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. Praetorius 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 that 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 1470-80J ; but it was certainly anterior to tliis date. A writer in the Leipsic Musical Gazette, 1836, states that, in the year 1818, a new organ was erected in the church of Beeskow, four miles from Frankfort on the Oder ; on wliich 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 en- graved on the upper side of the partition (hern) 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 that the pedal may have been in use towards the end of the fourteenth centm-y, Bern- hard probably made some improvements in the pedal board wliich tradition has associated with the invention. Marinus Sanutus, a celebrated Venetian patrician, and a zealous promoter of Cliristianity, caused, in 1312, an organ to be built for the church of St. Raphael, in Venice§. This was the first organ erected in that city. It was * Syntagma Musica, vol. ii, p. 98. f L'Art 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. § This organ had so many admirers in Venice, that Marinus Sanutus received the honorable title of Torcelliis, organs being at that time called TorceUi, in Italy. — Seidel. If this organ was the Jirat erected at Venice — and we have reason to believe the state- TIIK HISTORY OK Til 10 OllOAN. probably a large one, and the builder was a (Jerniaii. Hence we scu; that tlic Germans, at this early time, had acquired a considerable reputation for organ- buildiiig, which had even ])assed the limits of their i'atlierland ; and it will be observed, in the further progress of these pages, that the great improvements in this instrument almost exclusively proceeded from tliese thoughtful j)cople. 14. Monastic Organs in England. In England, as we have seen, a large organ existed at Winchester in the tenth century ; aiul probably, even at this early ])oriod, otlier cathedrals were su})plied in a similar manner. Gervase, the moidi, of Canterbury, describing the burning of that cathedral in 1174, mentions the destruction of the organ ; but does not allude to it as if it were an unusual tiling in a church*. The organs of the Abbeys of Malmesbury and Glastonbury we have abeady men- tioned ; and long before the close of the fourteenth centuiy, all our abbeys and churches were plentifully supplied with instruments of this classf. Chaucer, in his tale of the Cock and the Fox, speaking of Chaunticlere, the hero of the poem, says : " His vois was merrier than the merry orgon. 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." In the fourteenth century, it became the practice to place two organs in large chm-ches ; one large, the other small. The great organ was provided with two manuals, from ^ to ^ ^ =, the upper manual forming the treble, the lower one the iass. Tliis arrangement, according to Seidel, suggested the invention of the copula. The pipes of these instru- ments were always exposed; and such an organ (according to FosbrokeJ) was, and perhaps is now, at Uley Church, in Gloucestershire. The organist ment — it is a sufficient refutation of Dom Bedos' story that " half-notes were invented at Venice in the tioelfth century." * Gervas. Dorobern. apud decern Scriptores de incendio, &c. " Organa quae supra fornicem in australi cruce." t In Cotton MS. Nero, D. VII, in the British Museum, numerous curious particulars are recorded respecting the use of organs in England ; as at St. Alban's, and Croyland, where there were " organa solemnia in introitu ecclesie superius situata," as well as smaller organs in the choir. X British Monachism ; or Manners and Customs of the Monks and Nuns of England, edit. 1843, p. 204. TllK IIISTOIIY OF THE ORGAN. was usually one of the iiiouks, when little more was required than to accom- pany the plain-song or chant. Afterwards, as musical composition improved, and more skill was re{[uired for its performance, lay organists wore hired*. Beneath the great niche over the west door of York Minster, is an organ carved in the pediment. The pipes appear without a case : it has a suigle row of keys, on which an angel is playing, from a music-book held by two sm;ill figures of boys or choristers below, wlule another is beliind, blowing the organ with a common chamber bellows. A similar device is carved over a door in the north wall of the Cathedral of Utrecht. Davies, in his Ancient Bites and Monuments of the Monastical and Cathedral Church of Durham, 12mo, 1672t, has left us a curious passage concerning the organs of that monastery : " There were," says he, " three ])air 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 pla/d upon on principal feasts, the pipes being all of most fine wood, and workmansliip very fair, partly gilt upon the inside, and the outside of the leaves and covers up to the top, with branches, and fliowers finely gUt, 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 York, and another in Paul's. " Also there was a lantern of wood like unto a pulpit, standing and ad- joining to the wood-organs over the quire door, where they had wont to sing * In ancient times, no distinct officer by the name of organist was appointed in cliurches or colleges. This duty was subordinate, and appears to have been commonly performed by one of the clerks. In the statutes of Corpus Christi College, at Oxford, given in 1517, two chapel clerks are established ; one of whom is also to be the organorum pulsator. 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 in- struct the choristers is moreover ordered jM6i7are organis. Here also, for the first time, Cantus organicus is mentioned. In the new cathedral-foundations of Henry the Eighth, 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 Win- chester College, in each of which are ample choirs, there is no provision by statute, not even for an Informator Choristarum — although such an officer occurs in the early rolls of New College. At Magdalen College, Oxford, founded about the year 1459, there is also no mention of an organist : but it is enjoined that one of the chaplains, or clerks, or some other skilful person, shall educate the choristers in the plain-chant and pricked song. In the year 1 446, the Abbot and Convent of Muchelney, in Somersetshire, granted a corrody of five marks, with seven gallons of ale, and seven loavf»s, every week, and a gown and four loads of wood annually, to Ralph Drake, cantor, or chanter, pro servicio nobis in ilia sci- encia musica ; and on condition that he attend the choir every day, and teach four boys, and one of the monks, or as many as chose, to play on the organ. — See Warfon's Life of Sir T. Pope, Appendix, p. 425, for further information. f Compiled from ancient MSB. 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 additions. Till'. IIISTOHY OK THIO ORGAN. 45 till' iiiiio lessons, ill I lie old time, on ])riiici|);il (hiyiis, standing with t iicir t'iuu's towards the higli aUar. " Tiie second \)i\\r stood on the north side of the quire, being never pla/d u[)oii, but wlien th(! four doctors of tlie churcli were read, viz. Augus- tine, Ambrose, Gregory, and Jerome, being a pair of fair large organs, called the Cn/ers. The tliird pair were daily used at ordinary service." Ill an inventory of the plate, jewels, ornaments, kc. belonging to the lat(i Priory of Ely, Cambridgesliire, we read of " two ])acr of organs in the quyer," and " a paer of organs in the Ladye Chaple*." In the ancient C-athedral of Worccst(!r, the chapel of St. Edmund had a jiair of organs ; that of St. George, another pair ; and in the choir was the grcaf organf. Some of the entries in ancient documents respecting the organ are interest- ing, not only as showing its very general use in churches and monastic esta- blishments in the fifteenth and sixteentli 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 follow- ing : " Ress* [Rec^] the bequetli of Thomas Boryner unto a payre of Orgonys "ij li- " To Sir JohnJ for the amendyng of the Organs . . . xii d. " 1J<63. To a Preyst for the amending of the Organys . . . iiij d. " To a Preist that playth at Organys iiij ()7. ^ Warton's Life of Sir T. Pope, p. 344. THIKD EPOCH. THE FIRST OHOAN-BTTILDEBS BY PROFESSION. 15. Early German Builders. There can be no doubt that many of the early organ-builders were ecclesiastics. Even down to a comparatively late period, as we have seen by the foregoing extracts, the latter continued to exercise a considerable in- fluence over the art. It is very difficult to distinguish the first organ-builders hy profession from the priesthood ; but that such existed as early at least as the fifteenth century, there cannot be a question. Albert Van Os, emphatically called " Albert the Great," the earliest known organ-builder, was certainly a priest; so were his followers, Ulric Engelbrecht and Nicholas Eaber. Van Os budt the organ of St. Nicholas' Church, Utrecht, in 1120; Engelbrecht, that of Strasburg Cathedral, in 1260 ; and Faber, that of Halberstadt, in 1359 or 1361, before mentioned. Heinrich Traxdorf, who built an organ at Nuremberg in 1455, and another at St. Mary Magdalen, at Breslau, in 1466, was propably a layman ; but this is by no means certain. Erhart Smid, of Peyssenberg, in Bavaria, whom Duke Ernest, in 1433, exempted from every species of impost and contribution, on account of his skill in constructing organs, — and Andre, who built, in 1456, the organ of St. ^gidia, at Brunswick, were certainly lay- builders. In 1475, Conrad Rosenburger, or Rothenburger, built an organ in the church of the Barefooted Friars, at Nuremberg ; and, in 1493, a still larger one in the Cathedral of Bamberg. The organ in the Cathedral at Erfurt was built, in 1483, by an artist of Breslau, named Stephen Castendorfer ; who also built, in 1490, an organ for St. Ulrich's Church, at Augsburg, for 107 florins (£8 : 18 : 4). The great organ in the Collegiate Church of St. Blasius, at Brunswick, was bmlt, in 1499, by Henry Kranx. Prsetorius celebrates Fre- derick Kjebs and Nicholas Muller as skilful organ-builders. Probably all these eminent men were organ-bmlders by profession, 16. Early English Builders. The earliest organ-builder by profession in this country, of whom any account has descended to us, is William Wotton, of Oxford, who flourished Til 10 lllSTOIiY Ol'' TlllO OIKiAN. 49 in llic latter part of llu; (ir((>('iith ('(Mil-ury*. An iiidcnlnrc exists, wliicli was made in 1 1.S7, between R. rit/.janics, warden of Mertoii Oollego, and William Wotton, of the town of Oxford, by which he niidertakes to inak(! a ])air of organs like the organs of the chapel of St. Mary Magdalene College, against the vigil of Wliitsunday, 1489, for the price of 281. The organ in Magda- lene Chapel had been set up by him not long before, as appears by an entry in the Libri Compnti of that college, for the years 118G-7, of a j)ayment to liim of 181. in part for one pair of organs " Sol. Willielmo Wotton, Orkyn- viaker, pro luio puri organontiii hi parte 131.;" and, two or three years after, a further payment occurs to him for repairs to this organ — " 1488-9, Sot. Wilh. Wotton, pro rcparacione organorum 40s." John Chamberlyn, or Chamberlaine, and Thomas Smyth, were organ- builders, residing in London, in the early part of the sixteenth century. A payment to the latter, in 1514, is thus recorded in the accounts of the churchwardens of St. Margaret's, Westminster : — " Item, paid to Thomas Smyth, orgone maker, for mendyng of the grate orgones xl s., and for the small orgones v s." In the list of Henry the Eighth's musical establishment, we find, under the year 1526, the name of " John de John, organmaker!' Again, in the king's household-book — "May, 1531. Item, the 2d daye, paid to Sir John, the organ -maker, in rewarde, by the king's coramandement xl s." This person, who was priest, was succeeded in the royal establishment by W^iUiam Beton, or Betun, an organ-builder of some pretensions, — if we may judge from the fact of his having bmlt the organ for the old cathedral of St. Paul. In Rymer's Fcedera (Pro Capitoli Organista Regis) is a grant of 201. sterling per annum to William Betun, bearing date 1537 ; which annual stipend he appears to have received until the year 1544. He was retained in the royal service by Edward the Sixth and Mary. In the list of the musical establishment of the former, we find — " Makers of ^ William Beton, Orga7i Maker. Instruments, C William Tresorer, Regal Makerf. * See Warton's Life of Sir Thomas Pope, 2nd edit. Appendix, p. 34-5; also the Rev. Sir William Cope's valuable paper on " Early Organ Builders in England," inserted in the Parish Choir. The writer is indebted for the notices of Chamberlyn and Smyth to the last-named authority. f There is an exceedingly curious licence preserved in the Cottonian MS. Galba C. 11, fol. 253, from which it appears that " William Treasorer, a maker of musical instru- ments, his heirs and assigns," had letters patent for eight years, from King Phillip and Queen Mary, dated July the 11th, in the first year of their reign, " to provide and buy within the realm of England, in any place or places, one hundred thousand lasts of ashes, and four hundred thousand dozens of old worn shoes, and export the same to foreign parts." Queen Elizabeth, on the 13th March, in the second year of her reign, confirmed E 50 THE HISTORY OF THE ORGAN. An ciiiinciit English builder of this period was named Wyght, or White. Entries of payments to him for work done to the organ of Magdalene College Chapel, Oxford, occur in the books, from 1531 to 1515. One of them runs thus — " 1531, Magistro White, organorum factore, pro reparat, duorum par organorum in chore." From the title, Mug'ister, here given him, it has been conjectured, with every appearance of probability, that he was the same person as Eobert White, a well-known church composer, who may have united the art of constructing organs with his higher musical pursuits*. John Schowt, or Stut, who iloui-ished in London about the same period, 1529-30, seems, from his name, to have been a German. A little later, an organ-builder, named Broughe, set up a new organ at St. ]\Iargaret^s, Westminster, thus noticed in the chui-chwardens' accounts there : — " 1590, payde to Mr. Broughe, for changeing of our organs for a payre of his viij. U." J ohn Chapington appears to have built an organ for Westminster Abbey, about 1596; at least, we find Inm in that year selling the old organ of the collegiate church to the churchwardens of St. Margaret's : — " 1596. Paid to Mr. Chapington for the organs of the colledge, xnj 1. xiij s. iiij d., and the old organs do remayne in the parish church to be sold by the churchwardens." One organ, at least, of Chapington' s, remains to tliis day, viz. that which he built in 1597, for Magdalene College, Oxford ; and of the payment of which a memorandum exists in the Libri Computi of that society. Impensje pro organis Mro. Chapington . . . xxxv 1. xiij s. viii d. Pro color, et deaurat. eadem ij 1. ij s. Pro wainscot cu'ca eadem iij 1. xiv s. At the beginning of the following centiuy there was an organ-builder living in London, named Gibbs. Alleyn, the founder of Dulwich College, records in his diary, under the date April 27, 1618, "Bought a pair of organes of Mr. Gibbs, of Powles, 81. 2s. which organs were put up in the College chapelt. the same for an additional term of twelve years. Treasorer, as a consideration for the renewed patent, " having devised, and given to the Queen a new Instrument Musicall, sending forth the sound^of Flutes and Recorders; and likewise promised and took upon him, at his labour, cost, and charges, to repair and amend before the feast of St. Michael next ensuing the great organs in the Queen's chapel at Greenwich." — Ellis's Original Letters, second series, vol. iii, p. 202. * Sir William Cope's paper, before mentioned. The writer is also indebted to the same authority for the following curious notices concerning Broughe and Chapington. f See the European Magazine for June, 17^2, p. 1.92; aud Collier's Memoirs of Alleyn, p. 157. From the latter it appears that, a year afterwards. Alleyn had " a dia- TIIK HISTORY OK TIIK OIKiAN. 51 Among the cniiiiont Englisli orgiui-l)iiil(l(!rs wlio belong to the seventeenth century, are the niinuvs of Preston, of York; Tliainar, of I'clcrborough ; ]jOoscinorc, of Exeter; and tlie Dallaiis', or Dallanis', of J^ondon. Of tlic two first, no particulars, farther than tlusir mere names, appear to have come down to us. Of the latter, our information is not much more. John Loosemore constructed tlie organ in the cathedral of his native city, Exeter, very shortly before the restoration of Charles the Second*. This in- strument is pointed out as worthy of especial notice, on account of its Double Diapason. The Hon. lloger North, in the JAfe of the Lord Keeper Crullford (mentioning lus brother's visit to Exeter), adds : — " His lordslup, agree- ably to his great mastership of musick, took great notice of the organ in the Cathedral church of Exeter, where the two side columns that carry the tower are lined Avith organ pipes, and are as columns themselves. His lord- ship desired the dimensions of the great Double Diapason ; and the account, as returned, is thus : Speaking part, long 20 feet 6 inc. Nose 4 0 Circumference 3 11 Diameter ] 3 Content of the speaking part . . 3 hogs. 8 gall. Weight 360 lbs. " This is heard plainer at a distance than when near, as also louder ; and, behind that, and the other large doubles, are placed large wooden pipes to help them into their sound, which otherwise would come on very slow, or perhaps not at all. One, being near enough, may, by the touch of the hand, discern when it speaks, and when not. How it is tuned, whether by measure or the beats, we were not informed ; and, bating their account of it, which was curious and diverting enough, I could not be so happy to perceive that, in the musick, they signified any thing at all, but thought them made more for ostentation than use : for there are terms in sound which Mali not be ex- ceeded ; for, when the vibratory pulses are so slow as may be distinguished, sound vanisheth ; which is nearly the case with tliis gi-eat pipef." In the Choristers' Singing School, attached to the Cathedral, is a small instrument of the same maker. Its stops, M'hich are all of wood, are as follows : — Stop Diapason. TweKth. pason stop" put to the organ by a person of the name of Barett, and " other alterations," which cost 5s. lOd. * On the outside of the instrument is an inscription : — " John Loosemore made this organ, 1665." Henry Loosemore, M. B., organist of King's College, Cambridge (after- wards of Exeter Cathedral), and George Loosemore, M. B., organist of Trinity College, Cambridge, were brothers to our organ builder. t Lives of the Norths, vol. i, p. 246. E % 52 TllK lllSTOKY OF THE ORGAN. Open Diapasou. Fifteentlic Principal. Piute. The cora})ass is C C (short octaves) to C in alt. The following agreement between Loosemore and a customer is not de- void of interest : — " February the 1st, 1665. Then made a bargaine w'" G" Trevilyan, for an organ w"" these stops in it, as follows : — One Diapason One Piute . One Recorde One Pifteenth One Principall . . . ■ OnePlagilett • • • f these in mettle. One Trumpett ... 1 One Shaking Stopp . ) And for this organ I am to have one hundred pound, 201. whereof at the 25tli day of March next, and fourescore residue thereof when the work is finished. " John Loosemoee*." This builder died on the 8th of April, 1681, aged 68t. There appears to have been tliree organ-builders of the name of Dallans, or Dallam ; i. e. Robert DaUam, Ralph Dallans, and George Dalham. llobert Dallam was born in 1602, and died in 1665 : he was buried in the cloisters of New College, Oxford. He built the organ in New College Chapel, and the small one in the Music School, Oxford ; but his principal work appears to have been the organ in York Minster, destroyed when that noble budding was partially burnt. The cir- cumstances connected with its erection were these. In July, 1632, a fine of £1000 having been laid on Edward Paylor, Esq., for the crime of incest, the Dean and Chapter petitioned the King, who, in November, granted that sum to them, for repairing the church, setting up a new organ, furnishing the altar, and maintaining a librarian ; whereupon, in March, 1632, articles of agreement were entered into by Dean Scott and the Eesidentiaries, with llobert DaUam, of London, blacksmith, wlio engaged to build a great organ for £297, with £5 more for his join-ney to York; and in these in wood. * See the preface to A Short Account of Organs huilt in England from the Ecign of King Charles the Second to the jwesent Time. Lond., J. Masters, 1847. 8vo. The work is published anonymously, but the author is understood to be Mr. Sutton, of Jesus College, Cambridge. ■ f The following inscription is on his gravestone in the transept of Exeter Cathedral, near the south aisle of the choir : — " Hie jacet spe Resurrectionis Johannes Loosmore, quondam Decano et Capitulo hujus Ecclesise Curat t fidelissimus : et inter Artifices sui Generis facile Princeps. Sit Organum hoc angustum prope situm perpetuum ipsius Artis et Ingenii Monumentum. Obiit 8° Aprilis An. 1681. Mta. suaj 68." TIllC IIISTOIiY or 'I'lll'; OlUiA.N. 53 which tlie |)ricc oC vi\ch slop is distinctly spcoilied. The i'uUowing is a copy of tliis interesting agreement : — "Articles of agreement, indented, made, ronelnded, and agreed n])on, the one and twentieth day of j\larch, anno dnn l(j;32, and in the eighth yeare of the reigne of our soveraigne Lord Charles, by the grace of God, Kinge of Kngland, Scotland, France, and Ireland, defender of the Faith, &c. TJetweenc the right worshippi'uU John Scott, doctor of divinitie, deane of the cathcdrall and metropoliticall church of St. Peter of Yorke ; Phinees Hodson, doctor of divinitie, chancellor and canon residentiary of the said church; George Stnn- hop(>, doctor of divinity, precentor and canon residentiary of the same church; and Henry Wickham, doctor of divinitie, archdeacon of Yorke, and canon re- sidentiary of the said church, of the one party ; and Robert Dallam, cittizen and blacksmith, of London, of the other party ; touchinge the makeinge of a great organ for the said church (as followeth) : " The names and number of the stoppes or setts of pipes for the said gTcat organ, to be new made ; every stopp containeinge fiftie one pipes ; the said great organ containiuge eight sto})pes. " Imprimis two open diapasons of tynn, to stand in sight, many of them to be chased Ixxx li. Item one diapason stopp of wood x li. Item two principals of tjom xxiiij li. Itm one tweKt to the diapason viij li. Itm one small principall of tynn vi ^i. Itm one recorder unison to the said principall vi li. Itm one two and twentieth v li. Itm the great sound-board with conveyances, windchestes, carryages, and conduits of lead x\ li. Itm the rowler board, carriages, and keyes xx li. " The names and number of stoppes of pipes for the chaire organ, every stopp containeinge fifty one pipes, the said chaire organ containeinge iive stoppes. " Imprimis one diapason of wood x li. Itm one principal of tynn, to stand in sight, many of them to be chased xii li. Itm one flute of wood viij li. Itm one small principall of tynn v li. Itm one recorder of tynn, unison to the voice viij li. Itm the sound bord, windchest, drawinge stoppes, conveyances and conduits xxx li. Itm the rowler board, carriages, and keyes x li. Itm the three beUowes with winde truncks, and iron workes and other thinges thereto - x li. Sume total . cclxxxxvii li. 54 THE HISTORY OF THE ORGAN. " It is agreed by and between the parties above said, and the said Robert Dallam doth covenant, promise, and grant, for him, his executors and admi- nistrators, to and with tlie said Deane and Canons residentiary above named by tliese presents, that he the said Hubert Dallam, his executors or admi- nistrators, shall and will well and sufficiently and workemanlike new make and finishe the said organ in every the j)articulars before mentioned, ac- cordinge to the true intent and meaninge hereof, before the feast of the nativitie of Saint John Baptist, which shall be in the yeare of our Lord God one thousand six hundredth tliirtie foure. In consideraciou of which worke undertaken to be done as aforesaid, the said Deane and Canons residentiary above named have paid unto the said Robert Dallam in hand one hundred pomids, and doe promise to pay unto him the residue of the said sume of cclxxxxvii II. as soone as the said worke shall be finished ; and for the more speedy finisheing of the said worke, the said Deane and residentiaries are pleased to appointe the said Robert Dallam some convenient roome neare unto the said Cathedrall church to worke in. And further the said Deane and residentiaries doe promise to pay to the said Robert DalUm, towarde the charge of himselfe and servants in comeinge from London hither about the said worke, the sume of five pounds. In witnes whereof the parties above said to these present articles indented have interchangeably sett their hands and seals the day and yeare first above written." It -htII be observed that this agTcement does not provide for any tiling more than the pipes, sound- boards, aud tliree pair of bellows. The account of the chamberlain, relative to the appropriation of the £1000, is dated 1634; from which it appears that a workman fi-om Durliam was engaged for fifty-two weeks, at 20s. per week, to build the case. King Charles visited York in May, 1633, and on the 26th he went to the top of the great tower, at which time it is presumable that he directed the placing of the organ, then recently con- tracted for, on the north side of the choir, which conjecture is strengthened by the entry of charges for work done at the pillars to support the organ loft*. Ralph Dallans bidlt the organ for St. George's Chapel, Windsor, at the Restoration ; an organ for the parish church, Rugby ; and the old organ of Lynn Regis, which was removed by Snetzlerf. Tliis is all we know of liim. * Crosse's Account of the York Musical Festival, 4to, 1825, pp. 134-5, and Appendix. f Dr. Burney says, " Part of the old organ at Lynn hed been made by Dallans, the rest by some more ancient workman ; as the wooden pipes were so worm-eaten as to fall to pieces when taken out to be cleaned. Upon the churchwardens asking Snetzler what this old instrument would be worth if repaired, he said, " If they would lay out a hundred pounds upon it, perhaps it would then be worth fifty.' " — Hist, of Music, vol. iii, p. 438. The organ which Dallans built for the Koyal Chapel at Windsor is still preserved in the church of St. Peter in the East, St. Alban's. A representation of it may be seen in Ash- mole's Order of the Garter. THK IIISTOUV OK TIIK OliliA.N. 55 except what is coutaiiu'd in (he I'ullou iiiu,- iiiscriphDn, roniicrly cxistiiiti,- in llu; old churcli ol' (jrcoinvidi : — " llalpli DallanSj orgaii-iiialvt'r, dcccasi'tl \vhil(; ho was making this organ; begun by him Feb. 1072. .lamos White, his partner, finished it, and erected this stone, ] (!7;5." George Dalhain has the following advertisement at the end of John J'lay- ford's IiUrodudiuit to the Skill of Mnslck, 107;i (0th edit.), which is the only record of his having existed : — " Mr. George Dalham, that excellent organ-niakor, tlwelleth now in Pur- ple Lane, next door to the Crooked ]5illct, where such as desire to have new organs, or old mended, may be well accommodated." 17. Notices of English Organs. Diu'ing the period that these various organ-builders flourished, our cathe- drals were being supplied with organs on a much larger scale than those which had been used in the ancient monasteries. In the British Museum, among the Lansdowne MSS. (No. 213), is pre- served An Account of a Tour made through a great part of England, a.d. 163 1<*. This cui-ious MS. contains some interesting notices of organs, which are worth extracting. " York. There we saw and heard a faire, large, high organ, newly built, ricldy gilt, carVd and painted : and deep and sweet snowy row of quiristers." " Durham. Away then wee were caU'd to prayers, where wee were wrapt with the sweet sound and richnesse of a fayTe organ, wliich cost ilOOO ; and the orderly, devout, and melodious harmony of the quiristers.^' " Carlisle. The organs and voices did well agree, the one being like a slirill bagpipe, the other like the Scottish tone." " Litchfield. And no sooner were we lighted, but the Cathedral knell call'd us away to prayers : there we entred a stately, neat fabricke ; the organs and voyces were deep and sweet, their anthems we were mucli delighted with, and of the voyces, 2 trebles, 2 counter-tennors, and 2 bases, tliat equally on each side of the quire most melodiously acted and performed their parts," " Hereford. There we heard a most sweet organ, and voyces of aU parts, tenor, counter-tenor, treble, and base; and amongst that orderly, snowy crew of quiristers, our landlord guide did act liis part in a deep and sweet diapason." * The full title is " A Relation of a Short Survey of Twenty-six Counties, briefly describing the Cities and their Scytuations, and the Corporate Townes and Castles tlierein : observ'd in a Seaven Weekes' Journey begun at the City of Norwich, and from thence into the North, — on Monday, August 11th, IGS-l, and ending at the same Place. By a Cap- taine, a Lieutenant, and an Ancient [Ensign] ; all three of the Military Company in Norwich." 5(5 tub: history ok the orcan. " Gloucester. Here were wee admiring aud wliispering till the Cathe- dral! voyces whispcr'd us away to prayers, and so soon as wee heard those voyces and organs, and had vicw'd their fayrely glass'd and carv'd work cloystcr, wee hasted away." " 15rist()l. In her wee found (besides that fayre and strong fabricke of the Catlicdrall, Mliioh was newly finished) 18 chm'ches, which all are fayrely bcaulii'y'd, ric^ldy adorn' d, and sweetly kept ; and in the major part of them are neat, rich, aud melodious organs, that are constantly play'd on. In her [the Cathedral)] are rich organs, lately beautify' d, and indifferent good qui- risters." " Wells. The Cathedral was beautify'd with ancient monuments aud rich organs." 18. Improvements hy German Builders. In Germany, and other parts of the continent, the reformer, Uhic Zuingle, had succeeded in banishing, for a time, the use of organs in public worship. But, early in the sixteenth century, tliis noble instrument was reinstated in the church, and many improvements were made in its construction. It was in this century, according to Praetorius*, 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 stojyped 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 penetratmg, yet pleasing, tone were obtained, in imitation of the violin, viol de gaviba, &c. By the large scale, on the contrary, was preserved that full, round tone wliich 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 sjntz-Jlide, the gemsliorn, &c. In the course of the sixteenth century, reed registers were invented, with wliich it was sought to imitate the tone of other instruments, and even the voices of men and animals — for instance, the posaune, trumpet, shalm, vox- humaria, hears-2»pe, &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 1570, an organ with sixty prac- ticable registers and a " back choir" was erected at Bernan, in the Eussian 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 Syntagma Musica. ■I'liK iiisToiiY or I'lii': ()it(iAN. 57 of which is twelve feel loiiti-, and six feet wide. Tlic woi kiiiaiiship is said to be iiiiistei'ly, the whole mecliiinisiri heariiif;- evidence of the great progress in organ-hnilding at this jH'riod. "Great organs and great organists/' says Dr. Biu'ney*, "seem, for more than two centuries, to have been the natural growth of Germany. The organ which is still snbsistiiig in St. Martin's Church, at (rroningen, in North Hol- land, and of which some of the stops are composed of the sweetest toned pipes I ever heard, was partly made by the celebrated llodolph Agricola, the elderf. And, from that time to the present, the number of organ-builders whose names are well known to the lovers of that noble instrimient, 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 centui-y, by relating the manner in wliich the magistrates of Groniiigen con- tracted with David Beck, of Halberstadt, to construct an organ for the castle church of that city. " In the year 1592, articles were drawn up betMcen the magistrates and organ-builder, in which it was agreed by the former, that, for an instrument, the contents of wliich were minutely described, a certain sum stipulated should be paid to the latter u})on 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 eminent organists in Germany being invited, the n^mes of all those who signed the certificate of approbation, to the amount of fifty-tliree in number, are recorded in a book called Organum Gruningense rediviouiii, published by Andrew Werckmeister, 17 05 J.''' 19. Italian Organ Builders. The mechanism of the organ appears to have been well understood by the * Hist, of Music, vol. jii, p. 255. f A learned priest, born in the year 1-142, at Bafllen, a village in Friesland. He is said to have been a prodigy in literature and science. Vossius says he was a great philo- sopher ; that he understood Latin, Greek, and Hebrew, and was a great musician. He died in 1485, at Heidelberg, and was buried in the Minorite church of tliat 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, Grsecia quicquid habet." A fine portrait of Rodolph Agricola is preserved at Knole House, in Kent, the seat of Lord Amherst. X This voluminous writer on Music was born in 16-t5. 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, called Orgel Probe, contain some in- teresting notices of the history and construction of organs in Germany. 58 THE HISTOUY OF THE ORGAN. 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 cen- turies. Zarlino, in liis Lisfltutioni Harmoniche, fol., Yenice, 1558, mentions " Vincenzo Columbi and Vincenzo Colonna, two Italian organ-makers of the sixteenth century, inferior to none in the world." Columbi built the magni- ficent organ in the clmrch of St. John Lateran at Rome, in 1549, which was afterwards eidarged by Luca Blasi Perugino, in IGOO. 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*. In later times, Hermann, a Jesuit, acquired considerable fame in this de- partment of art. He buUt the organ in the Church of St. Ambrogio, at Genoa, in 1648; tliat in the Carignana Chui'ch, in the same city, in 1649; and one of the organs in the Cathedral of Como, in 1650t. 20. 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 w-hich are here extracted. rirst, — of Tom Coriat, the " Odcombian traveller," whose Crudities were published in 1611. 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." 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 Cathedi'al of St. Mark, Venice, " at both sides of the choir are two exceeding faire payi'e of Orgaues, 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 Urhanus Venetus F." The philosophical John Evelyn, writing in 1641, says, " generally all the churches in Holland are furnished with organs." He speaks of the "or- gans at Ilaerlera;" and of that at Vienna (which place he visited in 1644), as being " exceedingly sweet and well-tuned." In 1645, he teUs us that the * Padre Bonanni's Gdbinetto Armonico, 4to. Rome, 1722. t In the eighteenth century there were in Italy many celebrated organ-builders, amongst whom, Serassi, of Bergamo, and Callido, of Venice, each constructed upwards of three hundred organs. TIIK JlISTOllY Ol'' TIIK ORGAN. 59 organ at the Coliiiniia at Home, is " accounted one of the sweetest" in that city. Mentioning the Cathedral at Milan, in 164-6, he adds, " here arc two very (air and excellent organs." Sir John Rcrcshy, in his Travels (in the middle of the seventeenth cen- tury), says, " at Venice arc reckoned seventeen hospitals, sixty-seven parish churches, tifty-four convents of friars, twenty-six nunneries, eighteen oratories, aiul six schools. In these churches are the bodies of iifty saints, one kundred and forti/ -three pair of organs, Sic. S]ieaking of the Church of Santo-Croche, at Florence, he observes, " the making of an organ in this churcli, besides the materials, cost/our t/wusand crmvus." William Carr, " gentleman, late consul for the English nation in Amster- dam," in his Remarks of the Goverment of severall parts of Germanie, &c., 12mo, 16S8, makes mention of several interesting partieidars 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 tliree things, (viz.) an organ with sets of pipes that counterfeit a corns of voyces; it hath 52 whole stops, besides halfe stops, and hath two rowes of keyes for the feet, and tliree rowes of keyes for the hands. I have had people of quality to heare it play, who could not beheve 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 Hamburgh, 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 severaU sorts of musick in one church, besides those who were in the orgau-gaUery. Their organs are extraordinarely large. I measured the great pipes in tlie organs of St. Catherine and St. Jameses Churches, and found them to be 3 foot and 3 quarters in circumference, 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 tlu-ee organs." 21. The Ancient Position of the Organ. Though it is not the object 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*. * It will be right to mention, that a pamphlet has lately appeared, 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 opinion on the subject. He concludes, " that, as historical data do not furnish any uniform rule for our 60 TUE HISTORY OF THE ORGAN. la 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 monlc of Cantevbuiy, whose curious account of the biirning 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 transeptf. 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. The organ in the old Cathedral of St. Paul, was placed under one of the north pier arches of the choir, just above the stalls ; having a choir organ in front, and shutters to close in the great organ. The case was gotliic, with a crocketted gable J. It occupied the same place during the Protectorate, and was destroyed in the great fire of 1666. The organ of Westminster Abbey, upon which PurceU played, stood on the " north side of the choir," over the stalls ; and seems, from the view of it in Sajidford's Coronation of James II, to have been a small instrument with diapered pipes §. < At York, the Cathedral organ, built by Dallam, in 1632 (before men- tioned), was, by the express command of Charles the Pirst, placed on the " north side of the choir," nearly opposite the bishop's tlirone. The reason given by the king was, that (placed on the screen which 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 II . The organ of Winchester Cathedral, erected at the Eeformation, was placed upon the screen between the nave and choir. It was removed, by the order of Charles the Pirst, to the " north side of the choir^." At Chester Cathedral, says Buniey, " the small primitive organ is still guidance in the locating organs and choirs," we are justified in placing them just where we please. * Dart's Canterbury Cathedral, p. 7 ; and Gentleman's Magazine for 1772. f A representation of this corbel, with the organ as it then stood, over the screen, may be seen in Britten's Canterbury Cathedral, pi. iv. The corbel has since been removed. X See an engraving of the choir, showing the organ, in Dugdale's St. Paul's. ^ It would be interesting to know 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 is, in fact, the instrument still in the orchestra of the royal-gardens. II Crosse's Account of the York Musical Festival in 1825. 1[ Milner's History of Winchester Cathedral. TllK HISTORY OK TIIK OUGAN. 61 staiuliiig oil llu! left side of Uio choir, though that which is now used is at the west end*." In tho interior view of Tjincohi Cathedral, in Dugdale's Moiiaslkon, the organ is shown on tlie north side of the choir, above the stalls; ii copy of which is here given. The organ of Rochester Cathedral (styled an " old instrument," as far back as 1668), stood in the north transept. It remained in that situation in 1791, when it was taken down, and the present organ erected on the screenf. In Durham Cathedi-al, the " large organ," erected at the Reformation, occupied a place on the north side of the choir, and it is so depicted in Hol- lar's rare engraving of the interior of this cathedral. Previously to the year 1550, the " great organ" of the Cathedral of Wor- cester stood at the side of the choirj ; and such undoubtedly was the situation of the other cathedral organs, of wliich the writer's industry has not suc- ceeded in finding a record. The practice of placing the organ at one side of the choir existed also in our college chapels. At New College, Oxford, the organ given by William Port, in 1458, stood at the stall end of the " north side of the choir," near the vestry, supported by pillars §. This instrument was destroyed by the rebels iu 164.'6. The * History of Music, vol. iii, p. 4^0, f MS. Archives of Rochester. % MS. Archives of Worcester, g MS. Archives of New College. 62 THE HISTORY OF THE ORGAN. present organ (improved by Green) was erected by Dallam, in 1G63; 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 Magdalene College, Oxford, stood on the " south side of the choirf." The organ of St. John's College, in the same university, built in 1660, Avas placed in a little ante- chapel " on the north side of the choir J." It was in that situation in 1768, when Byfield erected an organ on the present screen. Quaint old Thomas Puller, speaking of the Cambridge Colleges, under the date 1633, adds, " Now began the university to be much beautified 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. Jolm's College, &c. The same position, " at the side of the choir," is still retained in Win- chester College ; the Eoyal Chapels at St. James's and Hampton Court ; and within memory it was so in Christ's Church, Dublin ||. As regards parish churches, the common situation for the organ, both before and after the Eeformation, was in the chancel^. 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 Coutmel Church, Westmorland, " 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 ArcJiitecture, 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 * Warton's Life of Sir T. Pope, p. 344. t MS. Archives of Magdalene College. X Warton's Life of Sir T. Pope, p. 344. g Fuller's History of the University of Canibridge, folio, 1655. II The Rev. John Jebb, On the Choral Service of the Church, p. 1 97. ^ Of course other positions were occasionally adopted. In Neale's Vietcs of the Churches of Gh-eat 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. 1.97, note. ** Blomefield's History of Norfolk, edit. 1805, vol. vi, p. 263. Tllh: IIISTOKY Ol' TllK OKOAN. 68 the ancient rood-loft, unlil al'lc'r I lie Reformation. On the continent, they were iilso inlrodnccd in th(^ conrse of the seventeenth imd eiglileenth cen- turies; hut were usnally jjhiced at tlie west end of the church. In tiiis conntry, previonsly to ihv. Reformation, tlie organ was frequently placed on the north side of tlie clioir, or in the north transept." From the instances we 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 invariably placed in " lofts some at the west end, some over the doors, and very often against one of the piers. We 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 church of St. John, in Monte, at Bologna, has two " immense" organs in similar situations. At Florence, the two organs are placed in the north-east and south-east of the octagon. The cluirch 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, liiglily polished, and have the appear- ance of biu'nished silver. The frame-work is riclily 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 that are used in the various chapels. The only organs in St. Peter's, at Eome, were (and perhaps still are) two moveable ones on wheels, in the side chapels. The distance between the west door and the great altar is wholly a fi'ee and unbroken space. At Eatisbon, the organ is placed behind the high altar ; an arrangement totally unworthy of this magnificent structure. The organ of the Franen KircJie, or great Lutheran Church of our Lady, at Dresden (one of the finest of old Silbermann's), is also placed at the east end of the church, over the communion tablet- At Treves there is a small organ on the north side of the choir, and a larger one at the west end. * Burney's Present State of Music in France and Italy, p. 129. t The organ is in a similar situation in the chapels of Versailles and the Tuilleries ; 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. 64 THE IIISTOllY OF THE ORGAN. The organ of the Collegiate Church of Notre Dame, at Courtray, is dis- posed 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, M'hich 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 oommunioate 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 mndowf. The organ in the church of St. Bavo, Ghent, is placed under the arch of the left side aisle, at the entrance into the choir. 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, has Jive 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 on the left side of the nave, about fifty feet above the pavementj. The organ at Amiens Cathecbal (perhaps the oldest in France) was built in 1492, at the expense of Alphonso de Mylu-e, one of the chamberlains to * Burney's Present State of Music in Germany, &c. p. 1 2. 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 been not 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 left side 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 tremendous — when all the stops are pulled out — as I once heard it, during the performance of a particularly grand chorus 1 Yet is this tone mellow and pleasing at the same time. Notwithstanding 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 tlie 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's Tour in France and Germany, 2nd edit. vol. ii, p. 3.92. TIIK IIISTOKY OF TlIK OHOAN. 65 Charles VI. It is placed over llu; ciil ranee to I lie nave, at (lie western ex- tremity, thus allowing the eye to embrace the whole structure at onv. view. At ("liartres (!a(heclral, the organ is ])lacetl over the sixth areh of the nave on the southern side, and at the heiglit of the trit'orium, or gallery, wliieli is conliiiued all round the church. 'I'liis organ was built in 1 5 1 .'5, and was originally ])laeed over the great western doorway. In the church of 8t. Roeh, at Paris, there are four organs; but lAe organ of the church stands over the west door. 22. TAe Curiosities of Organ-Building. Foremost among the instruments demanding a place in this category, are the organs of the Byzantine Emperor, Tlieo])hilus, 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 con- cealed tubes." Pra;torius tells us that a certain Duke of Mantua received from a Nea- politan artist an organ of which the keys, pipes, key-board, nay, even the out- side of the bellows, were of alabaster. Dr. Powell, in his curious volume. Humane Industry/, or a History of the Manual Arts, 12mo. 1661, alludes to this organ in the following passage, which also makes mention of some other " curiosities of organ-building " A Neapolitan artizan made a pair of organs all of alabaster stone, pipes, keys and jacks, with a loud lusty sound, which he afterwards bestowed upon the Duke of ]\Iantua, and which Leander Alberti saw in the said duke's court, as he relates in his description of Tuscany. The same Leander saw a pjair of o%ans at Venice made all of glass, that made a delectable sound. This is mentioned also by Mr. ]\Iorison, in his Travels .... Gandentino Merula, in his 5th book de Mirahilibus Miindi, 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 wliite 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 keyboard " 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 of solid silver*. The author of a rare volume published at Bologna in 1590, under the * Amongst the odd materials used by the old builders for organ- pipes, we may add to those mentioned in the text, paper, burnt clay, porcelain, &c. Those who are curious in such matters may consult Jacob Adlung's Musica Mechanica Orr/nnoedi: 4to. Berlin, 17G8 : Part 1, Sections 85, 86, and 87- F 66 THE IITSTORV OV THE ORCAN. title of II Desiderio, mentions some enrious mnsical instruments tliat lie saw in the palace of the Duke of Ferrari. He says some were preserved there for the sake of their aTitiquity, 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 Vicentino, surnamed Arcimusico, comprehending in the division of it the three harmonic genera, lie adds, that the multitude of chords in this astonishing instrument rendered it very difficult to tune, and more so to play ; and that, for this latter reason, the most skilful performers woidd 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 ; the one at Rome, by the order of the Cardinal of Perrara ; and the other 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. Father Bonanni, in his singular collection of engravings of musical in- struments, entitled Gahinetto Annonico, 4>to, Eome, 1722, gives a represen- tation of a curious organ, fabricated by Michele Todino, of Savoy, for Signor Verospi, of Eome. It seems to be an organ with tliree " 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 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, fol. 1676, certainly comes under our notice in this place. His owa 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 teUing you all the dimen- sions, and the whole order of it (I mean my Second, which is the Largest and the best), and take as here follow cth. 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 o^A^l House, and for my own Use, as to the maintaining of Publick Consorts, &c. " It is in its Bidk and Height of a very Convenient, Handsom, and Corn- pleat 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 1 0 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 THE HISTORY OK TlIK OIUJAN. 67 anu'iiding such rmills iis may ; wilh 2 sIu'lvM cuLhords al (lie end l)c- hiiul, to luck up your Musick Books, &c. The JjCiif is to bo takou in 2 picrcs at any time for convoniency of Tuning, or tlic like. Neatly Joyn'd in the Midst, " The Keys, at the upper End, being of Ebony, and ivory, all cover'd with a Slipping Clampc, (auswerable to the other End of the Table) which is to take off at any time, when the Organ is to be us'd, and again })ut on, and Lock'd up; so that none can know it is an Organ by sight, but a Complcat New-Fashion'd Table. "The Leaf has in it 8 Desks, cut (piitc througli very neatly (answerable to that Up-standing One, in the Figure) with Springs under the Edge of the Leaf, so contrivM 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 ]3ooks 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 Ecason of the Closeness of the Leaf; but by the help of them, each Desk opened, is as the putting in of another quickning, or enlivening stop ; so that, when all the 8 Desks stand open, the Table is like a Little Church Organ, so sprightfully 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 a Principal ; the third, a Fifteenth ; the fourth, a Twelfth ; the fifth, a T\vo-aud-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 wdth statues, heads of angels, vases, foliage, and even figures of animals. Sometimes the front pipes W'ere painted with grotesque figTires, and 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 jjlaced in their hands, which by means 68 THE HISTORY OF THE ORGAN, of mcclianisin 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, sometimes a gigantic angel would be exhibited hovering in a glory over the organ, beating time with his baton as the con- ductor 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 wa§ 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 Mings, or flew towards an artificial sunt. The climax, however, of all these rarities was the 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 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 corresjiondeut of the Gentleman's Magazine, 1772, p. 562, who signs himself W. L. [William Ludlam], says : "The old organ at Lynn, hi Norfolk, had on it a figure of King David playing on the harp, cut in solid M Ood, larger than the life : likewise several moving figures which beat time, &c." Dr. Donne, the emhient 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. J" * We must confess that we do not admire the " loud, uplifted angel-trumpets" on the case of the Antwerp Cathedral organ one whit more than the G ergons and ffydras on that of the Dominicans' Church in the same city. f Seidel seems to have had in view the ludicrous ouiside of the organ in the Garrison Church, Berlin. Burney, in his entertaining Tow in Germany (p. 104), describing his visit, says, " I found a large orgah in this church, built by Joachim Wagner ; it is re - markable for compass, having 50 keys in the Manuals,and for its number of pipes, amount- ing 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 un 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." X Johne Donne, his Satires, Anno Domini, This curious work is preserved among the Ilarluian MSS. (No. 5110) in the British Museum. TlIK IIISTOKY OF TIIR OKCAN. 69 When these figures wore iibolished, tlic orgaii-hiiildcrs (pcrliiips in coin- pliaiice witli im absurd cauou) sot up the royal arms ou the front of the; organ; and in place of the angel beating time, or King David ])laying ou the harj), we had tlic J3ntish Hon, with goggle eyes ami shaggy mane, grinning enough to frighten each member of the congregatiou from the house of prayer. Let us rejoice that these abominations no longer exist in our own country*. If they are still occasionally to be met with on the continent, the increased feel- ing of true devotion will soon number them among the tilings that were. 23. T/ie Destrnction 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 ^Dsalm-singing, it was thought necessary, for the promotion of true religion, that no organs should be suffered to remain in the churchest ; that choral books should be torn ; painted glass windows broken ; sepulchral brass inscriptions defaced ; and in short, that the cathedral service should be totally abolished. Li consequence of this ordinance, collegiate and parochial churches were stripped of their organs and ornaments : some of the instru- ments were sold to private persons, who preserved them ; some were totally, and others but pariially, destroyed ; some were taken away by the clergy in order to prevent their being destroyed, and some few were suffered to remain J. The puritanical spirit which doomed organs to destruction had long becTi gaining ground. Even as early as the reign of Elizabeth (Aug. 18, 15S9), it was agreed, at a parish meeting of St. Chad's, Shrewsbury, " that for the better providing and accomplishing the reparation of tlie beUs, fencing the church-yard, and purchasing one decent and semely cuppe of silver for the use of the Communion, the organs should he soidd to any of the parishe * 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 of Designs for Organs ; but they 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 Short Account of Organs built in England, &c. 184-7. But then these would be termed Soman Catholic. t A copy of the ordinances preserved in the liljrary of the London Institution has the following title : — " Two Ordinances of the Lords and Commons assembled in Parlia- ment, for the speedy demolishing of all organs, images, and all matters of superstitious monuments in all Cathedralls, and Collegiate or Parish-churches and Chapels, throughout the Kingdom of England and the dominion of Wales ; the better to accomplish the blessed reformation so happily begun, and to remove all offences and things illegal in the worship of God. Dated May 9th, iG t k" X See an article on the Organ of St. Paul's Cathedral, in the Mnsical Gazette, No. T . Jan. 181.'). 70 THE HISTORY OF THE ORGAN. for the suiiK' of £i, if any desyred the same: otiierwisc the said organs should jjresentlye bee soukl to hyni whosoever woukl give £4 or more for the same !"* ISome idea of the devastation committed by the Puritans upon organs may be gathered by a few extracts from Mercurius Rusticus ; the Country/ s Complaint recount'tng the sad Hvents of this Jlnparralehl Warr. 12mo. 1647t. At Westminster, we are told, "the soldiers of Westborne and Caewoods' Companies were quartered in the Abby Church, where they brake down the rayl about the Altar, and buj-nt 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 canonicall habite, ran up and down the Churcli ; 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 scornefull 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 spoyled your trade, you ■tiuist got' and shig hot 2^iidding 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 violated the monuments of the dead, and spoyled the * Two years before the passing of the Ordnance just mentioned, a tract appeared, entitled " The Organs Funerall, or the Quiristers Lamentation for the Abolishment of Superstition and Superstitious Ceremonies. In a Dialogicall Discourse between a Quirister and an Organist, An. Dom. 1(U2. London, Printed for George Kirby." 4to. f Edited by Dr. Bruno Ryves, an unflinching opponent of cant and hypocrisy. At the Restoration, he was rewarded with the Deanery of Windsor. The Mercurius Rusticus was originally published in numbers. In its collected form, it went through many editions. J Gunton is more particular in his account of the devastations here : — " The first that came was a foot regiment, under one Colonel Hubbard's command; upon whose arrival^ some persons of the town, 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 ground, and there stamped and trampled on, and broke in pieces, with such a strange, furious, and frantick zeal, as cannot be well conceived, but by those that saw it." — Histori/ of the Church of Peterhoroiigh, p. 333." Will modern writers tell us any more, after this, that " Cromwell himself was partial to the organ ?" The story about his protecting the organ of Magdalene College, Oxford, we shall presently show to be false. TIIK HISTORY OF TIIH OIIOAN. 71 organs*;" nnd at CliichcsttT Cathedral, "(liey leave tin; destructive and spo^'liiit;- pari (o he liiiislicd In llic coniinoii soldiers ; biakc down tli(! organs, and dashing the jiipes witii their pole-axes, seollingly said, Ibirka liou> the organs (joe." At Winchester, " they entered the Church witli colours tlying, and drunis beating: they rode u]) through the body of the Church and Quire, until they came to the altar, there; they rudely ])luck dovvtie the table and brake the rayle, and afterwards carrying it to an ale-house, they set it on fire, and in that fire burnt the J3ooks of Common Prayer, and all the Singing 13ooks belonging to tlu; Quire : they threw downe the organs, and break the Stories of the Old and New Testament, curiously cut out in carved work." Sir William Dugdale, in his Short Vieio of the Late Troubles in England, folio, 16S1, says, " and when their whole (the Parliamentary) army, under the command of the Earl of Essex, came to Worcester, the first thing they there did, was the prophauation of the Cathedral ; destroying the organ ; breaking in pieces divers beautiful windows, kc." The sacrilegious profanations of Norwich Cathedral is graphically des- cribed in Bishop Hall's Hard Measure, 16-l'7t : " 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 gi-aves, 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 proces- sion, 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 pubhc market place ; a lewd wretch walking before the train, in his cope, trailing in the dirt, with a service book in his hand. * In Culmer's Cathedral News from Canterbury, p. 1 9, 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 2Gth of August. 164'2, some zealous troopers, after they had (by command) taken the powder and ammunition 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 rails 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 pricksong-books, and one greasy service-book, and a ragged smock of the whore of Rome, called a surplice, and began to play the tune of the Zealous Soldier on the organs or case of whistles, which never were in tune since." f Dr. Joseph Hall was successively Bishop of Exeter and Norwich. 72 THE HISTORY OF THE ORGAN. imitating, in an impious scorn, the tunc, and usurping the words of the Litany, used formerly in the church ; near the pubhc cross all these monu- ments of idolatry must be sacrificed to the fire, not without much ostentation of a zealous joy in discharging ordnance to t he cost of some who professed how much they had longed to see that day; Neither was it any news, upon tliis Guild day, to have the Cathedral, now o])en on all sides, to be filled with musketeers, waiting for the major's return, drinking and tobacconing 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. Eerrar'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 riformatlon, ransacked both the chui'ch and the house ; in doing wliich, 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. Terrar'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 devastation, perished the works which Mr. Ferrar had compiled for the use of his household, consisting chiefly of harmonies of the Old and New Testament*." Similar examples of ignorant fanaticism might readily be adduced j but the passages cited are sufticient for our 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 sulfered to remain, we have accredited evidence. Among the number, were those of St. Paul's, York, Durham, and Lincoln Cathedrals ; St. John's and Magdalene Colleges, Oxford; Christ's College, Cambridge; and probably many others t* 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 Crom- well's visitors had ordered Sir William Paddy's donation for founding the choral Service in that chapel to be entii'ely applied to the augmentation of the President's salary. The popular account of the organ of Magdalene College is, that during the rebellion it was conveyed by order of Cromwell to Hampton Court, where * See Izaak Walton's Lims of Donne, Wotton, Hooker, &c. edit. 1 84.5, note, p. 336. f The author of A Short Account of Organs built in England, li-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." TIIK IIISTOHY OF THK ORGAN. 78 it remained in the Great Giilleiy (ill the Restoration, when it was restored to the College*. This story, like many others of a similar kind, is probably apocr}'])hal. Prom the following passage in John Evelyn's JJ'tari/, under the date July 12th, 165-1', we leaiii that the organ was then in its orujlnal place; and the inference is that it had never been removed : " Next we walked to Magdalen College, where we saw the library and chapel, which was likewise in pontificid order, the altar only I think turned tablewise; and there was still the ilouLle organ, which abominations (as now esteemed) were almost universally demolished; Mr. Gibbon [Christopher Gibbons], that famous nmsician, giving us a taste of his skill and talents on that instrument." The devastation committed upon organs by those misguided ruffians, the soldiers and commanders of the Parliamentary army, was not easily remedied. It was not untd 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 Blary bearing upon this point. "Julys, 16G0. (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 Chuixh, 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 paii', if they would settle a mainte- nance on them for it." " As to organs," says Burney, " the difficulty of procuring them, upon short notice, seems to have been greater than of finding either performers or music to perform After the suppression of Cathedi-al Service and prohibition of the Liturgy, some of the ecclesiastical instruments had * This anecdote may be traced to Warton {Observations on the Fairy Queen of Spenser, Lond. 1762, vol. ii, p. 236), who probably received his infonnation from his father, a Fellow of Magdalene College. Gutch, Chalmers, Uawkins, Burney, and Ingram, copy Warton. 74, THE HISTORY OF THE ORGAN. been sold to private persons, and others but pai-tially destroyed; these being- produced, were luistily repaired and erected for present use*. "A sufficient munber of workmen for the immediate sup])ly of cathedrals -and parish churches with organs, not being found in our own country, it was tliought expedient to invite foreign bmlders 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 tliis country, forms a new epoch in the History of Organ -building. * It was not until the lapse of more than half a century after the Restoration that our parish churches bogan commonly to be supplied with organs. In 1708, when Hatton published his New View 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 par- ticular, may be gathered from Drake, who, at p. 338 of his Ehoracum, published in 1733, says, " There is now only one 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." As to English organs, prior to the Rebellion, very few are in existence. An old organ, said to be " the first made in England," may be seen at Ightam Moat-House, in Kent. Another old instrument, called in Mr. Brady's Catalogue " the second organ made in England," is preserved at Knole House, in the same county. Similar instruments may be found at Hatfield House, and at an old mansion — the reputed residence of Cardinal Wolsey — at Cheshunt. FOURTIL EPOCH. Til 10 KOlJNDliUS OF MODERN OllCAN-liUILDINC. 24. Father Smilh. " Bernard Sciimiiit, as the Germans 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 lloyal 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 compre- hensive 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 appearauce, is perhaps one of the greatest eflbrts of human ingenuity and contrivance. It was probably from some such early failure, that this admirable workmau determined never to engage to biuld an organ upon short notice, nor for such a price as would oblige him to dehver 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 seeu 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 any radical defect, he instantly threw it away, and made another. This, in a great mea- sure, 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 fads which it is the business of a faitliful 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, wliich at this period of time we look for in vain. * Burney's History, of Music, vol. iii, p. 436. 76 THE HISTORY or the organ. In tlic middle of the seventeenth century, Germany and Holland possessed many organ-builders whose fame liad gone forth beyond their own countries. Christian Former, of "Wettin (near Halle) ; Sclmitker, of Hamburgh ; and Eugi'ue 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 Cliristian 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, IGCO. Pepys thus alludes to it, in his Diary under that date : — " (Lord's Day). To Whitehall 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 siugin<>; men in surplices, in my life." Li J662, Smith built a new organ for Westminster Abbey ; and in 1671, an instrument for the parish church of St. Giles's in the Fields. In 1675, he built an organ for St. Margaret's, Westminster; and on the 5th of April in the following year, he was elected " organist" of the same chmxht. Smith was now rapidly acquiring fame, and high in tlie favour of the King, who appointed him his " organ-maker in ordinary," and allotted him apartments in Whitehall, called, in consequence, " The Organ-builder's Work- house J." He had, however, to contend with a formidable rival in Reiiatus Harris, who arrived in this country from France shortly after Smith came from Germany. 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 * There is a curious note in Warburton's iTiste?-?/ of Dnhlin, 1818, vol. i, p. 483; but tbe dates will not reconcile it with the subject of our memoir. Speaking of St. Patrick's Cathedral, Dublin, the writer adds, " The organ is said to have been the gift of the Duke of Ormond : it was the work of Smith, the Father 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 liy 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, in the same year, his salary was fixed at £20 a year. His predecessors in the same office were John Egglestone, John Parsons, and John Hilton. See the Rev. M. Walcott's Memorials of Westminster, p. 128. X Ibid. TIIK IlISTOUY Ol' TIIK ORGAN. 77 llic 'rciiiplc imd the benchers, being (Ictermiiied to liave as cniiipleh; iui organ erected in tlieir cliiirch as possible, received proposals from bolli these eminent artists (i. c. Smith and Harris), backed by the recommendation of such an c((ual number of powerful friends and celebrated organists, that they were unable to determine among themselves which to employ. The} tlicrefore told the candidates, if each of them would erect an organ, in diU'erent ])arts of tlie 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 exer- tion of his abiHties, an instrument ready for trial. Dr. Tudway, living at that time, the intimate acciuaintance of both, says that Dr. Blow and Piircell, then in their prime, performed on leather Smith's organ, on appointed days, and displayed its excellence ; and, till the other was heard, every one behoved that this must be chosen. " Harris employed M. Lully* organist to Queen Catherme, a very emi- nent master, to touch his organ, M'hich brought it into favour; and thus they continued vying with each other for near a twelvemonth, " At leng-th, Harris challenged Father Smith to make additional reed- stops 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, afterwards King James the Second's pliant chancellor, who was of that society, and he terminated the controversy in favour of Tather Smith ; so that Harris's organ was taken away without loss of reputation, having so long pleased and puzzled better judges than Jefferiesf. * 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 Memoirs of Music, 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 LuUi : hence the mistake, which has been repeated ad infinitum, by writers who ought to have known better. f " The eiforts 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 JeflFeries made his fiat." Malcolm's Londinum Redivivum, vol iii, p. 106. JeiTeries' conduct seems to have been somewhat misrepresented in this affair. It has been suggested by a learned templar, that this famous contest was decided hyvote. Jefferies happened to be " of the house," and it fell to his lot to give the casting one. Surely he is entitled to no obliquity on this account ! Jefferies has much to answer for ; but there is no evidence of " bribery and corruption" in the present case. 78 THE HISTORY OF THE OUGAN. " The lion. Roger North, who was in London at the time of the conten- tion at the Temple cliurch, says, in his Memoirs of Music, that the competi- tion 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.' 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 Smithes organ in such a manner, that when the time came for playing upon it, no wind could be conveyed into the wind-chest*." Smith's next large organ was the noble instrument for Durham Cathedral, a copy of the agreement for wliich possesses many points of interest to the curious in such matters. "A. D. 1683. " Articles of agreement covenanted, concluded, and agreed upon the eighteenth day of August in the five and thirtieth year of the reign of oiu- Sovereign Lord Charles the Second by the grace of God, King of England, Scotland, France and Lreland, Defender of the Faith. Between the Rt. Hon. John Sudbury, Doctor of Divinity, Dean, and the Chapter of Durham of the Cathedral Church of Christ and blessed Mary the Virgin, of the one part, and Berna/rd Smith of the city of London, Organ-maker, of the other part as foUoweth. " Imprimis. It is agreed by and between the said parties and the said Bernard Smith for himself, his executors, and administrators, doth hereby covenant, promise, and agree to and with the said Dean and Chapter and their successors by these presents that he the said Bernard Smith for and in con- sideration of the severall sums of money herein after mentioned shall and will before the first day of May which will be in the year of our Lord one thou- sand six hundred and eighty five, at his own proper cost and charges make and fitt up in the Organ loft of the said Cathedrall Church of Durham, a good, perfect, laudable, and harmonius great Organ and Choir Organ with a case of good sound and substantiaR Oak wood, according to a draught or modeU of an organ in parchment whereon or whereunto all the said partys have subscribed their names at or before the time of sealing and delivering of these presents. " Item it is agreed by and between the said partys that the said Bernard Smith shall make in the said great organ these seventeen stops, viz. : " Two open diapasons of Metall containing one hundi-ed and eight pipes. A stop diapason of wood containing fifty four pipes. * 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 Ilarleian Collection of MSS. THE IIISTOHY OF THE OIUJAN. 79 A priiicipall of Mcliill coiitniiiiiiii,' lil'ly four pipes. A coriu'l of Mcliill coiilaiiiiiiL^- iiiiuity six pipes. A ([iiintii of Mitlall coiilaiiiiiifi; lifty four pipes. A super octave of Milall eonlaiuiug lifly four pipes. A llolfluif of w 00(1 (.'outaiuiug fifty four pipes. A lilock llute of J^ritlall coulaiuing fifty four pipes. A small (juiut of j\] iff all coutaiuiug iifty four pipes. A Mixture of tliree ranks of pipes of Mittall coutainiug one hundred and sixty two pipes. A truin2)ett of Mittall containing fifty four pipes. And in the Choir organ five stops, viz. : A princijjal of Mittall in the front containing fifty four jiipes. A stop diapason of wood containing fifty four pipes, A voice Ilumaud of Mittall containing fifty four pipes. A holfluit of wood containing fifty four pipes. And a super octave of Mittall containing fifty four pipes. " Item it is agreed by and between these parties tliat the said great Organ shall have a back front towards the body or west eiul of the Church which shall be in all things and respects like to the fore front botl\ in pipes and carving. And all the pipes belonging to the two diapason stops shall speak at will in the said back front as in the fore. " Item in consideration of which work by the said Bernard Smith to be done and formed in the manner and form aforesaid the said Dean and Chapter for themselves and their successors do covenant and grant to and M'itli the said Bernard Smith his Executors and administrators by these presents in manner and form following, that is to say that the said Dean and Chapter shall and will well and truly pay or cause to be payd unto the said Bernard Smith, his executors, administrators, or assigns the sum of seven hundred pounds of good and lawful money of England at three several payments, that is to say two hundred thu'ty three pounds six shillings and eightpence thereof in hand at or before the sealing and delivering hereof the receipt whereof the said Bernard Smith doth hereby acknowledge and confess thereof and of every part and parcel thereof doth clearly acquit, exonorate, and discharge the said Dean and Chapter [blank in deed] by these presents other two hundred thirty tlu'ee pounds six shillings and eightpence thereof when the said whole organ or organs is or are brought into the said Cathedral Church and ready for fitt- ing up, and other two hundred thirty three pounds six shillings and eight- pence being the residue thereof and in full amount of the said sum of seven hundred pounds when the whole organ is sitt up and in every respect finished according to the true intent and meaning of these articles. And further that the said Bernard Smith shall have and take to his own use, benefit, and charge the old organ now belonging to tlie said Cathedral Church and all the MateriaUs thereunto belonging. Provided the said Bernard Smith shall not 80 THE IITSTOUY OF THE ORGAN. or do not remove, take nor carry away the said old organ till the new organ be ready for fitting up as aforesaid, " And lastly, whereas the pipes of the two fronts of the said great organ and the front pipes of the said choir organ are to be painted and guilt according to the best way and mode of painting and guilding of organs, at the proper cost and cliarges of the said Bernard Sniith. It is hereby agreed, by and between the said parties, that if the said Bernard Smith do well and sufficiently perform all the aforesaid works, in making, finishing, and sitting up the said new organ, to the ample satisfaction and content of the said Dean and Chapter ; that the said Dean and Chapter shall pay, or cause to be payd unto the said Bernard Smith, his executors, administrators or assigns, the sum of fifty pounds, of good and lawfuU money of England, and in full satisfaction for the painting and guilding the said organ, " In witness whereof to the one part of these articles remaining with the said Bernard Smith, the said Dean and Chapter have put this Chapter seal, and to the other part remaining with the said Dean and Chapter, the said Bernard Smith hath put his hand and seal the day and year above written. Signed, sealed and delivered in the presence of William Wilson. Jo. Simpson."* In consequence of the reputation which Father Smith had acquired by these instruments, he was made choice of to build an organ for St. Paul's Cathedral, then in the course of erection. A place was accordingly fitted up for him, in the cathedral, to do the work in, but it was a long time before he could proceed with it, owing to a contention between Sir Christopher Wren and the Dean and Chapter. Sir Christopher Wren 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 * In the year 1691, Smith made some additions to the organ, and the following is a copy of his receipt, preserved by the Dean and Chapter : " Received of John Rowell Twenty four pounds being the last payment and in full of Fifty Pounds given to me by the Worsh' The Dean and Chapter of Durham for work done at ye Organ. I say recv upon both Organs (that is to say) The Great Organ to contain Twelve Stops (to wit) One open Diapason of Mcttal in the front, with iifty-two speaking ])ipes. One open ])iai)ason in the inside^ with lil'ly-two Pipes, One Stfjp'd Diapason with fifty-two Pipes. One Principall of Mcttal with fifty-two Pipes. One TAVclfth of the like. One Pifteenth of the like. One Tierce of the like. One Sesquialtra of five rows of Pipes. One Cornet of five rows of l'ip(;s. Two Trumpets with One Hundred and four Pipes. And One Clarion with rifty-two Pipes. The Choir or Quoir Organ^ to contain One Stop'd Diapason with Fifty-two Pipes. One Flute with Fifty-two Pipes. One Fifteenth with Fifty-two Pipes, And one Bassoon with Fifty-two speaking Pipes. The Eccho Organ to contain the following Stops, which shall Eccho and Swell to express passion in degrees of Loudness and Softness as if inspired by human breath (viz.) One open Diapason with twenty-seven Speaking pipes. One stop'd Diapason with twenty-seven pipes. One Principall with twenty-seven pipes. One Cornet of three Rows witli Eighty-one pipes. One Trumpet and One Hautboy with twenty-seven speaking pipes to each. For the Great and Choir Organ, fifty-two pipes in each Sett, being from G G to D la sol. The Keys of the Ecchos and Swelling from C sol fa ut Cliff, to D la sol, in all being twenty-seven keys, and the Speaking Pipes in the whole Organ to be in number one thousand three hundred and thirty-nine, and the front to be gilt with Leaf Gold*." John Harris was probably in partnership w ith J ohn Byfield ; at any rate, he built most of his organs in conjunction with the latter. The connec- tion between the two builders was still closer, by Byfield's marriage with Harris's daughter. They resided at Red Lion Street, Holborn, and were living there when they built the Doncaster organ. According to a power of attorney, dated September 16, 1740, signed John Harris, and sent from London ; " John Byfield, organ-builder, of the Parish of St. George the Martyr, but now at Doncaster," is empowered to receive the money due to Harris ; and on the 2nd of October in the same year, Byfield signs a receipt for Five Hundred and twenty-five poiuids, " by order and for y" use of Mr. John Harris." Organs huilt hy Harris and Byfield. 1. St. Bartholomew the Great, Smithfield. 1720. 2. St. Alban's, Wood Street. 1728. * Communicated by Mr. W. Sheardown, the well-known bookseller of Doncaster, to the Doncaster Chronicle, some few years back. 91 THE HISTORY 01' THE ORGAN. 3. St. Mary Eedcliflb, Bristol. " The entrance into the church is at the great west door to which you ascend by steps. The door is 8 feet in breadth and 12 high, witliin whicli is built a great stone gallery, on which is a grand magnificent organ, being in all 53 feet high from the ground to the top of the crown pannel ; the great case about 20 feet square, contains one great and lesser organ ; the musical part executed by Messrs. Harris and Byfield, and the whole cost Ju8i6 : 7s." Barrett's History of Bristol, 1789, p. 574. 4. St. Mar/s, Shrewsbury. 1729. There was an organ in this church in the 16th century; and on the 31st of August 1589, it was agreed at a parish meeting that — " the organs should be sould to any of the parishe for the sum of £4, if any desired the same ; otherwise the said organs should presentlye be sould to him whosoever would give £4 or more for the same." In 1590, it appears that the Dean of Worcester, " at the motion of Mr. John Tomldns, gave that sum for them, and an additional present to the churchwardens of a communion booke worthe 7s. 4d." 5. St. Thomas's, Bristol. 6. St. James's, Bristol, This and the previous organ are assigned to Harris and Byfield, upon the authority of Rob. Broderip of Bristol. — See the Preface to his Organists' Journal, 1802. 7. Parish Church, Doncaster. 1739. The agreement for this organ (before cited at length) is dated March 19, 1738. The money for the organ was raised by subscription, and the Corporation agreed to pay £20 per annum for a salary, " when and so soon as a good and complete organ shall be set up." The celebrated Snetzler was employed upon the instrument in 1758, as appears by the following receipt — "April 26, 1756. Received of Mr. Francis Caley, church-warden, the sum of Twenty pounds for Repairing and Tuneing the Organ, by me, John Snetzler." 8. St. Thomas Southover, Lewes, Sussex. Traditionally said to have been made for the Duke of Chandos, and removed here from Cannons in 1749. 28. Christopher Schrider. Schrider, or Sclireider, a German, was a workman in the employ of Father Smith, and, previous to the year 1708, had attained a closer connection, by becoming liis son-in-law*. After the death of Smith, he succeeded to his * He probably married again, as we find the following entry in an old register of burials in the library of St. Peter's, Westminster : — " Mrs. Hellen Shrider died March 21, 1752, aged 65 years, and was buried y" 27, in the South Cluyster, on her father, Mr. Thos. Jennings." Jennings was a Gentleman of the Chapel Royal, and of the Choir at Westminster. Many notices of Schrider's family occur in the same volume. The present entry may refer to the wile of Christopher Schrider, jun. TIIK HISTORY OF TIIK OROAN. 95 business j and, in the year 1710, l-o llu: appoiiitiiiciit of Orgaii-buildcr l,o tlii; Royal Chapels. His organs, as far as we know, arc not very numerous, that of Wostniinstor Abbey being his ch(j'-d''(Kurrc. The (late of his deatli is not rc'corded, but it probably took place in 1754; as, in the lollowhig year, amoiii^- the "Servants in Ordinary to the King," in Chamberlayiie's Magn(e, Jh-ilunn'uc Notitia, wc find "Organ Maker, Mr. Christopher Shrider, son of the laic Mr. Schrider." The following quibbling epitaph, upon the subject of oiu' notice, appeared in Webb's Collection of Epitaphs, 1775 (vol. ii, p. 7(j) : ON TUE CELEBRATED MR. CHRISTOl'U ER SURIDER. " Here rests the musical Kit Shndcr, Who organs built when he did bide here : With nicest ear he tun'd 'em up ; But Death has put the cruel Stop : Tho" Breath to others he convey'd, Breathless, alas ! himself is lay'd. May he, who us such Keys has giv'n. Meet with St. Peter's Keys of Heav'n ! His Cornet, Twelfth, and Diapason, Could not with Air supply his Weasand : Bass, Tenor, Treble, Unison, The loss of tuneful Kit bemoan." Organs b/iilt by Christopher Schider. 1. The Chapel Royal, St James's. 1710. This organ was removed in 1819, and, after undergoing the necessary repairs, was purchased for the Episcopal Chapel in Long Acre, for £200, where it now remains. 2. St. Mary Abbot's, Kensington. 1716. Faulkner, in his History of Kensington, says : this instrument was built by subscrip- tion at a cost of <£500, in the above-named year. John Harris appears to have added the swell in 1730. 3. St. Martin's in the Fields. 1726. This organ was the present of George the First, as the following note from Dr. Burney shows : " Schreider, who built the Organ of St. Martin's in the Fields, which King George the First presented to the Church upon being chosen churchwarden of the parish, soon after his Majesty's arrival in England." Malcolm, writing in 1807, says: "The instrument has however been worn out and replaced." Londinum Redivivum, vol. iv, p. 195. Schrider's organ is now in a church at Wotton-under-Edge, and is said not to be xvorn out. 4. Westminster Abbey. 1730. The following memorandum occurs in a MS. book in the custody of the Precentor of Westminster : " The new organ built by Mr. Schrider and Mr. Jordan, was opened on the 1st August, 1730, by Mr. Robinson; the Anthem, Purcell's 0 (jive thanks." 96 TllK IIISTOltY OF TIIK ORGAN. From the treasurer's accounts, wo learn that the cost of the instrument was £1000. Jordan's share in building this noble organ is not defined ; but it was, in all probability, the swell, of which, as we shall presently show, he was the inventor. 29. Thomas SchwarbrooJc. This eminent artist, who was also a German, was in the employ of Rcnatus Harris. Early in the eighteenth century, he seems to have left the metro- polis, and taken up his quarters at Warwick, at which place he probably Hved until his death, about the year 1750. He built many noble instruments; but his masterpiece is said to be the organ of St. Michael's, Coventry. Henry Schwarbrook was Organist of Hereford Cathedral in 1730; but it is not known if he was any relation. Organs huilt hj Thomas Schwarhrook. 1. St. Saviour's, Southwark. 1703. This organ is commonly ascribed to Schwarbrook. If so, it must be one of his earliest instruments. Hatton, in his New View of London, 1708, vol. ii, p. 538, says: "The organ-case is also of oak, very lofty, elevated on 10 square pillars, the upper part whereof is adorned with 3 Fames, carved, standing in full proportion about 42 feet from the area of the isle." 2. St Chad's, Shrewsbury. 1716. At the west-end of the Church of St. Chad, Shrewsbury, in a gallery, supported on Corinthian pilasters, was a large and remarkably handsome organ, in a case profusely adorned with carving. On the summit stood a figure of St. Chad, in his episcopal vest- ments. This noble instrument is said to have cost £1500, raised by subscription, towards which £100 was contributed by the Drapers' Company. It was made by Thomas Swarebrick, a German artist of considerable eminence in his day, and erected in 1716. There is a tradition that the small organ in the Collegiate Church of Wolverhampton once belonged to St. Chad's, and preceded this. This organ was removed in 1794. 3. Trinity Church, Coventry. 1732. This instrument cost £600, and the old organ. 4. St. Michael's, Coventry. 1733. This noble instrument (Schwarbrook's masterpiece), cost £1 100. It originally contained three remarkable stops — the harp, Infe, and dtilcimer ; but. in consequence of the " difficulty of Iceeping the strings in tune," they were removed in 1763. 5. Magdalene College, Oxford. 1740. 6. Litchfield Cathedral. Removed in 1789. 7. St. Mary's, Warwick. 8. Stratford upon Avon Church. Now removed. TlIK lllSTOIiY OF Tllh; ORGAN. 97 30. The Jordans, Father and Son. Sir John Hawkins, in his Hidorij 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 Edgwarc, and many organs for ])arish churches*. These two buildei's are especially deserving of our notice, as to them we are indebted for the invention of the swell. Among the advertisements in the original edition of the Spectator (Feb. 8, 1712), is the following an- nouncement : " Whereas, Mr. Abraham Jordan, 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; 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 m'U attend every day next week at the said church, to accommodate all those gentlemen who shall have a curiosity to hear itf. Many of the old English organs (as we have seen by the specifications quoted) contained a department called the Echo. This consisted in a dupli- cate of the treble portion of some of the stops enclosed in a wooden box, which rendered their sound softer and more distant. Jordan's improvement was that of a sUding shutter, which was made to open and shut at the per- former'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 Tours, which we beg leave to 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 * 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 Londinmn Redivivum, vol. iv, p. 234) ; it was afterwards copied into Hone's Every Day Book, and the Chronicles of London Bridge. H 98 THK IIISTOUY OF THE ORGAN. 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 Siietzler, in every tiling but size ! As the cluirehes there are often immense, so are the organs ; tlie 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 12ths, flutes, and IStlis; 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 sivells 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 mucli wished to introduce it there. But I enquired in vain of musical people in that city, Mdiether 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 Hilde- brand's organ for the church of St. Michael, at Hamburgh, built in 1704t. 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 so small with them, that if I had not been told there was a swell, I should not have discovered it. J" 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 acce})ted) 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 condi- tion of having his salary secured to him for 21 years§." 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. * Prtsmt State of Music in France and Italy, 8vo. 1771, p- 375. t Present State of Music in Germany, the Nethertands, and United Provinces. 8vo. second edit. 1775, vol. ii, p. 103. X Ibid. p. 275. 2 Malcolm's Londinum Redivivum, vol. iii, p. 27-9. TIIK lllsroUY Ol' TIIK OIUiAN. 99 of On/dii-t //mil h/i l/ic Jardcrm. 1. Si.. Michael's, PuternosU^r Royal. 1700. In the Parisli Clerks Remarks on London, 1732, it is said that this churcli has " no origan." Tradition, iiowover, says tliat an instrument was given to this church by Abraham Jordan, in tlie year 1700. 2. Fulham Church, Middlesex. 1701. An excellent instrument ; it still remains in almost its original state. 3. The Chapel of the Duke of Chandos, at Cannons. 1712. 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 said to be now in Spa Fields Chapel. 4. St. Magnus the Martyi-, London Bridge. 1712. 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, p. 97.) It has been much altered and modernized by Parsons ; three only of the original four sets of keys remain. 5. 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, 1714.. 6. St. Dunstan's, Fleet Street. Ascribed to Jordan, upon the authority of William Russell's MS. account of English Organs. It is not mentioned by Hatton in 1708, or Paterson in 1714: but is noticed in the Parish Clerks Remarks on London, 1732. It must therefore have been erected some time between the two last-named dates. 7. 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 shew all manner of encouragement to any one who shall offer himself as organist, pro- vided 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, pro- mises, 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, notwith- standing 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 South- ampton, on Lady-day next, being the 25th March, 1731, where they may be assured to find a very kind reception and a suitable encouragement." H 2 100 THE HISTORY OF THE ORGAN. 8. St. Luke's, Old Street. 1733. A MS. note by Pennant (the London Historian) ascribes this organ to Jordan. The 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. 9. St. Paul's, ShadweU. 10. The Portuguese Chapel. 11. St. Antholiu's, Watling Street. 12. The Abbey Church, Bath. 31. Eichard Bridge. Tliis artist enjoyed considerable celebrity, and it is to be regretted that notliing is knovra of his biography. According to an advertisement in the General Advertiser, for Peb. 20, 1748, "Bridges, organ-builder," probably the same person, then resided in Hand Court, Holbom. We learn inci- dentally, from a note in Burne/s His tori/, that he died before 1776. Organs built by Richard Bridge. 1. St. Bartholomew the Great. 1729. 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. Paul's, Deptford. 1730. 4. St. George's in the East. 1733. 5. St. Amie's, Limehouse. 1741. 6. St. Leonard's, Shoreditch. 1757. 7. Enfield Church, Middlesex. 1753. 8. Eltham Church, Kent, 32. Organs built by By field, Jordan, and Bridge, conjointly. In consequence of the many new churches that were erected at the com- mencement 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, tlie sad consequences which must naturally follow, a coaUtion 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. «TIIE HISTORY OF TIIK ORGAN. Kll The writer regrets tliat lie can name only three instruments in which the joint efforts of these eminent men were united. 1. St. Dionis Back-Church, City. Ilatton, wliose Neio View of London was publislied in 1708, says, "this church has no organ." Paterson, in 1711', is silent on the subject, liut the Parisli Clerks Remarks on London, 1732 (p. .')7), notices an organ in this church. It was therefore set up between the years 17 I t and 1732. This magnificent instrument is in its original state. 2. Yarmouth Church, Norfolk. 1733. An instrument celebrated for its many beauties. 3. St. George's Chapel, Yarmouth. 33. John Bi/field, Jun. This is the next builder that comes under our notice. Nothing whatever is known of his biography ; in fact, he is not named, as far as we 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 of Dr. Benjamin Cooke's, he died in 1774. Organs built hjj John Bi/Jield, Jun. 1. The Chapel of Greenwich Hospital. Destroyed in the fire which consumed the chapel in 1779. 2. St. Botolph, Bishopsgate. 1750. 3. Christ Church Cathedral, Dubhn. 1751. 4. St. Mar/s, Rotherliithe. 1764. 5. Grantham Church, Lincolnshire. 1767. 6. St. John's College, Oxford. 1768. 7. Magdalen College Hall, Oxford. 8. Berwick Street Chapel, Soho. 1768. 9. The Theatre, Oxford. 1768. 10. Barking Church, Essex. 1770. 11. Newbury Church, Berks. 1770. 12. St. Mary's, Islington. 1771. 13. Beading Church, Berks. 1771. The six last-named organs were built jointly with Green. 34. Messrs. Glyn and Parker. The above names are new in the aimals of organ-building, as their celebrity was rather of a local character. They resided at Salford, near 102 THE HISTORY OF THE ORGAN. » Manchestor, and built a imml)er of instruments for Lancasliire and the neighbouring counties. One organ, that of Poynton chiirch, attracted the notice of Handel, who is re])orted 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 huilt hi) Glyn and Parker. 1. Collegiate Church, Manchester. 1730. 2. St. Aim's Church, Manchester. 3. St John's Church, Manchester. 4. Bury Church, Lancashire. 5. Poynton Church, Lancashire. 1748. 6. Chapel-on-the-rrith, Derbyshire. 7. Prestbury Church, Gloucestershire, 8. Leek Parish Church, Staffordshire. 9. Foundling Hospital, London. 1749. 10. All Hallows the Great, Thames Street. 1749. 35. John Snetzler. This truly eminent builder was born at Passau, in Germany, about the year 1710, 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 instrument at Lynn Regis, in Norfolk, being recommended to the Corporation of that town by Dr. Burney. The double Diapason and Dulciana stops in tliis organ were novelties wMch attracted attention, and fully established his fame in this country. Snetzler had but an imperfect pronunciation of the English language, which gave liiin, like many foreigners, a very cjuaint way of expressing him- self. Two stories are current of his peculiarities in this respect. One was. * Dr. Burney, in his " Sketch of the Life of Handel," prefixed to his Account of the Coinmemoration, 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 Magazine for February, 17'''9 ? — " Handel did not give the organ to the Foundling Hospital. It was built at the expense of the charity, under the direc- tion of Dr. Smith, the learned Master of Trinity College, Cambridge, who added demi- tones, &c. and some of the niceties not occurring in other organs." Handel conducted the performance at the opening of this organ in 1749. TIIK HISTORY Ol' I'lIK ORGAN. Oil tliu occasion of the erection of liis new organ at Halifax, in Yorkshire. Wainwright (afterwards Dr. Wainwriglit, and organist of the Collegiate Cluirch, Mancliester) and Tlersehel (subsecinently known as the great Astrono- mer) were amongst the candidates for the situation of organist. The former so ainioyed Snetzler by liis rapid playing, that he paced the church, ex- claiming " He do run over de keys like one cat, and do not give my i)ipes time to speak." He also told the Churchwardens of Lyuji, upon their asking him what their old organ woidd be worth if repaired, " If they would lay out a hundred pounds upon it, perhaps it woidd be worth fifty." 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, wliich 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. Orgum built hy Snetzler. 1. Fincldey Church, Middlesex. 1749. 2. St. Paul's, Sheffield. 1750. 3. St. Mar/s, Hull, Yorkshire. 1750. 4. St. Margaret's, Lynn Eegis, Norfolk. 1754. Built under the superintendence of Dr. Burney, at a cost of £700. 5. Clirist Church, Broadway, Westminster. 1760. This organ is said to have been originally built for the Duke of Bedford. 6. Leatherhead Church, Surrey. 1760. 7. Halifax Church, Yorkshire, 1766. 8. Louth Church, Lincolnshire. 1769. 9. Beverley Minster, Yorkshire. 1769. This organ was opened with the performance of two Oratorios, Sept. 20 and 21, ITOO. 10. Eichmond Church, Surrey. 1770. 11. Edmonton Church, Middlesex. 1772. 12. St. Martin's, Leicester. 1774. A remarkably fine instrument. 13. Scarborough Church, Yorkshire. 1780. 14= Pontefract Church, Yorkshire. 15. Chesterfield Church, Derby sliire. 16. St. Mary's, Nottingham. 17. Huntingdon Church. 104 TIIK HISTORY OK Tllli OlKiAN. 18. Rotlierham Church, Yorkshire. 19. Whitehaven Church, Cumberland. 20. St. John's (anciently St. Augustine's), Hackney. 21. St. Clement's, Lombard Street, City. 22. St. Margaret's Chapel, Bath. 23. St. Peter's College, Cambridge. This instrument is remarkable for having the Echo (the predecessor of the swell) remaining. 21. The German Lutheran Chapel in the Savoy. According to the late Charles Wesley, this was the first instrument in this country provided with a pedal clavier. 25. The German Calvinist Church, Savoy. Presented by the builder. 36. 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 em- ployed 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. The only organs of these builders known to the writer, are St. John's, Horsleydown, built in 1770, and a fine instrument at Barnstaple. 37. Sa7miel Green. Although generally considered a cotemporary of Snetzler, this eminent artist was not born till 1740 ; thirty years after the birth of the former. In all probability he was brouglit up in the estabUshment of Byfield, Bridge, and Jordan, as in the earlier part of his career he was in partnersliip 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. Tlie organs built by Green are characterized by a peculiar sweetness 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 admi- rable artist scarcely obtained a moderate competency. His zeal for the mechanical improvement of the organ consumed much of his valuable time in experimental labours, which to him produced little or no emolument; and TIIK HISTORY OF TlIK OIIOAN. it is [minful to know lliat a man so eminent in his profession should not, at his decease, be able to leave even a slender provision for liis family*." The nowspapors of the day record " Mr. Samuel Green, organ-builder to the King, died at Isleworth, Se])t. 14, 1796, at tlie age of 50." The following list of Green's organs is taken verbatim from the Gentle- man's Magazine for June, 1814, as extracted from tlie Builder's own Account Book. We have added a few dates, &c. in brackets. Organs built hj Samuel Green. Cathedral and Collegiate Organs. 1. Canterbury (1784). 2. WeUs (1786). 3. Windsor (1790). 4. Litchfield (1789). 5. Salisbury (1792). 6. Rochester (1791). 7. Bangor (1779). 8. York (restoration only). 9. Cashel (1786). 10. New CoUege, Oxon (restoration only). 11. Trinity College, Dublin. 12. Wmchester CoUege (1780). London Organs. 13. St. Katherine's Hospital (1778). 14. St. Botolph, Aldersgate Street. 15. St. Peter-le-Poor. 16. St. Mary at Hill. 17. St. Michael's (Cornhill). * Christian Remembrancer, Jan. 183t. One of a series of excellent papers on old organs and organ-builders. 106 THE HISTORY OF THE ORCJAN. 18. St. Olave's, Hart Street (1781). 19. Broad Street Chapel, IsUngtoH. 20. Magdalen Chapel. 21. l^-eemasons' Hall. Local Orgam, c^r. 22. St. Petersburg. 23. Greenwich Hospital (1789). 24. Sleaford, Lincolnsliire. 25. Manchester (St. Thomas Ardwick, 1787). 26. Helstou, ComwaU (1799). 27. Walsal, Staffordsliire. 28. Wrexham. 29. Wycombe. 30. Naylaud, Essex. 31. Wisbeach, Cambridgeshire (1789). 32. Cirencester, 33. Macclesfield. 34. Stockport (St. Peter's, 1788). 35. Bath. 36. St. Michael's. 37. Tunbridge. 38. Loughborough. 39. Tamworth. 40. Walton. 41. Leigh. 42. Chatham. 43. Bolton (Lancashire, 1795). 44. Crambourne, Cornwall. 45. Aberdeen Episcopal Chapel. 46. Kingston Chui-ch, Jamaica. THE HISTORY OK THK OlUiAN. 107 38. John Avery. Very little is known of this builder, lie is said to have been a dissi- ])iited character : he was certaiidy 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 tinisliing the organ of Carlisle Cathedral, his last work. Organs built hy Avery. 1. St. Stephen's, Coleman Street, City. 1775. 2. Croydon Church, Surrey. 1791. Avery considered this instrument his best work. 3. Winchester Cathedral. 1799. 4. Clirist Church, Bath. 1800. 5. St. Margaret's Church, Westminster. 1804. (). King's College Chapel, Cambridge, 1804. The case of this organ is of the time of Henry VIII, the date of the stalls. 7. Seven Oaks Church, Kent. 1798. 8. CarUsle Cathedral, 1808. 39. 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 1814. The elder England bmlt many noble organs, a few of which we shall enumerate. Organs built by George England. 1. St. Stephen's, Wallbrook. 1760. 2. Gravesend Church, Kent. 1764. 3. Ashton-under-lrne, Lancashire. 1770. 4. St. Michael's, Queenhithe. 1779. 5. St. Mary, 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. 108 THE HlSTOIiY OF THE ORGAN. With regard to the son, our information is more satisfactory; the fol- lowing list of organs built by him being copied from his own account book, kindly lent to the writer by Mr. IliU, the eminent organ-builder. Organs built hj 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 after- wards sold by England to the parish church of Beccles, Suffolk, for £220. 3. Fetter Lane Chapel. 1790. 4. Warminster Church, Wiltshu-e. 1791. 5. The Adelphi Chapel. 1791. 6. Gainsborough Church, Lincolnsliire. 1793. 7. Newington Church, Surrey. 1794. 8. Blandford Church. 1794. 9. Carmarthen Church, South Wales. 1796. 10. St. Margaret's, Lothbury. 1801. 11. Tlie Sardmian Chapel. 1802. 12. Newark Church, Nots. 1803. 13. Parish Church, ShefBeld. 1803. 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 £672. 20. Shiffnall Parish Church. 1811. 21. Ulverstone Parish Church. 1811. 22. St. Mary's Chapel, IsUngton. 1812. 40. Progress of Organ Building in Germany. During the eighteenth century, Germany was especially proHfic in large organs, and most of these instruments still remain as honourable memorials of the talents of their builders. TDK niSTOllY OF TlIK OUGAN. 109 41. Andreas S'llbermann. AniDHgst the most renowned organ-builders that tlie world has produced are the celebrated Silbermaiin i'aniily. The i'ounder of this race of talented men was Andreas Silbermann, born at Fraueiistcin, in Saxony, in 1678. The particulars of his life are not recorded ; but, during the space of twcmty-seven years in which he flourished, he built thirty 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. 1710. 5. Basle Cathedral. 1711. 6. Convent of Guillclinines, Strasburg. 1712. 7. Oberenheira. 1713. 8. Giedertheim. 1715. 9. Strasburg Cathedral. 1716. 10. St. Etienne, Strasburg. 1716. 11. Andlau. 1717. 12. The Madeleine Convent, Strasburg. . 1718. 13. Ebersheimmiinster. 1718, 14. St. Leonard's, Basle. 1718. 15. Hanau. 1719. 16. Grendelbach. 1719. 17. Lautenbach, Upper Rhine. 1719. 18. St. Jean, Weissemburg. 1720. 19. St. Leonard's, near Oberenlieim, 1721. 20. Altenheim, near Otfenburg. 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. Ebersheimmunster, Lower Rhine. 1731. 110 THE HISTOKY OF THK ORGAN. 27. Koenigsbriik Abbey, Lower Rhine. 1732. 28. Hospital Church, Colraar. 1732. 29. Protestant Church, Colmar. 1733. 30. Rosheim. 1733. 42. Gottfried Silbermann. Gottfried Silbermann, brother of the preceding, was born at Fraueiistein, in lG8i. After remaining some years in the workshop of his brother, he Avent into France, where, we are informed, " he worked and resided many years*." He was the inventor of the " Clavecin d' amour," ajul one of the earliest makers of the pianoforte. He died in 1754, 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 Sil- bermann. Organs built by Gottfried Silbermann. 1. Freiberg Cathedral. 1714. 2. St. Pierre, Frieberg. 1720. 3. The Royal Church of the Evangelists, Dresden. 1720. 4. St. Sophia, Dresden. 1722. h. Church of Notre Dame, Dresden. 1736. G. Poenitz, near Altenburg. 1737. 7. The Royal Catholic Church, Dresden. 1754. 43. JoJiann 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 1712. He enjoyed considerable reputation as an organ -builder, and was beloved by his fellow citizens 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 distin- guished himself as a maker of musical instruments. * Burney 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. 21 . During the period that Gottfried Silbermann studied in France, the best builders were Charles Dallery and Francois 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. Mery, 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. Lazarre and St. Suzanne, at Paris. A descendant, Pierre Francois Dallery, was living as late as 1833. TlIK IllSTOIlY OK Tllh; OlUiAN. Ill Joliiiiiii Andreas Silbcrmaiiii buill iiHy-lbur orguiis, llio most, iinportiiiil oC wliich iiro : 1 . St. Tliomas, Strasburg. 2. The College of Colinar. 3. St. Etienne, Basle. k St. Theodore, Basle. 5. The Abbey of St. Blaizc in the Black l\)rest. 41'. Jo/iann Daniel Silbermmm. This builder, the last of the family whom wo shall ])articnlarizo, was the second son of Andreas. He was born in 1717, at Sfrasburg, and studied organ-building under his uncle Gottfried, at Dresden. Upon tlui death of the latter, in 1754, whilst constructing the noble organ of the Royal Catholic Church at Dresden (as we have before mentioned), he succeeded to his uncle's business. He died at Leipzig, in 17 (SO. 45. Cotemporaries and Successors of the Silbermanns. Tlie family just mentioned had many cotemporaries and successors, some few of which, if not equally eminent, are deserving of a notice in these pages. Zacharius Thessner built, in 1702, the great organ in the Cathe- dral of Merseberg : it had 68 registers, 5 manuals, and pedal. Adam Stcrzing 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 liis son Adam Horatius, built, in 1703, an organ for the Church of St. Peter and St. Paul at Goerlitz, in Upper Lusatia : it had 82 registers, 57 of which Avere whole stops. Henrich Herbst and his son built, in 1718, an organ at Halberstadt, with 74 registers, 3 maimals in front, 2 manuals at the sides, and pedal. Michael Engler of Silesia, who floiuished between 1688 and 1760, built many noble instruments; amojigst wliich Ave may instance those in the churches of Saint Salvator and Saint Elizabeth at Breslau. He was suc- ceeded by his son and graiidson, Theopliilus Benjamin, and Jean Theophilus. The latter floui-ished 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 flom-ished 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. 112 THE HISTOEY OF THE ORGAN. But the two best-known organ-builders of the latter half of the eighteenth century, are Johann Gabler of Uhn, and Christian Miiller of Amsterdam ; the former, by his glorious organ in the Benedictine Abbey of Weingarten j the latter, by the " world-famed" Haarlem Organ. THE ORGAN, A COMPEEHENSIVE TREATISE, BY EDWARD J. HOPKINS. ADDENDUM TO SUBSCRIPTION LIST. Baker, J. A. Esq. — Organist of St. Luke's Church, Biniiiiighum. Buckton, George, Esq. — Leeds. Church, George, Esq. — Organist of the Parish Church, Wyniondliani. Holdieh, Mr. G. M. — Organ -builder, 4, Judd Place East, King's Cross, New Road. Lydden, John, Esq. Lonsdale, Mr. C. — 2G, Old Bond Street. 2 copies. Meadowcroft, J. Esq. — 23, Wilton Street, Oxford Street, Manchester. ERRATUM. In the title of addition to Mr. Cooper's name, read F.U.A.S. (Fellow of the Royal Astronomical Society), instead of F.R.S.A. — viz. Cooper, Joseph Thomas, F.R.A.S. — Organist uf St. Paul's Church, Ishngton. THE ORGAN. PRELIMINARY OBSERVATIONS. The Organ, as it is usually met with in cathedrals and large churches, 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. These several departments are, in one sense, so many separate and distinct organs. This is the case so far, that each has 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 dift'erent claviers so arranged as to be under the control of one performer, they are thus made to assume the appearance of one vast and com- prehensive instrument The choir organ is occasionally enclosed in a separate case, placed in front of and below the chief one : as at St. Paul's Cathedral ; St. Sepulchre's, Snow Hill ; St. Lawrence, Jewry ; &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 facade. The several departments above named have, generally speaking, certain fixed situations allotted to them in the organ. For instance : The Great Organ is generally placed immediately behind tlie front pijies of the instrument (see///. 1) ; many of which "show pipes" form a portion of those belong- ing to that department. T//e 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 a foot wide, being left between the two, as a pathway for the convenience of tuning, &c. called the passage-hoard. The Swell Organ is placed above the choir organ, when the latter is nut situated in front { fg. 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. B riiEIJMINAUY OBSERVATIONS. The structural portions of an organ are classed into three great divisions ; namely, (l) the Tnacliine 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. DIVISION I. THE EXTERIOR OK THE ORGAN. CHAPTER I. THE 0R«1AN-CASE. Its nature and use, 1. ]\IosT organs are enclosed, at the back, sides, and front, and the materials of . „ , ■ r ^ i • ^ ii whicli it is formed. ^"^^^ 0' wood — a covering 01 the greatest service to the instrument, as it protects the mechanism and pipe-work from external injury, and renders the working of its movements, when in operation, less audible. The case, moreover, is of great utility 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. When 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 chajiel of Magdalen College, Oxford, is of stone. The^gcneral structure 2. The organ-case is usually divided into two stages, either the means of ingress. '^J impost or by a bold horizontal moulding; and, vertically, into numerous compartments, by pilasters or by buttresses. The compartments below the impost are usually filled in with panelling work all 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 otherv\ase 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. The general arrange- 4. The front pipes never succeed each other according to the pipes. sound they produce in the musical scale, like the keys, semi- tonally ; for, in that case, all the large ones would be on one side, and the small on the other, like the strings of a harp ; 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 compaiiments. The admixture of these large and small compartments constitutes one of the principal features in the design. B 2 OIIAI'TKR I. The various figures iu G. Next, the pipes occupying the large and small conipart- which the frout pipes , ^ a- \ j-ff * i A' are anauged. ments are arranged according to many dinerent plans, and m varied forms, with the view to gaining greater contrast and ele- gance in the appearance of the organ. 7. The chief of these diversified figures, 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. G.) Examples of this kind of pipe-arrangement occur in the graceful cases of the organs at Whitehall Chajiel ; ^ St, Clement's, Strand ; and indeed in most a qoooOoooo „ organs. ^^V.O^'^ ^ ^^V,0^ 9. Pipes standing in an angle are termed Pointed Towers {a a, fig. 7); spe- cimens of which may be seen at St. Sepulchre's, Snow Hill ; and at St. Nicholas's, Newcastle-on- Tyne. 10. Groups of pipes inclining inwards, semicircularly, are said to form Nirlips {b,fig. 8) ; of which an example occurs in the ^ centre of the case of Ihe organ at St. Philip's, Stepney. 11. A Breasted compartment is that of which the middle part is a little rounded forwards ; as shown at a, in fig. <). Ex- amples occupy the centre of the handsome ° o o n r^ ^ n o o o n "^^-c O O O organ cases at St. Mary's, Islington ; and ^ — ^=L^ — St. John's, Horsleydown. 12. If the pipes are placed curvilinearly, the compartment is' said to be of the Ogee^orm. (See fig. 10,) Of this kind of pipe-arrangement, o n o — "'^vP O 2^^"^ examples exist at St. Olave's, Southwark ; and at St, Helen's, Bishopsgate. 13. When the pipes are continued in a straight line, they are called Fiats. {See figures 11, 12, 13, 14 ; also b b,figs. 6 and 7.) 14. Some organ-cases have what are denominated Flat 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 arrangement of 15. The front pipes are generally planted in tonal succes- o-ard to^the'Toutid^ ^^^"^ ^""'If ' ^^^^^ ^^Y' those w^hich occur they produce. in the 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 TIIK OUUAN-CASK. 6 }iipes occupying those to the riglit, sounding either C sharp, D sharp, F, (J, A, or B. This iiltoniate distribution may readily be discovered l)y, first, drawing the open diapason, or whatever other stop may liave most of its pipes appearing " im [jros- jiect" (iis tiie Germans have it), and then slowly playing the chromatic scale'^ in its ascending form ; when the sounds will be observed to proceed first from the lefl, and then from the right hand side of the front. Occasionally, however, the order is reversed. 1 (>. As to the precise situation in the front where these alternate speaking pipes will be found, this depends on the design of the case. It will, however, generally be fiund that the 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 lefl res- pectively 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. 1 8. 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 ab-eady spoken of to contain three pipes each only), will probably appear in another com- partment ; 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 gi-eater 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 in fy. 11 : OOOOoooooOOOO at others, the small ones occupy the extreme positions right and lefl, and the large ones the centre {^fig. 12) : 12 OOOOOOOOOOOOO while occasionally they are disposed in a graduated series ; the largest being at one end, and the smallest at the other ; as in figs. 13 and 14 : 13 O O OO O Oo o o 0 oooo ncoooOOOOOOOO 14 G CHAPTER I. Of the decoration of 21. The surface of the front pipes of most Enghsh organs roil 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 Northamptonsliire, 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 occui'red 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. DIVISION II. THE WIND-COLLECTING PORTION OF THE ORGAN. CIIAPTKK H. THE BELLOWS. Their uso. 23. The use of the bellows is to collect and enclose a quantity of atmospheric air ; and, after compressing it, to propel it through the various wind- channels up to the pipes . These are, in fact, the lungs of the organ : without their aid, it would be but a voiceless machine. The different kinds of 24. There are two kinds of bellows to be met with in Sy^^met with^^which church organs ; namely, diagonal and horizontal bellows. Ot the oldest ; thcii- these two varieties, the diagonal is the older kind ; previous ca!^d!' to introduction of which, organ bellows were made very similar to those still used in smith's forges. But such primitive machines, from being made chiefly of leather, were liable to frequent injury from the friction to which their folds were unavoidably subject whenever they were worked ; and their constantly recurring unsoundness from this cause, gradually led to the adoption of a more durable material in their construction. Thus wood came to be used in lieu of leather for the folds (with leather for the hinges), which substitution rendered the bellows far less hable to destruction from attrition. Of this more sub- stantial kind of bellows, specimens are still occasionally to be seen in the small cabinet organs of Father Smith. In the church organs, however, of that celebrated artist, and also in those of his worthy competitor, Harris, only diagonal bellows — the kind represented in fig. 15 — were used. These bellows are said by some to have been first introduced by Lobinger, of Nuremberg, in 1570. According to other accounts, they were invented by Hennings, of Hildesheim, in the seventeenth cen- tury. At any rate, they were of German origin. 25. The diagonal bellows continued to be almost exclusively* employed in church 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 Enghsh organ-builders of the time, to present so many advantages over that previously used for church- work, that, * It will have heen seen, from one of the illustrations in the historical introduction, that a reservoir similar to the upper mcmher of a horizontal bellows was known in the time of Prae- torius, 1620; but, being made without a feeder, it was the same in principle as the old diagonal bellows ; i. c. it was inflated by raising the top. Although somewhat similar 1o the modern bellows in appearance, it was as different in the method of its working, as it was inferior in actual utility. 8 CHAPTER II. suuii after the commencement of tlie 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 be one of the latest instruments made with bellows of the single or diagonal kind. 2(i. 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 remain in greatest favour. 27. The names given to the two kinds of organ bellows sufficiently indicate the dis- tinctive principle upon which each operates. The diagonal — or, as it has sometimes 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 sta- tionai-y ; thus giving to the bellows a wedge-shaped appearance (as shown in the following engraving) when charged with air. 28. A horizontal bellows (^Jig. 16), on the contrary, preserves its level surface in all stages of its operation, whether it be wholly distended, quite empty, or at any inter- mediate point between the two extremes. Hence its distinctive appellation. l(i Pai'ticiilars concern- 29. Diagonal bellows are, as already mentioned, seldom, if ing the diagonal bel- 1 • 1 1 tvt • 1 ^-u lo^g ever, now made in lljngland. JN umerous specmiens, however, still exist in our old town and village church organs. Of such kind of bellows, two, at the least, are found in even 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 gi-adually raised, and therefore the weights on its surface exercise no compressing influence on the contained air, it follows that, for the time being, the wind within 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 charged, and oke versa. TIIIC UK I, LOWS. 9 Their iuimb(-i . Aiul whilo siiiiill and uioderate-sized organs have from 2 til () (liagoiiiil licllovvs, inaiiy kirgo instruments liiivc !!, 10, 12, or even us inimy as 14. Tluis tlie Morosburii; organ lias (i bellows ; that at Wisnuir, B ; the organs at Frank- tort and Haarlani, 12 each ; while that at St Sulpico, in Paris, had, until lately, l-t bellows. The organ in St. Paul's Cathedral had originally 4 large diagonal bellows, measuring 8 feet by 4. AiTjiugcmcHt. 31. The several diagonal bellows are usually placed in a row, side by side , sometimes outside the case ; or, when too numerous to be so disposed, they are often ranged in tieo rows, one over the other. In the latter case, the upper row of bellows is generally fui-nished with ropes, by means of which the same blower is enabled to work both rows. The bellows of the organ at the church of St. Ouen, at Rouen (12 in number), are thus situated and worked. The blower depresses the handles of the lower row of bellows as he leisurely walks across the platform behind the organ from one side to the other, and draws down the ropes of the upper row as he returns. 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 he 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. 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 shootuig forth from it and traversing the organ in all necessary direc- tions. Such are the general arrangements for collecting and compressing, for receiv- ing and distributing, the organ-wind. To an enumeration of these, may be added the follovnng details. Method of operation. 33. Diagonal bellows are blown by pressure upon the near end of the governing handle or treadle (a, fig. 16). On this descending, the other end ( 6 ) ascends, raising with it the moveable end of the top of the bellows (c). 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 ) now exercise their influence, by pressing heavily on the top of the bellows (00); and the top of the bellows, by descending, in its turn, forcibly on the enclosed wind, compresses it and so prepai'es it for use ; in which state it rushes towards the chief wind-receiver. As the air in the bellows 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 ai"e exhausted. The wind from the several bellows does not enter the receiver at the same time ; but that fi'om one bellows is first consumed, and then the supply is con- tinued 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 fi-om the several bellows is brought under regulation by means of valves or traps, one between each bellows and the chief 10 CHAPTER 11. 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 ex- hausted, 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 pedcd, the remaining 4 sup- plying 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 1, 2, or 3, according to circumstances. Their original de- 3,5. The diagonal bellows, in their early form, were open to the grave objection of not producing a wind of uniform intensity during the sinking ; but a comparatively light one when fully distended, and a gra- dually increasing one as they 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 0, fig. 15, ^vAb,fig. 17) raised to its greatest height; the side and end ribs (^c c, c c, fig. 17) 1 7 taking as nearly a perpendicular position as a regard to the sta- 1 ) ^ bility of the beUows would allow, and having their middle joints f)>(? '^Xo 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 in fig. 18. As the contents therefore of the bel- lows were gradually exhausted, not only was the height of the space within the bellows lessened, ^ hut also the length and breadth. The wind \vithin, consequently, was not simply influenced by the calculated pressure of the surface-weights, but also by the compressing power of the inward folding ribs, which, pressing forward, wedge -fashion, into the confined air, gave it more force. 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 * Diagonal bellows were originally fixed with the umkr-hoard ( .r x x, fi/. 15 ) in a perfectly horizontal position. TlIK UKI.LOWS. u approached the horizontal hiu' ; 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 tiicir nature as tliey were successful in their effect. How remedied. 38. Instead of the bellows being fixed with the under-board (a; a; x,fig. 16) perfectly level, as heretofore, they were now placed with the sjiread- ing end somewhat below the other end ; as illustrated in fi(j. 1 5 ; so that, when ex- panded, the top (00), 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 there- fore 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. To counteract the greater influence which the inward folding ribs still exercised, a long wooden spring was applied, which operated during the earher 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 box-wood (fig. y^,fff) was laid under the bellows, and fastened down at one end {fc), the other having a rope attached {g), communicating with the wooden rod ( ^ ) that hfts the top of the bellows. On raising the top-board, the rope and free-end of the box-wood spring were dravra 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 sHghtly ; but as they gradually did so more acutely, giving to the wind more strength, the elastic power of the spring gradually became less, and finally became powerless. 40. Thus was a uniform strength of vdnd secured throughout the sinking of the diagonal bellows. The horizontal bcl- 41. The hope of securing an equal and satisfactory supply of wind from bellows of the diagonal species, does not seem to have been confidently entertained in England ; for, while Continental organ -builders were engaged in effecting the several improvements just enumerated, with that view, an Englishman, Samuel Green, was seeking to attain the same end by the intro- duction of a bellows of an entirely different construction. The date of the first intro- duction of the horizontal bellows is not positively knowTi ; but it would appear to be between the years 1785 and 1790. The beautiful httle organs erected in St. Thomas's Church, Ardwick, Manchester, in 1787, and in St. Peter's Church, Stockport, in Cheshire, in 1788, by Green, were both originally furnished with horizontal hd\o\yB. On the other hand, the organ in Lichfield Cathedral, by the same admirable builder, which was erected a year later, i. e. in 1789, originally had diagonal he][o\\%, 3 in number, and which were replaced by new ones of the horizontal species, by Messrs. Kirtland aiid Jardine, of IManchester, in 1849. The one main fact, at any rate, is 12 CHAPTER II. certain, as well as satisfactory — namely, that this great improvement in the art of organ-building is of English origin. 42. A horizontal bellows (see jig. IG) 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 (a^x) is called the reserroir, 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 im- portant 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 tins 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 bel- lows 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. Their structural fea- 44. On 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,fi.gs. 16 and 23, also figs. 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 boai-ds called ribs. (See ////', in fi'gs. 16 and 23 ; also figs. 24, 25, and 26.) 45. The fop- board is usually made of pine, an inch or more in 19 thickness ; and, in small bellows, consists simply of a plain, substan- tial board, ledgered near to each end, as shown in fig. 1 0. The top- board for larger bellows is frequently composed of a stout frame, divided crossways and lengthways by rails, resembling the stiles, kc. of a common door (fi'g. 20) ; with the interstices filled in, or in some instances covered in, with thick wooden panels. 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. 46. The middle-board (fig. 21) is made of rather larger 20 dimensions than 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 m fig. 34. 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 I oards (e e e e, fig. 21), some four or five inches broad, and set up edgeways ( 9'.fi9- 16), called the trunk-band, or lining, which "band" permits the various wind-trunks to be joined to the bellows at ang part most convenient to fix them. See 0 and v. Jig. 23. In some bellows, pieces of wood, of the same height as the band. TIIK, UKI.f.dWS. 13 and tlu! same icidlli as tlic rilis, an; [ilaced inside tlie l)and, and at rigiit angles to it, wliiuh, with the band itsult', furni a firm resting place for the ribs. Besides this, ;} or 4 })Osts are inserted down the centre of the middle-board, of the same height as the trnnk-band, with the thickness of the ribs, (fee, added, which bear up the top-board and weights. Or, in very Imiff 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 b;uid, 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 he the several " valves ' or " suckers," marked /■/■ /'in the adjoining figure. Sometimes the middle- board, like the top, has moveable panels, to facilitate the repairing or cleaning of the valves in the bottom-board, when required. 47. The holtom-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 exemphfied in fy. K!. 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 ; tliis oflen depending on the kind of feeder by which the reser- voir is fed. 2.'} 2 2 48. The ribs are the variously shaped pieces 24 of wood that form, chiefly, the folds of the bellows. They measure about 3-8ths or half an inch in thickness, or perhaps rather more when the ribs are broad or very long. 49. Two general forms of rib are made use 25 of — the ]parallel and the triangular. The former kind, represented in figures 24 and 25, is em- ployed in the formation of the reservoir of the bellows, and the spreading end of the feeder {fig. 17) ; the latter ( fig. 20), for the sides of the feeder. Those constituting the sides and ends of the reservoir are nar- 14 CHAPTER II. row 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 circumstances. 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 rihs (2.^) 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-rihs and end-ribs, in reference to the position which they occupy. 51. The triangular-shaped ribs are made broadest at the end where the feeder opens widest ( o, fig. 20 ; also a, fig. 16, and ^(7. 26 23); from whence they gradually diminish in width towards the other end, finishing off in a In the formation of the reservoir of a ho- pomt. rizontal 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. 10 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 ' 27 the valves.) The valves are usually hinged on at one end ( i ) to the " board," the other end and both sides being left quite free to rise and fall. The end forming the hinge con- sists 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 aifff, in fig. 2 1 , and at w w, in ^g. 23, and filled in with a metal or wooden grating ; or they consist of clusters of circular holes ; as shown at //, in Jig. 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 compressed 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 pur- pose 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, 28 THE BELLOWS. 16 and supports the entire bellows. Ik-low iiangs the feeder, and above rests the reser- voir. Till" bottom and middle-boards arc turnished with perforations or gratings, with leather valves lying over the upper sides ; the use of which will be the most cleai'ly understood from an explanation of the maimer in which a horizontal bellows is worked. The working of the 5G. As the free end (^g,fig. 23 ) of the feeder descends, the and'thc 'room°lv"irid^ external air throws back the valves ( to 10 ) in the bottom-board, the compressed air and rushes tlirough the gratings filling the cavity of the makes for itself be- ^ , n i • i ii i j j • xi i- t ween the plates and tender; alter which the vaives descend agam over the gratings folds of the reservoir, 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 above — that is, against the underside of the middle-board (d). The exercise of this force throws back the valves (ss) that lie over the apertures in the middle-board— the valves not being intended to resist the pressure of the wind in this direction, but only doicnicards, — and the wind having thus cleared a way for itself, passes from the feeder into the reservoir. The valves of the middle- board (ss) 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 top-board (c) rises, and the folds (////) extend so as to form a sufficiently capacious receptacle for it. 58. While the several processes just detailed are going on, some of the wind is, under the pressure of the surface weights ( ^ constantly flowing through the various exits or wind-trunk holes ( 0 and v ) into wooden tubes ( // ) or wind-trunks, and thence to the several depai'tments of the organ supplied by that bellows ; the top-board of the bellows descending and the folds collapsing as the quantity of the wind in the reservoir is reduced, and rising again and the sides expanding as more wind is supplied. In figs. IG, 23, 34, and also in the general section, the reservoir is represented as being fully distended or charged with wind ; and in fig. 32 it is shown in a collapsed or resting state. 29 59. 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 forcmg air upwai'ds, while the latter press the top-board downwards. 60. To give them the power of resisting the outward pressure of the contained iiir, arismg from 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 Jig. 29) is inserted between the two series of ribs. (31. This middle-frame holds the ribs so firmly in their proper positions, that there is no liability of the folds bulging from the force above alluded to. CHAl'TKU II. The constniotion of (;2. The several ))arts ol' the reservoir ah-eady described are worked together in the following manner. The rihs are first assorted into pairs ; the j)roper sides of each couple being brought close together. A long strip of white-dressed leather is then glued over the contiguous edges ; 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. 68. All the other couples of the ribs are then firmly united together in like manner. 04. The lower edge of the under series of ribs is then 30 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- fi"ame ; 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, and marked aaaa, in Jig. 30, are then closed with leather, which form what are technically called the gussets. The adjoining figure (No. 30) is a plan of the folds of the reservoir. The construction the feeder. of (55. The folds and boards of the feeder are joined together in much the same man- ner, 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 working 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 (cc, Jig. SI), and about equal in thickness to the folds when they are closed against the middle-board, admits of the feeder being dravm 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 m with leather cortier-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. 6G. The apparatus by which the feeder of the bellows is put in motion, is called the blowing -artion, 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 fi-om the hanging end of the feeder, called the big. The lower end of the pump-rod (a, Jig. 34) is placed between the two prongs of the lug ( 10 ) and secured by an iron bolt ( ) ; 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 (^aa), which then communicate with a large lever (oo), THH 1!KI,L0WS. 17 from which latter a rod ( r ) communicates with the bellows-handle ( r/). (See fig. sr..) (i7. 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 consumed, which will at times be ra[)id, 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-case near to the bellows-handle, and then fastened to the top-board. As the reservoir fills and the top rises, the weight descends ; as its contents are exhausted and the top descends, 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. An early defoct, and (58. The hoi'izontal bellows was not always the efficient its K.mcdy. machine we now see it. Like its predecessor, it had at first many defects, which only subsequent improvements have removed. For instance, the two pairs of ribs with which the reservoir is furnished at the sides and ends, originally folded the same vsay, that is, inwards. The consequence was, a tendency to an inequality in the strength of the wind ; one of the main causes being the same in this case as in that of the diagonal bellows, namely, the compressing influence of the inward-folding ribs. This fault, so fatal to the steady articulation of the pipes, led to the action of the uj)per series of ribs being reversed, by making which fold outwards while the lower continued to do so inwards ; the former gave more space to the wind as they closed, just in proportion as the latter gave less. Thus any dis- advantageous influence exercised by the one set was neutralised by the action of the other. These circumstances led to the upper series being called " inverted" or " compensating" ribs. This important improvement was effected by Cummins, a clock- maker by trade, who, however, did but little with its discovery ; and the merit of introducing it more publicly, and in proportion to its merits, is due to the late Mr. Flight. The counter-balances. 69. One condition, however, necessary towards securing the corrective influence of the direct and inverted ribs, was, that both sets 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 (//), 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, served the additional 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 ribs is far less than in small ones, as the width of the ribs is by no means increased in propor- g 18 CIIAITEI! II. tioii to tlie siipeiiiiMul iiieasurcinciil of tlic bellows. The ribs, therefore, of large bellows are narrower in jiroportion than in small ones, and their influence con- sequently less i)erceptible. The waste-pallet. 70. Another cause of inequality in the wind first existed. The consumption of wind would, under certain circumstances, be very slow and gra- dual ; the rate of the fresh supply from the feeder being then, most probably, much greater tlian that of the outf^o^^^ng. This additional wind, accumulating iir the reser- voir, 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 tliat 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-tension, and the leather hinges liable to be strained or even rent by the violence. To obviate such evils, a clever contrivance, called the u-a.ste- 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 con- tact with some wood-work. If more wind were now passed into the reservoir — the retention of which would involve a farther distension of the reservoir, and con- sequently a farther rising of the top-board, — the tail of the pallet struck against this wood work ; the other end was hfted up, the vent uncovered, and the extra wind thus allowed to escape. A spring, placed either above the 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 th(i underside of the opening, as shown in fig. 23, z, also at a and d in jigs. 19 and 20, and there hinged on at one end to the top-board. It was, therefore, changed in plan fi-om the key to the valve kind. The waste-pallet was now worked by a piece of rope { fig. 23, k k k) 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 ( c ) to rise to the desired height, without checking the pallet, and no farther. If any more vnnd were now attempted to be introduced, the top-board would, indeed, rise somewhat higher, but the pallet would be held stationaiy by a rope, now stretched at full length ; and the vent consequently 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 that 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 tlie 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 discharged into the other. THE llEM-OWS. 10 7.'3. But wiiatcver may be its situation, the waste-pallet is always introduced to servo the same end, in regard to the reservoir of a liellows, tiiat 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 imj)rovements for equalising the wind made in the horizontal bellows up to within the last tiiirty years. Tlio unstcaclines of 75. There were other ways, however, in which the strength ill'"- "'from" iinsldl'ful ^^^^ organ-wind might be disturbed, besides those arising from blowing, or from ir- the irregular compression of the weights and ribs of the reser- regular consumption. . , , . , , , ^, r ,1 t • • ^ voir, and ways wlucli were beyond the power 01 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. 7G. Whether the modifications made on the original kind of feeder were intro- duced partly with the object of lessening this evil, does not clearly appear. At any rate, as some bellows have one description of feeder, and others another, it will be necessary to give a brief notice of the several kinds in common use. 77. The feeder, as originally made (see Ji^s. 16 and 23), gave its entire and copious supply of wind all at once with the single down-stroke of the handle. This supply was afterwards divided, and transmitted 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 si?2<^k feeder, was hung about midway between the two ends to a cross-board running transversely beneath the middle-board (see ee,fig. 82, which presents a side view of a bellows with a cuckoo feeder). Each half was provided with two end-ribs .-^.^ and four side-ribs, the latter with their points (0000, fig. 33) towards the cross-board. These several parts were fastened to- gether 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 to fig. 32, the two feeders will be distinctly traced. 78. A cuckoo feeder gives a supply of wind with the up- stroke 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. c 2 20 CHAPTER II. 79. In some cuckoo feeders, the under-lining {a a, fig. 32) is transferred from the under-side of the iniddle-board to tlie upper side of tlie bottom-board, and reversed, as shown at a a, in fg, 34. This lias 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-hning does not weaken the middle-board, which is amply strengthened by the trunk-band and the inside bracings. 34 80. 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 serve for the two. Feeders of this class are not simply " separate" feeders, as in the cuckoo, but are also "independent" feeders (e f, fig. 35), like those of the single species. 85 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. The several kinds of feeder, however, have all a tendency to excite an occasional unsteadiness in the supply of wind, if operated upon by an unskilful blower. 81. But there were discovered other causes of unsteadiness in the wind. 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 would in con- sequence 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 fjower. TIIK IIKI.I.OWS. 21 82. The agitation in the second case arose from the wind continuing to flow in the same ra}iid and copious manner int(» the wind-chest for an instant after the fjreat demand tor it had ceased. Tlie wind tiicre, meeting with a checic, accunudated, causing an over-compression ; and, by its thus acquiring greater force for the mo- ment, brougiit about the delect tlie other way. 83. Some ap[)aratus, therell)rc, 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 apjjaratus Mr. Bishop devised, whose invention is now so generally known as the concussion-bellows. The concussion bellows. 84. This apparatus for steadying the wind is usually formed 30 of a board and six ribs (see Jiff. 3(j), 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 reser- voir (see Jiff. 8G), which is fixed around and over a hole cut through one side of the wind-trunk ( « ), or sometimes through the bottom of the wind-chest, with a metal spring behind (6), the strength of which is so adjusted as pre- cisely to balance the ordinary pressure of the compressed wind. When the bellows are blown, the concussion-bel- lows 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 circum- stances would cause a momentary over-compression of the wind, — the concussion-spring gives way, and the con- cussion-bellows opens further. More room l)eing 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 halfway 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 not give to the wind unassistedly ; hence slabs of iron or large lumps of stone are placed on the top of the bellows to comi)ress the wind. Stones are, however, very imfitted for the purpose ; for, in damp weather, they absorb a great deal of moisture 22 CHAPTER II. and ffain weight ; and in //ot weather, the moisture again dries 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 httle machine, called the anemometer, or wind-gauge ; and the |)rocess is termed " weighing the wind." 89. The anemometer consists of a glass tube, bent in the manner represented in fig. 37, having the lower end (,fg. 63)^ having one arm (« ) over the controlling pedal (e), and fl I a second (/) directly under the key to be communicated " with (c). The action of the pedal having thus been brought into a line under the key, a backfall ( o,fig. 0-1) occurs running underneath and parallel thereto. From ^ each of these, a sticker (a) reaches thence to the under CA side of the manual key (c c), to be acted „ c upon ; a pin in the lower end ( e ) of each sticker, descending through the end of the backfall, to render the former in one sense a fixture, the upper end being left free to be moved forward or baclavard as occasion may require. The stickers pass through a register {b), which, among ether purposes, serves as a support thereto. When the manual is to be coupled to the pedals, the register is drawn forward a httle, the upper end of the stickers being thus brought immediately under the tails of the manual keys. They are represented as being thus situated in the last illustration. When the pedal coupling action is in operation, the two trackers, the roller arms, and the near end of the backfall, all descend when a pedal is depressed, the far end of the backfall ( e ) rising, hfting with it the sticker ( a ), which in its turn raises the tail of the manual key (c), and this, setting the key-movement in motion, produces the same effect as pressing the key down with the finger would do. When the union of the " manual to pedal" is no longer required, the handle is pushed in, which moves the register back again, the upper end of the stickers being by this guided in the same direction till they get just beyond the key-tails. The stickers now appear in a slanting position, as shown by the dotted Unes in fig. 64, and miss the keys. Sometimes there are 2 or even 3 couplers for uniting the different manuals to the pedals in the same pitch; as " great to pedal," " choii" to pedal," and " swell to pedal;" in which case there are as many sets of these stickers rising firom the backfalls, each communicating with a particular manual. 238. Thus much concerning the mechanism by which the manuals are coupled to the pedal. With regard to the pitch in which this union is effected, great dissimi- larity unfortunately prevails in England. In some organs, the key acted upon by any given pedal will be identical with the one that the finger would have touched ; i.e. cor- responding with the bass note written and sounding in unison with the bass voice. 6G CIIAl'TER XI. This is always the case with manual organs of the C C compass. In such cases, the manual unison stups are said to give the B-feet (their legitimate) pitch. In G G, F F F, and C C C organs, however, the pedal couplers more often attach the manuals in the octave helow to the pedal, that is, in the 10-feet pitch. This want of sys- tematic arrangement arises from there being no recognized compass as the invariable one for the manuals of Enghsh organs. Some organs of lom/ manual compass have pedal couplers acting in the 8 and 16 feet pitch on the great manual ; as in that at Westminster Abbey, built by Mr. Hill. 289. In the organ in Trinity College Chapel, Cambridge, is a coupler, called the Canto Fermo coupler, that unites the treble of the choir organ from middle c' upwards to the pedal, to the extent of two octaves and a third. This causes the 8- feet stops of that manual organ to produce the effect of so many 2 -feet pedal stops. Other organs have a coupler for uniting the tenor c of the swell to the C C C of the pedal, as in the instrument at the Irvingite Church in Gordon Square, built by Davison, which obtains, from the unison stops of the forementioned department, a sound resembling that of so many 4-feet pedal stops. 240. Besides couplers for uniting the manuals to the pedals in various ways, others are occasionally met with which attach one octave of the pedal orffan to the other. One kind (octave coupler) brings the C C pipe on to the C C C pedal, the effect being similar to that of the addition of an 8-feet principal to the 16-feet open diapason. A second kind (doubler coupler) brings the C C C pipe on to the C C pedal ; thus giving the effect of a 32-feet stop on the pedals from thence upwards. Both kinds were added by Walker to the organ in Tonbridge church. CHAPTER XII. THE PNEUMATIC ACTION. 241. It has already been shown that every sound-board pallet is provided with a spring beneath, to ensure the return of the key-movement on the withdrawal of the pressure from the key; and it has also been mentioned that the compressed air in the wind-chest becomes a second source of resistance to the touch of the performer. This latter fact is discernible, even in small organs, of which the sound-boards are palleted in the ordinary way, by striking a chord in the bass part of the manual, first without the bellows being blovm, then with the " wind in," when the additional resistance which the organ -wind causes will be at once perceived. In larger organs which have pallets of increased size throughout the sound-boai'ds, with two pallets in the bass, the amount of spring and wind resistance is of course much increased, particularly where there are also octave and double couplers, causing perhaps six or seven pallets to operate upon one key. But in instruments of the first magnitude, containing, as they now usually do, some stops on a heavy pressure of wind, the resistance becomes too great for even the most muscular finger to control without experiencing much fatigue. In such cases, it being beyond the power of the several devices detailed in Chapter V to remove the disagreeable stiffness fi-om the touch, or perhaps none of them may be adopted, some contrivance is required that shall boldly overpower the resistance. The pneumatic lever performs this necessary duty most efficiently ; and, in doing this, ingeniously converts that which would otherwise be the organist's antagonist, into his assistant. 242. The first idea of a pneumatic lever originated with the late Mr. Booth, organ -builder, of Wakefield ; but his appliance, made in 1823, was not intended for key-movements. The merit of discovering the pneumatic lever, as a means for lightening the touch of large instruments, is claimed by, and rests between, Mr. David Hamilton, of Edinburgh, and Mr. Barker, a native of Bath, but now a resident of Paris. Mr. Hamilton added a movement of the kind to the Organ in St. John's Episcopal church in that city, in 1835. At vihsX earlier period he had completed his model is not stated ; but, in 1839, a paper was read at a meeting of the British Association at Birmingham, explanatory of a pneumatic lever which he then exhi- bited. Mr. Barker's first attempts were made with a cylinder and piston, which were afterwards abandoned in favor of a small bellows. " In the first instance, he 58 CHAPTER XII. endeavoured to introduce his apparatus in England, about 1032. Experience, how- ever, in large organs, was then wanting in this country, and his endeavours were unsuccessful ; he therefore went to France, where the subject was better known, and where the value of the new principle was at once appreciated. It was introduced immediately, in the great organ, building at St. Denis (l»4l), and has since been applied to a considerable number of large instruments in the principal churches of France* ;" as, for instance, at the Madeleine, St. Vincent de Paul, &c. The pneumatic action shown at large. 243. The pneumatic lever, as made by different organ-builders, varies slightly in detail ; but the following is the plan and principle of all. The upper member of the lever is formed very Uke a small concussion valve (see a, fig. 65 and 66) ; the former of which shows the lever closed, the other open. Beneath the lever are two little chambers (marked c c and dd), between which passes a third ( e e e ). Below again is a kind of backfall {(> o) which controls two circular pallets {b in such a manner that when one is open, the other is shut. Lastly, to the rising end of the lever a small lug ( m ) is attached, which draws up a tracker ( t ) that sets the several key-movements in motion. 244. On pressing down a key on any one of the manuals, the movement draws down the near end of the backfall ( o o ), causing the far end to rise, which motion places the circular pallets ( 5 5 ) in the positions shown in fig. 66. Some of the wind from the chamber ( c c ) now passes downwards through the uncovered pallet-hole, traverses the passage (e e e ), raising and filhng the pneumatic lever (a), which draws up the tracker ( / ), communicating the impulse to all the sound-board pallets that may be attached to the controUing key. The circular pallet in the second chamber (^dd) at the same time closes and prevents the escape of any wind. * Pole, on the Musical Instruments, &e. p. 77. THE PNEIIMATir ACTION. 5!> 246. When the finger is witlidrawn from tlie key, the position of the backfall, and conaequently of the circular jiallcts, is reversed, as shown in Ji//. (i5. The supply of air from the wind-chamber is now cut off by the descent of the pallet. At the same time the second pallet in the chamber (dd)'\a raised, allowing the wind to descend through the pallet-hole ( ), escaping through the opening ( ^ ) into the atmosphere. The contents of the lever being thus exhausted, it returns to its state of rest, as shown at Jiff. 65; the rapidity of the change being accelerated by the spring (y). In con- sequence of the vvidtli of the pneumatic levers, about three inches, only every //tk lever is placed in the same row ; hence the pneumatic action always appears in five tiers, as shown in the " general section." 240. The pneumatic action, which effects such remarkable results as those already detailed, is not entirely unattended with disadvantages. In many of the specimens made by the best builders, Continental as well as Enghsh, the working of the levers is as audible as the motion of the rattling key-movements of old organs. This arises partly from the nature of the action itself, which, to be effectual, must necessarily also be very energetic. Nevertheless, the defect alluded to will, no doubt, be speedily ameliorated, if not entirely removed, under the exercise of the ingenuity possessed by so many of the Enghsh builders. I CHAPTER XIII. THK DRAW-STOP ACTION. 247. The several longitudinal series of pipes on the various sound-boards have already been explained to be governed by sUders, which either permit the wind to enter the pipes or not, as circumstances may require. The sliders that exercise tliis power, however, like the sound-board pallet, are always situated beyond the reach of the performer, and sometimes at a very long distance from or even behind him ; hence a special system of mechanism becomes necessary to bring them under his perfect control. The mechanism introduced for this purpose is called the " draw- stop action," of which there are, as with all the systems of mechanism in an organ, many varieties, designed to meet the exigencies of particular cases. 248. The first kind proposed to be noticed, is that which may be described as the Wooden-trundle Draw-stop Action. The wooden-trundle 249. 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 fi-ont pipes — the usual position occupied by the great organ sound-board. The situation of the sUder-ends, then, as compared vnth 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. Jig. G7) which traverses the organ inwards; the trundle {f> which conveys the motion round an angle, the trace (c), which continues the mo- tion at right angles with the draw-stop rod ; and the lever (d) which conveys it upwards. 67 THE DRAW-STOP ACTION. CI A (lc;8crii)tioii oC Ha 250. T//e i/rair-s(o/i rixla usually iiieasuro about an inch several parts. c li j i i- ^ square across, tor they arc maue rouiut or S(iuarc according to fancy, and from 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 spliced 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 liandle and attendant parts. The faiiher 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 bo 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. 251. T/ie wooden-trundles are made of good thickness, to prevent their springing ; which casualty, were it to occur, would prevent the perfect drawing or closing of the sUder. Each trundle is furnished with a stout pin at both ends, which passes into fi-ame-work above and below, and which form pivots for it to revolve upon. The arms {g h) 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 {c/ ) is placed as nearly as possible in a line with the draw-stop rod ( a ) that is to act upon it, and which may be high or low in the row wherein it appears ; while the second ( ) is placed in a line with the lower end of the lever (of). 252. 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. 263. The traces are rods of deal, reaching fi-om 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 (o), horizontally to receive the second trundle-arm; at the other (i), 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. 254. The levers are generally constructed of some hard wood, as oak, beech, &c. ; 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 motise in the trace ; while the upper is made alto- gether smaller, that it may pass into a hole prepared for its reception in the pro- jecting end of the slider. How the draw-stop 255. When the organ is about to be used, the inscriptions ac ion operates. ^^^^^ ^^j^^ stop-handles, or sometimes over or at the side of them, are referred to, and the handle bearing the desired name is drawn forvard. The rod brings with it, in the same direction, the first arm of the trundle {g,fy. 67), and the trundle itself ( 5 ) partly revolving, causes the second arm ( J ) to swerve round and di-aw the trace ( c ) in the direction from the side towards the middle of 62 CHAPTER XIII. the organ. Tills latter having the lower end of the leaver ( i ) fastened to it, draws that with it inicards ; the upper end (p) in consequence taking an out vard motion, and moving the shder 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. 256. In the draw-stop action for small organs, wooden trundles are not usually employed, but iron squares are more frequently used. The iron-trundle 257. In the second or iron-trundle draw-stop action, diaw-stop action. trundle and the arms are formed of wrought 68 iron. The trundle itself (a a) stands at the edge of the sound-board ( 6 J i ), instead of underneath 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 ( ^ ), where it is finished off with a small bolt (^), that passes through the shder (A), and acts upon it. 258. When a sound-board is remotely situated, its draw-stop action is modi- fied, 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. 259. The draw-stop action of the organ at the Panopticon is constructed on a principle entirely new to this country ; the sliders being put in motion by small bellows. CHAPTER XIV. THE SUIFTINO MOVEMENT, AND THE COMPOSITION PEDALS. The shifting move- 260. THERE axe other means by which the sliders of the sound-board of an organ are brought under the control of the performer, besides those just described. 261. As early as Snetzler's time, if not before, means were devised for bringing some of the sUders of the great organ sound-board* under the power of the feet of the performer; the object being to enable the organist to shut oif the " chorus stops" without having to remove one or perhaps both of his hands from the manual. The contrivance alluded to was called a " shifting movement," and was put into operation by means of a pedal. On the depression of the pedal, the shders governing the par- ticular stops (usually all the flue stops of smaller size than the principal, and also the reed stops) were drawn in ; and there they remained so long as the pedal continued down, which was kept in that position either by the foot, or by being hitched into a cutting in the case on one side of the pedal. On raising the foot, or releasing the pedal, as the case might be, the sliders were, by means of strong springs, restored to their former position. A great defect in the shifting movement, however, was, that in addition to the power necessary to set the machinery in motion, the resistance of the springs had to be overcome before the pedal would act, and this rendered its frequent use a matter of toil and some difficulty. Besides this, only one change in the combination of stops could be effected. The composition 262. 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 re- adjustment. The merit of this invention appears to be due to Mr. Bishop ; though a claim to something of the same kind was made also by the late Mr. Flight. 2C3. Of composition pedals there are two kinds, the " single action" and the " double action." The single-action 264. A single-action composition pedal operates in one way composition pedal. , , • ■ , ... , only ; that is, it either draws out or thrusts in a given number of shders, but docs not do both. 64 CHAPTER XIV. 2(55. For example, one composition-pedal of this kind will simply draw out stops, say Nos. 1, 2, and 3*; a second, stops Nos. 4, S, and 6, and so on. But the first pedal will not draic in all the stops, except. Nos. 1, 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. The double-action 266. A double-action composition pedal performs both Lomposition pedal. Qf}\(.gg_ It yyju 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 been previously prepared, composed partly of stops below and partly above the num- ber acted upon by a certain pedal — as, for instance, Nos. 1, 2, 5, and 6 — on pressing down the composition pedal that throws out stops Nos. 1 to 3, the stop No. 3 will be added to Nos. 1 and 2, and Nos. 5 and 6 will be drawn in. 267. The full operation of the " double action" can be interestingly brought under observation in the following manner. If the mixtures and reeds 07ilt/ 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. 268. 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. 269. 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. 270. The second one will therefore draw the sliders up to, say No. 6, if fewer are out ; or it will draw iii 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. Occa- sionally, indeed, the trumpet is not thus drawn, but is left to be added by the hand. The composition 271. Of the composition pedal action there are many va. pedal action. rieties ; almost every organ-builder having some plan which differs, either in principle altogether, or ui some matter of detail, from that adopted by all the others. The kind of action repre- qq sented in the following engraving, how- ever, has been very generally used. It consists of two iron rods, or " composition irons," disposed horizontally (a a b, fig. 69), furnished with vertical iron arms (c c e Qmg thereby raised slightly ; the tremulant ( c c c ) immediately follows the pallet ( d ), by reason 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 communicated to the bar ( A ). 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. THE TREMULANT. 71 1 d d 0 I a I G 1 a 300. The tremulant is here described in connection with tlie 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. 801. The tremulant effect in an organ is of older date than the tremulando and vibrato effects in instrumental and vocal performance. Tliis fact may be gathered from the following passage taken from Grassineau's Musical Dictionary, ed. 1740, p. 289. 302. " Tremolo, Tremolcmte, or Tremente, 'tis not often used, except thus abbreviated — Trem. or tr. ; 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 shakiny on the organ. Tho' this is often placed in the vocal parts of a song. We have examples of both in Mr. Lully's opera of Isis." ^ DIVISION V. THE SOUND-PRODUCING PORTIONS OF THE ORGAN. CHAPTER XVII. THE MATERIALS USED FOR ORGAN-PIPES. 303. 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 tone of the organ is more immediately produced. 304. The sound of an organ emanates from an assemblage of pipes, which ai'e 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. 306. The various substances of which organ pipes are made, are tin; metal; lead ; antimony metal ; zinc ; and wood of various kinds. Tin. 30G. 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 conti- nental artists, by the latter of whom it still continues to be used in hberal quantities. Thus we find English tin mentioned as being used for a greater or less number of stops in the specifications numbered 11, 44, 45, 46, 48, 64, 56, 84, &c. in the accounts of foreign organs contained in the appendix to this book ; while in other cases — Nos. 26, 34, 41, 42, 63, 66, and 74, for example, — other kinds of tin are named, as Prussian tin, probe tin, or simply " tin." 307. 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 the last ten years : 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 TIIK MATEUIALS USED FOR ORUAN- I'l I'ES. 73 tlie Glasgow Town Hall organ (erected in 1053) ; and by Mr. Walker, for the Open Diaptuson and Dulciana in the organ at Holy Trinity Churcli,Vauxhall Bridge, finished in the year 1062. ;?oe. 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 and supports them (the upper-boards and rack- 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 atmos})here, 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 fumes 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 (Foreign Specifications, No. 1), only one is of wood, namely, the pedal Sub-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. 309. 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. 310. Tin does not soon become tarnished; hence its peculiar appropriateness for ungilded " fi'ont 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. 311. The lighter specific gravity of tin, again — fuUy one-third less than that of lead — is in its favor ; a given quantity of the former going much farther than an equal weight of the latter. This is supposing the pipes to be made fi-om sheets of the same thickness ; but as this is but seldom the case — the 16-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 particularly the baneful " low-contract" spirit which unfortunately pervades most modern transactions 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 fi-equently added, which renders the substance less susceptible of heat. According to a late experiment, tin fuses at 442°, whereas lead requires G12° of Fahrenheit's thermometer. Cavaille Coll, the eminent organ-builder of Paris, generally proportions 1-1 0th of lead to 9-lOths of tin; and Schuize, one of 74 CHAPTER XVII. the most excellent builders in Germany, uses l-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 form the hardest compound, when the proportions are l-4th of lead to 3-4ths of tin. 312. 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 l-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 are 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 hght intonation. Thus the Gambas, Salicets, &c. in Germany, and the choir Open Diapason and Dulciana of English organs, are not unfrequently made of " pure tin." 313. The original 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 'Dill (that of water = 1) ; and its composition is as follows : Tin 76-0504 per cent. Lead .... 21-9017 Copper.... -6183 „ 99-3704 314. 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| lothig metal," that is, one pound (— 16 loth) of the metal contains 12^ loth of tin, or 12^ oz. of tin to 3 1 oz. of lead. The proportions of tin and lead, therefore, he between 4 of tin and 1 of lead, and 3 of tin and 1 of lead, as above intimated. 315. 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 1 of lead is 7-8830, and that containing 3 of tin and 1 of lead is 8-0380 ; the specific gi-avity 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. 316. 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 TIIK MATKRIALB USED FOR (HH IAN- I'lI'KS. 75 tin iuid metal stops, as well as the proportion of tin and lead used in the composition ot" tlie metal, will be found interestingly illustrated in Specifications of Foreign Organs, Nos. (55, 74, 8», »!), yi, 1)2, &c. Spotted Metal. 317- There is a compound now much used in England, and held in high repute, called " spotted metid," 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 ^ 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. Load. 318. Lead, either alone or with but a slight admixture of tin, fi'om 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 Uable to become depressed at the apex from the weight, and the language to sink, whereby the intonation of the pipe is en- dangered, if not lost. The tubes of reed-pipes, especially, are very apt to bend at the narrow end or stork, from this weakness. Bad metal is discernable 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 on which it is rubbed. The organ in the Minoreten Church at Bonn^ — the instru- ment on which Beethoven used to play — has its metal pipe-work composed entirely of lead, including the 16-feet front. It is not a good instrument. Antimony Metal. 319. 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 language of anti- mony 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 ques- tion 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 httle indentations ; and reed-pipes of antimony metal have been known to snap off suddenly at the stork, and fall from their situations. * " In the continental organs, the pipes visihle 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 Instruments in the Great Exhibition, by Wm. Pole, page 49. 76 CHAPTER XVII. 2iuc. 320. Zinc has occasionally been used for the structure of large metal pipes ; and it is a metal that undergoes but little alteration at common temperatures, under even the combined influences of air and moisture. The tone produced from pipes of this material is somewhat Ughter than that of tin or metal pipes of the same nature. Its cost, however, — scarcely a tithe of that of good metal, — much favors its introduction. Thus 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, at Paris, is of zinc ; so also is the IG-feet Bombarde in the organ at St. Martin's, Liege. The front Double Open Diapason (32 feet) in the Bir- mingham 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. The casting of the 321. 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 ; 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 cutting 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 shape necessary to give to the pipes the required size and form, and is thus finally worked up. Wood. 322. 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. 323. Dr. Burney was assured by Snetzler, who had seen Father Smith work, that he was so particularly careful in the 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 Stopped Diapason in the choir organ, throughout, and the bass of that in the great organ at the Temple, are however of this material. So also is the Flute in the great organ. Mahogany is occasionally 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 Speci- fications, Nos. 63, 67, 69, 74, 86, 89, &c. The seasoning of the 324. 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 THE MATERIALS MSED FOR C»R()AN-1>II'KS. 77 wood were not to be tlioroughly seasoned — it would he very apt, after being worked up into pipes, to split on becoming dry, and so render the intonation faulty. 325. With the view to rendering the wood pipe-work thoroughly sound, such kjiots in the timber as cannot be avoided are covered well with glue and leather, or paper, to prevent their flxlling 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. CHAPTER XVIII. THE PLAN, OUTLINE, AND STRUCTURE OP ORGAN-PIPES. The plan and outline 320. The next particulars to be noticed are the plan, out- of the pipes. ^^.^^^ proportions of the pipes that are formed out of the several materials just enumerated. 327. In regard to plan, organ-pipes are divided into two classes — round and four-sided; the two kinds of plan necessarily arising from the employment of the flexible and the stiff substances. 328. In regai'd to shape and outline, organ-pipes are very diversified; and every variation in these respects causes some alteration in the strength or character of the tone of the pipe. 329. The chief varieties of round-bodied pipes are the Cylindrical, Conical, Conical, surmounted by a bell, Inverted cone, and Inverted cone, surmounted by a bell. 330. Wood pipes are divided into Four-sided, Pyi'amidal, and Inverted pyramidal pipes. Cylindrical pipes. 331, 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 332. Open cylindrical pipes are the most numerous in all pagTyof^^ 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 333. Stopped cylindrical pipes are such as have their top pagcf 79)'^^ closed or covered in by a metal covering or cap {a, fig. 72). 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. The pretty (so-labelled) Stopped Diapason in the swell of the small organ in All- Hallows, TIIK I'LAN, OUTLINE, AND STRUCTURE OP ORGAN-PIPES. 70 Bread Street, is formed of pipes of this description. Stops of covered pipes, however, are of common occurrence in the Crerman organs, under the names of " Gedact " and " Quintaton." 334. The " Gedact 8 fusston," which is sometimes made also of wood, is a soft, mellow-toned Stopped Diapason. The " Quintaton 8 fusston" is a Stopped Diapason of small scale, which sounds an harmonic as well as the fundamental or ground-tone. Half-stopped cylin- Half-stopped cylindrical pipes are far more common ita pipes {/iff. 73). Ei^giJsii organs than arc the last mentioned. They are formed much after the manner of the covered pipes just noticed, the chief difference consisting in the cap being perforated in the centre with a small tube or chimney rising there- from, and hence called j!u(e a ckemince by the French. (See e, fien ones they are smaller and more neat, giving to the front-pipes, which are always furnished with them, a finished aj)pearance. Wood flue pipes; ^Ql. An open toood pipe is formed of four separate parts; open, stopped, and r i i i i lialf-stopped. namely, the body, block, cap, and foot. 368. The body {, Jiif. 8.3) by a plug or stopper, illustrated at a in tiic same figure. A halt-stopped wood pipe has a hole drilled down the stopper. 371). Wooden flue pipes are sometimes furnished with ears on each side the mouth, and occasionally also with a cross i)iece fastened on immediately beneath the under-lip, called a beard. Ears and beards are chiefly supplied to such pipes as are too slow in their articulation. These additions, by keeping the wind together, accelerates the speech of the pipe. Origin and continu- 380. Something may now be said concerning the speech of anco of tho tone iu . . . 1 a • ■ ^ . 1 1 n i ■ • fliio pipes pipes. A metal flue pipe is made to sound by the admission of a jet of wind at the apex of the foot, wliich, rushing up- wards, passes through the wind-way and strikes against the upper-lip, producing a concussion which prevents the air from issuing in a continuous manner from the mouth, and causes it to proceed intermittingly. The vibrations thus caused are communicated to the column of air within the body of the pipe ; and the air being set in motion, a sound is produced ; which sound, however, cannot strictly be said to be produced by the pipe itself, nor by the elastic motion of its body, but by the vibrations at its mouth, and the motion of the column of air contained within its body. The former circumstance is sufficiently evidenced by the fact that the pitch is nearly the same, whatever may be the thickness or the character of the ma- terial employed in the construction of the pipe. The stoutness, toughness, and elas- ticity of the material, have, nevertheless, something to do with the quality and strength of the tone, as will presently be explained. A slight motion of the body of the pipe may indeed be detected ; which, however, is a consequence and not a cause ; and arises from the friction of the column of air within, having nothing to do with the production of the sound, which is to be attributed solely to the circumstances already mentioned. 381. A wood flue pipe is made to sound in much the same manner as a metal pipe of the same kind. The wind, on being admitted, passes up the pipe-foot into the throat, and from thence into the hollowed part of the cap, up which it forces itself; then, after passing through the wind-way between the upper edge of the cap and block, it strikes against the upper-lip, and is thus made to vibrate, the vibrations, as already described, being communicated to the air in the body of the pipe. 382. It is worthy of remark, that, whereas the sides of a wood pipe beat violently while the pipe is speaking, the front and back remain perfectly quiescent. 383. The sound from a pipe continues so long as the organ-wuid is allowed to enter that pipe, and at the same unabated strength. 884. In a Stopped pipe the current of air in the body of the pipe takes a some- what altered course, and produces a remarkably different result from what it does in an Open one. 385. The consideration of this subject affords an opportunity for explaining what might otherwise appear to be an inaccuracy in regard to flue pipes depending on the dimensions of their bodies for the gravity or acuteness of their sound. A stopped flue pipe of a given length will produce a sound as low as that of an open pipe of twice the length. This fact, however, is soon accounted for. Instead of the 88 CHAPTER XVIII. air escaping out at tlie top of the shorter pipe, as it does out of the longer, it is checked by the stopper that closes the upper end. In consequence of this inter- ruption, the wind is reHected back again down the pipe before it can make its exit, which it does through the mouth. The wind in a stopped pipe, therefore, traverses the distance of the length of the body twice over — first up, then down — and conse- quently produces a sound of increased gravity in proportion. Thus, a stopped pipe of 2 feet gives the same sound as an open one of 4 feet ; a stopped pipe of 8 feet the same sound as an open one of 16 feet ; and so on. The mouth of a flue 380. The size and proportions of the mouth of a metal flue ence' of°its propo " P^P^ exercise great influence on the strength, character, and qua- tions on the tone of flty of the tone of the pipe. The usual proportions, which, how- ^ ever, are subject to considerable modification, are, for the width, \ the circumference of the body, and -^^ of the same measure for the height. Ac- cording to this rule, therefore, the mouth of a pipe that is 1 6 inches in circumference inside — or, what is the same thing, 5^ inches in diameter, the diameter being about \ of the circumference — would be 4 inches in width and 1 inch in height. Some organ pipes have a wide mouth, others a narrow one ; some have a high mouth, and some a low one. A wide and high mouth produces a round, powerful tone ; a narrow one, a sharper tone ; a narrow and low mouth, a delicate tone ; and a wide and higher mouth, a less clear and hollow tone. But even these deviations have their assigned limits ; for, if the upper-lip be cut up too high, the pipe will be slow to speak, or will not speak at all ; and if the mouth be too narrow, the pipe will speak the octave above its real sound. The voicing of metal 337. The careful conformation of the mouth of the pipe ; an woo ue pipes. gg^j.jj^g |.jjg jjpg . i-gguiating the quantity of wind to be admitted ; conducting it through the wind-way in a sheet of the precise thickness ; and carry- ing out other such details necessary to secure the true tone — character and speech of the pipe, are matters of great delicacy ; demanding the nicest skill as well as a just perception of tone on the part of the operator. These and other duties are included under the one general term voic 'mg ; and some idea will be formed of the importance and influence of this branch of organ-building, from the following observations in reference to the speech of an organ pipe. 388. The wind on entering a pipe is blown through the wind-way in a thin sheet against the upper-lip ; the mouth or intermediate space being covered by this stream of air. This " sheet of wind," as it is called, is exposed externally to the outward air, while on the inside it is defended from it by the back and sides of the pipe. The vnnd that comes out at the mouth of the pipe passes violently upwards against and above the leaf ; causing an inward draught underneath, towards and indeed through the mouth. The former fact may be ascertained by blowing smoke into a pipe and watching its progress ; the latter, by holding a lighted candle just below or in a line with the mouth of a pipe while speaking, when the flame will be drawn towards or even through the mouth. The inward-bearing draught outside the mouth being stronger than the quiescent air within, the sheet of wind gives way for an instant, and the draught bears into the pipe, but is immediately overcome by THE PLAN, OUTLINK, AND STRUCTURE 01' OIUIAN- PIPES. »9 the sheet of wind, wliit li in its turn j)revaiis until the draught overcomes it again. Hence the periodical concussions of the sheet of wind against the upper lip of the pipe. ;58{). Tiiis alternate crossing of streams will, under ordinary circumstances, of course take place with greater or less rapidity, according to the dimensions of the mouth, and the strength of the wind exciting the column of air within the body of the pipe ; and the elastic motion of the lower end of the column of air in the region of the mouth — by compression and expansion — assists in the alternate resti- tution of the sheet of wind and the inward-bearing draught by turns. The pitch of the sound of a Flue Pipe therefore is regulated as much by the number of pulsa- tions which take place at the mouth of the pipe in a second of time, as by the number of vibrations that occur in the bodi/ of the pipe in the same time, with the latter of which the former doubtless correspond. This hypothesis is borne out by the fact, that if a pipe be shortened, as in transposing a GG metal Open Diapason into a CC, it does not then require less wind, but more ; the additional quantity no doubt being re- quired to accelerate the vibrations at the mouth, so that they may be in proportion to the quicker vibrations of the shortened column of air inside the body of the pipe. 390. It has already been explained, that some proportion is preserved between the dimensions of the mouth and the diameter of the pipe ; but the length of the vibrating column of air may be somewhat increased or decreased without much affecting the speech, as may be ascertained by temporarily covering one or more of the lower holes in the back of a front pipe which has openings in it. If, however, the length of a pipe be very great in proportion to its diameter and the dimensions of its mouth, the pulses at the mouth will not be slow enough to corres- pond with the waves of the lengthened column of air ; and the pipe will then either not speak at all, or it will break into some higher sound. This circumstance accounts for Dulciana pipes, the smallest in scale of any open pipes in an organ, and with even narrower mouths in proportion, having so decided a tendency to " speak their octaves" when in the slightest degree out of order. For some stops, it is required that the pipes shall speak their octave and not give their unison sound, as in the German " Flauto Traverso" ; in which case, the voicer regulates the dimensions and proportions of the mouth accordingly. At the same time, a pipe in which the proper proportions are preserved in regard to length, diameter, and mouth, will break off into a higher sound, if it has more than a certain amount of wind, or a stronger wind ; as in the " Flute Harmonique " of the French and English organ-builders. 391. In cutting the wind-way, if the opening be made too deep, the " sheet of wind" will be too thick, and the inward-bearing draught will be unable to break through ; in which case, the pipe will not speak with the proper strength, but will simply produce a humming or whizzing sound. Or if the mouth of a pipe be " cut up too high," the sheet of wind will not entirely cover the space forming the mouth; in organ-builders' phraseology, " the wind will not reach ;" and the speech of the pipe will be dull and unsteady. 392. In wood pipes of the four-sided shape, the width of mouth of com'se corresponds with the inside measure of the same side of the pipe in which it is cut. Its height is commonly one fourth of its width, or a little more ; but, inasmuch as wood pipes are, as already explained, sometimes made narrow and deep, the mouth being on the narrow side, while at others the mouth is placed on the wide side, it is 90 CHAPTER XVIII. evident tliat its measure in the direction just mentioned must be subject to much greater variation than in metal pipes. 398. In some German wood pipes, the blocks and other parts connected with the speech of the pipes are made on a plan so different from any of the English methods already noticed, and yet produce so firm and full a tone, even when the scale is small, that a few particulars concerning them are here introduced. Instead of the block being formed with its face at a right-angle to the top, 94 it is bevelled back and downwards, as shown at a, in fy. 94. The cap is made straight and smooth inside, instead of being hol- lowed as in Ji^s. 90, 92, and 93 ; and in lieu of the wind-way being made by filing a portion from oft' the cap, it is formed by filing from off the Ijlock ; and the upper-edge of the cap is set on a level with the top of the block, instead of a little below it. 394. A glance at the accompanying diagram (^fig. 94 ) will be sufficient to show that in a pipe thus formed the wind must gi'adually undergo increased compression as it ascends through the . wedge-shaped hollow between the block and cap, and that it must in consequence be thrown with much greater force against the lip ; a stronger and clearer tone being thus secured. The mouth is cut up much higher than ordinary, it frequently being equivalent to three-fourths of its width, and sometimes even more ; and the lip is left thick, that the wind may take good hold. There are no nicks either in the block or the cap ; the latter of which is made about half as thick again at the mouth end as at the foot end, to prevent the inward-bearing draught being too strong, and thus, in a neater manner, serve the purpose of a beard. The hole in the pipe- foot is made very large, and is perfectly round ; there is no plugging, and the speech is plumper than when the wind is carried through four three-quarter apertures, as in most plugged pipes. The lower end of the foot is leathered, so as to prevent an escape of wind between it and the upper-board. 395. The modern German metal pipes are made and voiced more nearly as in England, except that in some cases the bevel on the language is made rnore acute than in English pipes. Fig. 95 shows the EngUsh language and bevel in profile; fig. 96 ex- hibits the German in a similar manner. The acute bevel has the 95 effect of throwing the wind more into the pipe, which permits the mouth to be cut up higher ; the tone produced being remarkably full and bright. The inside of the pipes is coated with a red lac, which is doubtless intended as an imitation of the peculiar dark varnish which time places on the surface of old pipes ; and which, by closing the pores in the metal and rendering the inner surface perfectly smooth, has something to do with the mellowing uf the tone. 396. The mechanical part of voicing, so far as the eye can detect, consists, in the instance of a metal pipe, chiefly in cutting with great nicety a series of notches or nicks in the front part of the language. The " nicking" is made on the lower edge of the bevelled surface of the language, and the notches run pai'allel to TIIK PLAN, OUTLINE, AND STRUCTURE OV ORUAN-PIPES. 01 each other, {uul sometimes, though not always, at an angle to the axis ol' the jtipe. There are dilVoront methods of voicing, whicli prochice diflerent results. A pijjo that is not voiced at all, will frequently not sound at all, or will give a wrong note, or will not speak with adequate strength. ;V.)7. Large pipes, and sometimes comparatively small ones, will however occasionally present exceptions to the rule, if the mouth and parts adjacent are proportioned with mathematical accuracy. The front pipes of the organ at St. (liles's in the Fields, made by Harris, have no nicking, neither have several of the metal and wood Stopped Diapasons in the Temple organ. Pipes that have but few nicks- will frequently produce a round sonorous tone, as is evidenced in many of Smith's Open Diapasons ; while others, that are much and regularly nicked, will produce a softer and very musical tone, as in Green's Diapasons. 398. The voicing of a wood flue pipe consists of several small parallel lines, filed on the front or face of the upper part of the block. These little cuts do not run quite at right angles to the upper lip, neither are they made of the same width right down ; but they are deepest and widest at the mouth, and gradually decrease as they recede fi-om it, until at last they are lost in the plain surface of the block. In voicing the pipe, which of course is done before the cap is put on, the upper edge of the block is slightly pared away opposite the under-lip, so as to direct the wind against the upper-lip. If the angle be pared off too much or too httle, the pipe will be slow to speak, or will speak ill, or perhaps not at all. Or if the sheet of wind be suffered to strike against the upper-hp with rather too much force, the tone produced will be imperfect, and perhaps accompanied with a chirping at the commencement of the pipe's speaking. The influence of the 399. Besides the many modifications or characters of scale'on 'the™'ne'"of ^^"^ i^'^ speak) which are produced by the particular method a pipe. of voicing adopted, the tone of a pipe is influenced by many other circumstances. 400. And First, of the material. Supposing all other circumstances to be the same, it may be said, ui regard to metal flue pipes, that the thicker and more elastic the body of the pipe is, the more decided, clear, and distinct will be the sound. According to some of the first German Avorks on the subject, the tone of a pipe is improved by the material being well hammered before being worked up. 401. In regard to wood pipes, the same phenomenon may be observed as to the influence of the material on the tone ; a pipe made of some hard wood, as oak, giving the clearest and strongest tone, while one of the softer kind produces the most mellow tone. When the old builders used a soft wood, they sometimes cut the planks the cross-Kay of the grain, probably from the circumstance of the wood of the bellies of Violins being cut in that manner. The deal pipes in the Finedon organ, Northamptonshire, built by the younger Smith, are formed out of boards cut in the direction just mentioned. If a comparison be drawn between the quality and strength of the tone of metal and wood pipes generally, a long open metal pipe will be found to give the clearest and most sonorous sound, and an open wood one a thick and heavy sound. This is, of course, supposing their measurement and all other circumstances to be about the same. 92 CHAPTER XVIII. 402. Then of the form. Pipes having the open cylindrical outline, when made to the full proportionate diameter, give the strongest, cleai'est, and fullest tone of any metal Hue pipes. Those of the conical shape produce a rather more sub- dued sound than the cylindrical ; accompanied either by a tender, reedy, or a crying character of tone, according to the extent of their conicality and the manner in which they are voiced. Pipes of the covered species emit the weakest sound ; the chimney or the perforation, as the case may be, giving rather more freedom to the character of the tone. 403. By an alteration of scale, that is to say, an increase or decrease of dia- meter, while the same length is preserved, a further modification in the strength and character of the tone is produced. 404. The width or narrowness of a pipe alters the strength of the sound pro- duced, and to such an extent, that an open cylindrical pipe (already described as giving the more powerful sound) may, by the reduction of its scale, be maide to sound as lightly as a covered one, as will be perceived on comparing the strength of the tone of a Dulciana pipe with that of a Stopped Diapason pipe. Moreover, by enlarging the scale sufficiently, a pipe of soft wood — Christiana deal, for instance — may be made to produce a stronger and heavier sound than a pipe of hard wood, as oak. Influence of the 405. In addition to the influence which the material, form, of the^wM on'the'^^ '^"'^ ^'-'^^^ °f ^ pip^ exercise on the tone produced, the strength character and of the wind by which it is made to speak, or the quantity al- ° ' lowed to enter the pipe, or both, effect a further alteration in the strength of the sound. A stronger and a greater "flush of wind," within cer- tain bounds, causes a pipe to give a fuller and brighter tone. If the jet of wind, however, be too great or too strong, the pipe will " overblow," and give the octave of its true sound. A strong wind causes the sound produced to be also rather higher in pitch, as well as stronger and brighter. An illustration of the influence of a lessened strength of the wind on the quality, power, and pitch of the sound of a pipe, occurs when the wind is being " let out." The sound then gradually becomes duller, weaker, and lower, until it altogether ceases ; or it will rise in pitch, and speak louder and clearer again, as more wind is supplied just before the sound dies away. 406. Experiments have proved that reed-stops acquire a considerable accession of power and splendour by being placed upon a heavier wind than the flue stops. The first organ in England that had a reed stop voiced to a heavy pressure of wind, is that in the Tovra Hall, at Birmingham ; into which instrument the stop alluded to, called the " Tuba Mirabilis," was mtroduced in the year 1840. 407. In France, the influence of different strengths of wind has been turned to still greater account by the ingenious artists, Messrs. Cavaille Coll, organ-builders to the late French government, in the fine instruments built by them for the Abbey Church of St. Denis, near Paris, and the Church of the Madeline in Paris. In these admirable organs, they have not only placed the reed stops on a heavier wind than the flue, but have increased the weight in the treble by an inch. This latter application was suggested by the fact of performers on wind instruments, in order to render the acute tones of equal strength with the grave, exercising a greater efibrt TIIK I'l.AN, OUTUNE, AND STRUCTURE 01' ORGAN-PIPES. 93 of tlu' imiHck's of tlu' lungs, when sounding liigli notes than when proilncing low ones. By su)>plying the \n\)cs of tlie upper keys with a stronger wind, the weak- ness at times observable in the treble of organs is entirely rectified. 408. The same intelligent builders have further succeeded in making reed and tlue stops ])rodut:e an harmonic instead of a ground tone, and hence called Trompet IIarmoni(iue," and " Flute Harmonique." See Foreign Specifications, Nos. 12 and 13. The pipes are made of double or even four-fold length, and, by a strong and copious wind, made to " overblow," and so sound the octave or the super- octave. 409. In the magnificent new organ lately erected in London, by Mr. Hill, in the Panopticon, the builder has incorporated not only the several modern conti- nental improvements above referred to, but also some new mechanical inventions of his own. The organ in the Glasgow Town Hall has also the great reeds and two harmonic flutes on a heavy wind, and the treble of the organ on a stronger wind than the bass. 97 ^(3 99 Formation of a reed- 410, A reed-pipe of an organ is formed of a mouthpiece, P'^*^" composed of a block, reed, tongue, and wooden wedge, with a tuning-wire and boot ; and a tube or body. 411. lite block of a reed-pipe {fig. 97) is, in modern speci- mens, usually a circular and rather solid mass of metal, cast in a mould ; though in old reed-pipes the blocks are frequently of box- wood, turned in a lathe. From the block, the reed and tongue hang suspended below, and the tube rises above. Through the block, two round holes {be) are left in the casting ; the largest of which ( 5 ) forms the passage-way for the wind from the reed into the tube ; and the smallest, which occurs a little in advance of the first, admits a wire that is required for regulating the precise length of the vibrating portion of the tongue, pre- sently to be noticed. The upper part ( a ) of the block is made rather wider than the lower, forming a rim that rests on the upper edge of the boot. 412. The reed\s a small cylindrical tube of brass {fig. 98), slightly conical in shape, being usuaUy widest at the lower end, and having the lower end closed by a piece of brass, which slants a little upwards and backwards. In the front of the reed, an opening is left ( d ), running lengthways, presenting an appear- ance as though a portion of the reed had been cut away, at which the wind enters. The upper end of the reed is fitted tightly into the larger hole in the block already mentioned, with the opening towards the smallest hole. 413. The tongue {fig. 99) lies immediately over the opening just noticed in the reed, covering also the edges which border it. It consists usually of a thin, tough, and elastic plate or spring of brass, and is fixed in its position by the upper end being passed a little way up into the block, and then a small wooden wedge being driven into the part of the circular hole in the block that was left vacant on the flattened side of the reed. The lower end of the tongue, therefore, is left entirely free, and is slightly curved. 94 CHAPTER XVIII. 100 41-i. The tuning -loire {ji either extends all the way up, as shown in Jig. 98, closed, and free- qj. only partially so, and gradually contracting to a point. The former is called the " open reed," and is the same in kind that TIIK PLAN, niTTMNE, ANlt STRUCTURE OK ()R( I A N- IM I'KS. )».J has been ii> use lor centuries : tlie latter is termed the " closed reed," and is of modern invention. 420. Tlie open reed admits by fur the greater quantity of wind into a pipe, the influence of which increased volume excites the tongue to vibrate against the reed with more force, and so to produce a stronger and clearer tone. Hence it is gene- rally considered to be the description of reed the best adapted for all powerful and prompt- speaking reed-pipes. It requires a rather longer tube than the closed reed. 421. The closed reed allows only of a lessened draught through it, and is on this account considered by some organ-builders to be well adapted for reed-pipes, the tone of which is required to be of a quieter character ; though it is not indispensable to employ them to obtain a subdued tone, inasmuch as some organ-builders eschew the use of closed-reeds altogether. Moreover they present a much larger surface between the reed and tongue, whereon dirt may lodge. 422. The free reed. A third kind of reed is used on the continent, called the free-reed. In this variety the size of the tongue and the opening in the reed are so adjusted in regard to each other, that the former almost exactly fits the latter : the tongue, therefore, instead of striking on the edges of the reed, is impelled into the opening by the wind ; when, from its ovm elasticity, it resumes its former position ; and the sound is produced by its rapid vibratory motion to and fro through the air. The tone of a free reed is not usually so strong as that of a strikiin/ reed, but it is particularly smooth and free from rattling. Some fine 1 (5 and 82 feet Posauns have been made in Germany of fi-ee reeds. The influence of the 423. It will be remembered to have been stated (ante, p. 83, and^materiaf^on'^tho' ^^'^^ •^^^) ^ reed-pipe does not depend upon its tube for the strength and charac- gravity or acuteness of the sound produced, but chiefly on the di- reed-pipe. ""^^ ° ^ mensions and other circumstances connected with its tongue. The tube, however, makes a considerable difference in the strength and character 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 size 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 sound ; but the tone of small scale reeds is always 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 comparatively light sound ; as may be ascertained by trying any Clarionet or English Vox Humana Stop. Pipes with tubes of the inverted conical form give a more sonorous tone than the last-mentioned — the strength and character of the sound being governed to some extent by the scale and length of the tube. ^Vhen it is of narrow measure, the tone is rather thin and somewhat nasal, as in most Bassoon stops. When the pipe is simi- larly shaped, but with a bell added, the tone becomes somewhat clearer, more waiUng and attenuated, as in a Hautboy stop. The weight and power of the sound increases with the further increase in the seale ; the Trumpet being louder and more smart than the Bassoon ; and the Posaun more ponderous than the Trumpet. 96 CHAPTER XVIII. The influence of the 424. The strength of tone, again, depends much on the the tone of °^^pipe. shape of the opening in the reed ; whether the tongue be made of common brass, or a composition containing a lai"ger proportion of copper ; the thickness of the tongue ; its curvature ; and the smoothness and flat- ness of the edges of the aperture against which the tongue vibrates. Reed-stops of dehcate intonation, as the Hautboy, Clarionet, and Bassoon, 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 accoimts for their tone being thin, and devoid of the power and impressiveness which characterise all good stops of the kind. How a sound is pro- 425. When the tongue of a reed-pipe is in a state of rest, duced fi-om a reed- ... j i • ii. • • i n ^ i ■ ■ pjpg^ it is curved, leaving the opening m the reed tree to the admission of air. The peculiar tone of a reed-pipe is, in the instance of a striking reed, jiroduced by the tongue beating against the reed, and reljounding again by the force of its own elasticity. The tongue is excited by a current of air being thrown on to it fi-om 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. 426. 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 to/ie is as smooth and continuous as that of a flue-pipe. How the pitch of the 427. The pitch of the sound produced by a reed pipe is pipe is°deteramed. determined by the number of beats or vibrations made by the tongue in a second of time ; and the reeds are 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 the 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. 428. 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 a striking reed in a second of time, in producing the several C sounds used for organ-stop measurement ; while, to the right, the shortened length of the pipe is given. Name of C. Vibrations in Blows of tongue Length of fluc-pipe. in reed-pipe. open flue-pipe. cccc — .32 — 16 — .32 feet. ccc — 64 — 32 — 16 „ cc — 128 — 64 — « „ Tenor c — 2.56 — 128 — 4 „ Middle c^ — .512 — 2.56 — 2 „ Treble c^ — 1024 — 512 — 1 „ I'lIK, I>I,AN, OUTLINE, AND STRUCTURK Ol' OU(!AN- I'l I'ES. 07 420. It is necessary to mention that the above table of vibrations refers to sinjih' anil not to comph'tv or douhjc ones. As the hitter are used by some writers on harmonics, the dift'ercnce might create confusion, if not exjilained. The tongue of a reed-pipe strikes when vibrating towards the reed, but of course not when vibrating from it ; hence the beats made by the tongue in a reed-pipe only amount to half the number of vibrations taking place in a tlue-pipe in the same time, as shown in the above table, which accounts for those beats often being discernable to the ear in the speech of even 16-feet reed-stops. When, therefore, the rustling of the tongue of largo reed-pipes cannot otherwise lie silenced, the front of the reed is lined with a thin coat of leather — simply the dressed part, the fleshy part being cut or scraped away — so as to form a soft surface for the tongue to strike against. 430. The wind having passed through the mouth-piece of a reed-pipe, the size of which has defined the pilch of the sound, it passes into the tube ; the shape, ma- terial, or scale, or all combined, imparting to such sound the character and strength required. CHAPTER XIX. TUE STANDARD LENfiTTI OF OR(}AN- PIPES. 431. OiiGAN-pipes, and particularly those of the flue species, are made to a great variety of sizes. The greatest standard length of a speaking-pipe is 32 feet ; tlie shortest, | 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 9 octaves apart ; con- sequently, a complete range of organ-pipes, including all the semitones, would present a series of 109 different sizes. 432. Organ-pipes do not always measure the exact length quoted ; but they will 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 generally presenting an approximation only to the former. Many circumstances tend to render an adherence to the literal length almost impossible ; as, for instance, a stronger or lighter wind, which would demand a longer or shorter pipe to produce a sound of the same pitch ; the more copious winding of a pipe, which would cause it to " blow shai'p," and would therefore require a longer body to produce a sound of the original pitch ; the difference in the foot measure- ment in various countries ; the variation of pitch ; or an alteration in the scale, or in the outline of the pipe. The names of the 433. From the circumstance of every septave of pipes and sounds produced i • i i i • ii ^ • • , ,• i i • from oroan-pipcs. sounds mcluded m the extensive range just mentioned being called by the same seven letters, it becomes a matter of neces- sity 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 classifi- cation 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 particular name is also given to a particular pipe or sound ; though it considerably simplifies the nomenclature by confining the appUcation of such names solely to the ke?/s. 434. 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 con- centrated on one key ; which are produced fi-oin as many separate pipes, of nearly as TlIK STANHMil) I,H^N(n'rr ok (JIKIAN-IMPES. !)!> many varying lengtlis ; therefore, a definite pitch cannot invariably be associated with the note written, nor with the /ry struck, in tiic 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, according to the nature of the Stop or Sto[is drawn. 435. 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 conveniently referred to in the course of writing, or in conversation. These names have originated from various sources. Tho classififation of those sounds into octaves ; and tho dif- ferent methods by which the several octaves are distin- guished fi'om one another. 43(i. In olden times, the 21 degrees, 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 contained were repre- sented by letters, which at the same time corresponded with the name of those sounds ; but to distinguish such sounds as were represented by the same letter, but which differed in pitch, a different kind of letter was used, sometimes accompanied by another attendant characteristic. Thus, the first septave was repre- sented by capital letters ; the second, or that next above, by small letters ; and the third and upper one by two small letters ; thus — EXAMPLE. c d e f in alt. ss aa bb cc dd ee ff 437. On this gamut* being in the course of time extended, the next seven keys and diatonic sounds represented by notes immediately below the bass stave were termed double, and were marked with two capital letters, as C C, D D, &c. ; 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 with four 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. fl*om g, the fourth line above the treble stave, were said to be in altissimo. Tliis completed the English tablature. * Guido Aretinus, a Benedictine monk of Arezzo, in Tuscany, in the tenth century, was the inventor of the gamut above referred to ; though it is not perhaps so strietlv an invention as an improvement on the diagramma, or scale of the Grecians. Previous to the time of Guido, the scptaves were reckoned from A ; but that ancient theorist added the G below, and denoted it by the Greek gamma, r. Hence arises the word gamut, or gamma ut, it being the ut or first sound of the G liexachord. H 2 100 CHAPTER XIX. ■i^H. But it will be perceived that it iirosents neither the names nor signs by which the iiighest two and a half ortaves of pipes and sounds can be distinguished from each other ; and is therefore so far defective. Moreover, the terms " in alt" and " in altissimo" arc inconveniently long for the practical purpose for which the distinguisliing terms arc so useful in organ-building, namely, for marking the com- position of the Mixture Stops in various parts of the scale. 439. From the above nomenclature, however, two of the most useful names, as well as one of the fer7ns used at the present day by organ-builders, as pai't of the tablature applied to the i-ei/s 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 modern manual. The former are (1) gamut G, or the lowest G of Guide's gamut; (2) middle c^ — the "mean" or middle cleff c^ of the 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. Y EXAMPLE. Middle c>. Gamut G. .^^ in alt. 440. Some of the other keys are named after certain string instruments, from the circumstance of their unison sound corresponding with the lowest sound pro- duceable 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 comfjlete tablature for the several C and G keys of the organ manual, as shown in the following table. EXAMPLE. above Middle c'. middlec". Treblec^. . a i » Tenor Fiddle 'S'- g2 in alt. in alt. or or DoubleC. Gamut G. Violac. Violin g. . — £zz= ' —31=:^ — ; 4 feet octave. • • 2 feet octave. 441. 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 referred to by the standard length of the C that commences each octave ; as the 8-feet octave, the 4-feet octave, &c. TIIK STANDARD T,EN(rriI OK Oil' 1 A N- I'l I'KS. 101 442. But, as betbre observed, tlie iiunilier of diflerent sohik/.s in iin ovjrmx far exceeds tliat of tlie ki'//x on the clavier ; hence arises the necessity for some method of groujjing the additional sounds, and indeed all sounds, into octaves, and of calcu- lating and measuring them. And first, of the classification of the sounds witliin the usual manual compass. According to the old English system, G was made the starting sound tor this purpose, as shown in the first "gamut;" while, in Germany, C has for a long period been recognised as the standard sound. In the latter country, the lowest octave on the manual, corresponding with the " Bass octave" of 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 a 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, fi-om " c'* in alt to f ^ in alt," forming a portion of the " thrice-marked octave," c^, d^, e^. Sometimes so many little hori- zontal lines are used instead of figures, thus — c; which system, however, has an air of complication about it. 443. Then, of the sounds above the compass of the ordinary organ manual, the 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 16-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 ] 6-feet (', is termed the "second sub-octave," distinguished by capital letters twice underlined, thus— C, D, E. 444. The English tablature for distinguishing the several octaves of manual keys, including some of the intermediate keys, is so complete, distinct, and satisfac- tory, 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. 44-5. 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 re- ceived that there exists no necessity for adopting any other. The size of the pipes 446. Many of the pipes, especially those sounding C, E, or measurement"^ ^'^"^ C^, form the lowest of a series, or organ-stop, and therefore fix the standard length of that stop. It is necessary, therefore, to refer to these. 447. The C of Q-2-feet 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 ♦ 102 CHAPTER XIX. length ; the " 4 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. 44a. The C of 16-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" (pronounced 3 C) of the English tablature; the " Contra C," or " once under-marked C," of the German, and the " 16-feet C" pipe. 449. T//e C of d-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 repre- sented 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." 450. 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 EngUsh 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". 451. The C of 1 feet. This pipe sounds in unison with the lowest C of the Hautboy. Its pitch is represented by a note placed on the ledger line between the two staff"s. According to the EngHsh tablature, this sound would be denoted by a small c ; according to the German, by the once-marked c^. This is called most fre- quently " middle c," from its being the middle one of the three cs included within the ancient gamut; but more particularly from the note that represents it being placed on the same hne as the cleff" of the middle, mean, or intermediate parts — the counter tenor and tenor — in vocal compositions. 452. The C of \ 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^. 458. The C of Q 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". 454. The C of Q inches. The English " c in altissimo," and the German " four-times marked c," c*. A note in the sixth space above the treble staff denotes its sound. 455. The C of li inch. The five-times marked c of the German tablature, c^. The 7-octave grand Pianofortes are sometimes made up to this note. 45(). The C of ^ inch. The six-times marked c, c''. This is the smallest pipe made. Its sound is 2 octaves above c in " altissimo." 457. 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 im- * The name Tenoroon has sometimes been given to an organ-stop, which, however, does not resemble the instrument named in the text, citlier in regard to pitch or quality. TIIK STANDARD I.MNl/l'II ol' OltdAN-I'll'KH. portancc are tlie G pipes, vvlucli denote the foundation measurement of (i (J oigan- sto[)s, and also the size of the (Ifth-soundiiig stops of C organs. 458. The following are the lengths of the chief (J pipes. 4;)!». The (1 ofiX], feet (24 feet) standard length. The sound of this pipe is a fifth above that of tliey2-tcet C. It is the " G G G " (three G) of the English tahlature, and the " twice under-marked G" of the German. 460. Two different lengths are here given for the G pipes. The first is in every case the correct one, and therciiore the best one to 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 mai-ked 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. 461. 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 English tablature, and the "once under-marked G" of the German. 462. The G of 5^ 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." 463. 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." 464. The G of \\ foot (\\ foot). A note placed on the second line of the treble staff represents the sound of this pipe. It is marked in the English tablature by two gs, g g ; and in the German by a g once-marked, g^ It is called " g^ above middle." 465. 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. 466. The U of G§ 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 first ledger line below the bass staff. It is the English E E (double E) ; the German " Great E." 467. The E of 3| feet. The sound of this pipe is a third above that of the tenor 0, 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 term " Tenor e," mostly, in England. 468. The E of \^ 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 repre- sents 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. CHAPTER XX. THE SIZE OF TONE OP ORGAN-PIPES. 469. 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 — tliere 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. 470. 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 wwisow with each other, the 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. 471. 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, ac- cording 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 standard size. 472. The very important difference between " standard length " and " size of tone " may be familiarly illustrated in the following manner. 478. 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 trans- formed from an 8 into a 16 {eetpipe ; its sound or " size of tone" only would be altered, its length would remain the same. A smaller pipe would simply be made to produce the sound of a larger. 474. 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, Belgian, and Dutch organs ; 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 scale of organ- 475. The question here presents itself why the pipe in the eii«>'whi(;li an dter- 3'bove experiment did not speak the full octave below, instead of ation in the proper- a major seventh only, if the column of air travelled the double tiou exercises on the . y, , j.\ 1 17 1 r 1 1 • 1 jgjjgtjj distance. It was because the oul/c or scale 01 the body remamed of 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. TIIK Sl/K (IK TONK ol' (>1{(JAN-1>I IMOS. 105 as will bo at onci' ascertained by comparing ;i middle ^' Clarabeila witii ;i tenor c Stopped l)iai)ason pipe. A middle o' ('laral)ella will measure 2 inches in depth, by 1^ incii in width ; whereas the latter will be about 2^"g inches, by 1 jjJ inch in depth. 47(5. Tlie 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." 477- 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 rice versa. Thus, a large scale Open Diapason pipe sounding, say, middle c\ is rather shorter than the corresponding pipe of a similar stop of smaller scale ; 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. 432, p. 08. 478. If the three pipes of different scales were to be made to the same length, all their sounds would differ in pitch fi'om each other. 47S), 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 conicahty. 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. . . . 6| in. . . 6| in. , . 1 ft. lOf in. Dulciana 4i in. . . 4^ in. . . 1 ft. 1 If in. ni. Gamba 4i in. . . 4i in. . . 2 ft. 0 Spitzflote s"' with- out any sound whatever being producible from the instrument ; whereas, by their being recognised as " subsidiary stops," no sound would be expected from them. The size of the stops; 490. The numerous effects of which all well-planned organs how ascertained. ... , i,. n i r . are susceptible, result partly irom the presence and use of stops of diverse form, nature, and character of tone ; and partly from stops varying 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 16 -feet is the most useful (which, being twice the size of the most important manual stops, wiU 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 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 IG-feet pipe that is so situated, as in the Double Open Diapason, then the pipes are said to form a 16-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 composed 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 ha\'ing 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 gi\'ing the 16-feet sound, as in the Bordun, is a Stop of 16-feet tone. 491. 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 mid- dle c^ (2-feet lengtli) is an 8-feet stop so far as it extends ; but is without both the 4 and 8 feet octaves of pipes. 492. To be a 4 or 2 feet stop, the 4 or 2 feet pipe must be on the C C or 8-feet keg. 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 there- fore of unison or 8-feet pitch. The classification of 4<)3. The pecuharity by which the two great classes of organ Lcif tonc-^rod^cing' P^P^^ ^'"^ distinguished has been already so fuUy explained, that part, into reed stops it is only necessary to add, in this place, that the same classifi- au ue stops. cation is observed with the Stops, and that a Reed-stop is a series OlKJAN STOI'S. 1(1!) of |ii|H's vvliicli sjicak tliiMiiifli tlic nu'dimii nl' a ivcil uiul tongue; and a Flii(!-Rto|), a similar sorics of lip [lipt's. 4!t4. Among tlioso ol' the former class of Stops are included tlic Trum|iet, ('la- rion, Double Truni{)et, Horn, Cornopean, Trombone, Hautboy, Bassoon, Clarionet, aiul Vox Humana stops ; among the latter, the Diapasons, Principal, Fitleenth, tlie Mixtures ; and, in short, all the stops that are not included in the forementioned class. Classification of tlio 495. The several kinds of Flue-stops are so numerous, and fiuo-stoijs, in reffavd 1 • 1 1 • , , , . to certain poculiarities some kmds are SO much more important than others, andrequn-e ill tlunr structure, in- to be introduced in so much greater abundance, that, for the to Diapason - work, , .. . . Covered - work, and ^nke ot recognition, tliey are conveniently distributed and ar- Flute-work. ranged under three separate heads. Flue-stops are therefore grouped into Diapason-work (Priiicipal-werk), Covered-work, and (Gedact-werk), Flute- work (Flote-werk). 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 import- ant, or "principal," as they are also the most numerous, in an organ ; and hence the origin and approi)riateness of the term under which stops of this shape and proportion are classed*. The Unison, and Double Open Diapasons, 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. 497. Covered-iDork. 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 (Bordun), the Stopped Flute, and the Stopped Piccolo, therefore, arc members of the Covered-work. 498. Flute-work. This division includes all Flue-stops of whatsoever kind or shape, that do not come under either of the preceding divisions. 499. 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 con- venience 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 the one general term " Flute- work ;" but " Flute" stops are never placed under the head of " Diapason," or " Covered"-work. 500. The Clarabella, Wald-Flute, Hohl-Flute, Oboe-Flute, Suabe-Flute, the English and German Gambas, the Flageolet, Keraulophon and Piccolo stops, there- fore, belong to the " Flute-work." Also the Conical stops, as Spitz-Flote and Gems- horn ; 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, &c. * Concerning the merit of the term " Diapason," see sections 523, 524, and 523, page 1 14. 110 CIIAPTKR XXI. Olnssificatinn of Or- .-,01. A tliird classification of organ Stops is made, in regard to tlio som'i(Uho'y 1^^^^^ ^1^** '^oiind they produce ; i. e. vvlictlier that accords with the ducc, into Founda- key struck or not. The three divisions into which the Stops are tion, Mutation, imd , c • Compound Stops. thrown for this purpose are, Foundation Stops, Mutation Stops, and Compound Stops. 502. Foundation Stops are such as produce a sound corresponding with the key pressed down ; that is to say, tha't 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 vnth, 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 affect their classification, so long as the key and the name of the sound agree. They are of 32, 16, 8, 4, 2 feet, and 1 foot in length or sound ; and include members of all classes of Stops ; Reed and Flue ; Open and Stopped ; Diapa- son, Covered, and Flute-work ; the chief conditions being that they are of the lengths the size of the tone indicated above. 503. 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 10 -feet on the manual and 32 on the pedal, as Double Stops. 504. 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 givuig the fore- mentioned 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), 5i (G), 2§ (3) feet, and 1| (1^) foot. 505. An open Stop of 5i feet on the manual, or 10| on the pedal, sounds the fifth above the Unison Stops of those departments respectively, and is called the Fifth. One of the 2| 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 1 1 on the manual and 2| feet on the pedal, is called the Larigot. A still smaller rank of fifth-sound- ing pipes, speaking a twenti/sixth above the unison tone, is often included among the ranks of the manual Compound-stops ; where, indeed, the last-mentioned series is more frequently met with than as a separate Stop. 506. In German organs, the fifth-sounding Stops are called " Quints," in re- ference to the sound they produce. pitch of that sound is not usually indicated by any pecuharity in the name on the draw-stop, but by the length being marked in figures. See Foreign Specifications, 2, 00, 78, 89. 507. The lengths of the Third-sounding Stops or Tierces are Of, 3^ feet, and If foot. olid AN STOl'S. Ill ■'iOB. All Open-Stop, ineasurinij :!,{ cm the iiiiinual, ur (J^ on the puiliil, gives tin; niajor-tliird iiliove tin; Octavo-sto))s, or the above thr unison, and is called the 'l\'ntli. One nieiisuring foot on the manual, or 3.^ on the pedal, sounds a major- third above the Super-octave Stops, or a seventeenth above the Unison Stops, and is called the Tierce. SOO. The Mutation-stops impart a certain roundness and fulness to the general organ-tone, by " filling up" some of the bare octave sounds of the Foundation-stops, by the mixture therewith of certain intermediate, harmonical sounds, of fixed and de- terminate pitches. Tiiey 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 admis- sion of Mutation-stops, and decide which are required and which are not, are fully explained in a subsequent chapter. 510. Compound or Mixture Stops. The stops which have 1 pipe to each key, have been termed " simple" stops. The kind now under consideration are called " Compound" Stops, because they have more than 1 pipe to each key, often 5 ; and " Mixture" Stops, because those several pipes consist of certain members of the two preceding descriptions of Stops, " mixed" or " compounded" together. These little pipes are so uniformly required to be used in conjunction, that they are generally made to draw in groups ; hence the formation of Compound-stops. The Compound-stops give to the Foundation-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. CHAPTER XXII. THE NAMES OP ORGAN STOPS. The name and de- 511. A COMPLETE list of stops usually found in English scription of stops -n 1 • « ■ found in English organs will now be given. Among the names inserted therein, organs ; togetlicr vvill occasionally be found one of continental origin, and for which with tlieir length or . , . , . ... size of tone on the "0 Unglish equivalent is known to exist. Where this is the case, manual and pedal. q{ 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 Enghsh organ-builders to Stops of somewhat different construc- tion or character of tone, which will be duly pointed out. 512. 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. 513. Sub-Bordun, 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-Bordun is best suited for organs of the first magnitude, in which it has a grand effect. Its compass is usually to middle c^ fiddle g, or, at most, to tenor c. Examples will be found in Foreign Specifications, Nos. 2.3, 40, 64, 70, &c. ; also in the organ at St. Ohve's, Southwark, built by Lincoln, which however has open pipes in the treble. 514. DnuhJe Open Diapason. This Stop belongs to the " Diapason-work," and is of 10 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 com- pass, where the largest metal-pipe is consequently 21^ feet in length. In some in- stances, the lower half-octave, or octave of pipes, are of wood, — as in that of the late St. George's Church, Doncaster, — from P P 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, in 16C|. The instrument just named, together with that in St. Saviour's, Southwark, made by Schwarbrook, were the only two organs in this country that possessed a Double Open Diapason until of late years. * Sec note, ante, page 102. NAMES OF OROAN STOPS. 113 515. The Pedal Double Open Diapason is made of either of the four materials mentioned alwve. Specimens of wood Stops of this kind occur at Westminster Abbey; at the Parish Church and at Brunswick Clia))el, Leeds; ut York Minster; and at the Birmingham Town Hall. The instruments in the two last- mentioned edifices have also each a 32-feet Stop of this description made of zinc ; while 32-feet Stops of tin occur at Haarlem, Hamburgh, &c. The pitch of the Double Open Diapason, whether of the Manual or Pedal, is an octave below the Unison Stop. 51G. Double Dulcianu. 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 complete form. There is one, however, in metal tlirougliout, to the l(J-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 no pipes at all provided for the lowest octave keys ; in which case, the Stop is usually called Tenoroon Dul- ciana. 517- Double Stopped Diapason, or Bordun ; on the Pedal, Sub-Bordun, or Untersatz. This is a Covered-stop, of 16-feet tone on the Manual and 32 on the Pedal. It iSj rightly, a whole stop, like the two preceding ; complete specimens occurring on the Great Manual organs at St. Luke's, Old Street ; the Exchange, Northampton ; All Saints', Northampton ; and at St. Michael's, Chester Square ; &c. In many organs wliich have a Tenoroon Open Diapason or Dulciana, the Double Stopped Diapason consists of one octave only of pipes, producing the 16-feet octave of sounds, acting on the 8-feet octave of the Manual, commencing where the Tenoroon leaves off. The English Double Stopped Diapason is generally made of wood throughout. This is the case also with many continental specimens (see Foreign Specifications, Nos. 41, 48, &c.) ; while others again are either wholly or in part of metal (see Nos. 65, 62, &c.). 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 Jordon, 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 1769), wliich however extended no farther than through the lowest octave and a half of the Great Manual. 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. Dr. Hawkins, in his History of Music, mentions another specimen as occurring in an organ at Manchester (at the Cathedi'al) in his time. 518. 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. Its usefulness is gradually being recognized, and its calm, deep, and religious effect justly appreciated. Other examples of the Stop occur in organs at the Temple, and St. Olave's, Southwark, in the latter of which it is called Sub-Bourdun, 32-feet tone; and at Trinity College, Cambridge. 519. 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 con- I 114 CHAPTER XXII. sist, first, in the sliape of the pipes, which are more than four times the size at the top tlian they are at the mouth; and, secondly, in tiieir producing sounds of remark- able 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 16-feet sound is obtained. The quality of the tone resembles that of a stopped pipe. .520. Open Diapason. The Open Diapason is the chief member of the " Prin- cipal"-work. It is a whole stop, of 8 feet on the Manual, and 1 6 feet on the 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. Some- times the lowest half-octave or octave of pipes are made of wood. 621. 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 se- cond one of wood, in many later organs. When the organ is placed on the choir screen, as is often the 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. 522. The Pedal Open Diapason is almost invariably made of wood. Metal ones, however, are sometimes met with ; as in the Pedal organs at St. S§pulchre's, Snow Hill ; Christ Church, Newgate Street ; Exeter Hall ; St. John's, Chester; &c. 523. It may be worth while to mention here, that the use of the word " Dia- pason" has in some instances been objected to, as having no definite signification ; ajid its retention as a name for an organ stop proposed to be discontinued in consequence. There seems, however, to be no sufficient reason for discarding it. 524. That it is no longer applicable in its original signification, is indeed true. The word, which is of Greek origin, means an " octave ;" and, ap})lied 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 num- ber of its Stops took place, the appropriateness of the term in its original sense de- creased. 525. These developments, however, prepared the way for the appUc-ation of the word in a more extended meaning. The term " Diapason," coming as it does from two Greek words, signifying "through all," is applied by makers of musical instruments to the rule, standard, or scale by which they make their Flutes, Hautboys, &c. 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 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 quality 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. 526. Dulciana. This is an 8-feet Manual Stop, belonging to the flute- work. It is sometimes of metal throughout, as at St. Giles's, Camberwell ; or the NAMES OF ORGAN STOPS. lowest octave is made ol' wood and tlio reiiiainder dl' metal, as at St. Duiistan's, Fleet Street. The Didciana, in most organs, stops at tenor c; the Stoji tiieii freijuently being grooved into the Stopped Diapason in the 8-fcet octave ; or the bass of the Stopped Diapason is made to draw separately to meet it. The pipes of" the Dulciana are nmch 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 peculiai'ly soft and gentle. 527. The Dulciana stop was either invented or introduced into this country by Snetzler, who acquired great reputation from the entire success that attended his first public specimen, which forms a portion of the organ erected by him, in the year 1764, in St. Mai-garet's Church, at Lynn, in Norfolk. 528. Harmonic Flute. (See Foreign Specifications, Nos. 12 and 13.) This is a Manual open metal Flue-stop, extending to fiddle g, or tenor c, at the farthest, of cylin- lindrical form, of 8 or -4 feet pitch, and blown by a heavy wind ; it is sometimes simply copiously winded. The pipes are of double length ; i. e. 16 or 8 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 full, fluty, and powerful, and imparts great breadth and thickness to the general organ-tone. It was invented by Cavaille Coll of Paris, and has lately been introduced by Hill, and also by Davison, into their organs at the Panopticon, Leicester Square, and at the Town Hall, Glasgow. The upper pipes of the Harmonic Flute sometimes blow the second octave above, and are accordingly four times their speaking length. 529. Voix Celestes. (See Specifications, No. 18.) The Voix Celestes is an- other 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 sHghtly raised. This gives to the tone of the Stop a waving, undulating character ; which, in this respect, resembles the German Stop called Unda 3Iaris (wave of the sea), which will be found mentioned in Specifica- tions, Nos. 79, 80, &c. 630. The Voix Celeste was first employed in England in the Panopticon and Glasgow organs. 531. Stopped Diapason. The Stopped Diapason is an 8-feet sounding Stop on the Manual, and 1 6 on the Pedal. It is the most important member of the Covered- work, — its sound being in unison with that of the Open Diapason. 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 i , and of deal below, as at Christ Church, Spitalfields. More frequently, how- ever, it is of wood throughout. The different materials slightly modify the tone ; which may, in general terms, be described as being fluty and mellow. 532. On the Pedal, the Stopped Diapason is generally made of wood. Its tone adds a quiet solidity to that of the Pedal Open Diapason. 533. 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 very agreeable, reedy quality. It is of 8 or 4 feet tone on the Manual. A Stop of this kind, labelled Flute, occurs on the Great Manual of an organ at Cheetham Hill, built by Elliott, in 1811. I 2 IK) CHAPTER XXII. 534. Clarabella. The modern Stop thus called, which was invented by 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 other- wise than as an Incomplete stop ; its compass generally only extending to middle c\ or, at most, to tenor c. A complete one, however, occurs in the Swell of the Bruns- wick Chapel organ, Leeds, by Booth of Wakefield. 535. The English Clarabella much resembles the German " Hohl-flote" in character of tone, except that its sound is scarcely so strong or so full. 636. 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 specimen, however, exists in the organ at St. Stephen's Church, Westminster, made by Hill. 537- Viol di Gamba, or Gamba. This is one of the most highly esteemed and most frequently disposed Stops in continental organs ; as may be gathered fi'om reference to the Foreign Specifications in the Appendix. The German Gamba is usually composed of cylindrical pipes, of small scale, well cut up; though, occasionally, it is formed of conical pipes. In England, the Viol di Gamba was, until very recently, made exclusively of the conical shape, surmounted by a bell, as represented in fig. 76, page 79 ; and which kind of pipe was first introduced by Mr. Hill. 538. 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 Exchange organ, at Northamp- ton, and in the organ at the Temple Church, the latter specimen descending to C C. 539. 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 cut- ting, but of slower intonation (imitating the bite of the bow on the string), hence the latter has the Stopped Diapason always 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. 640. 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 Dul- ciana, the pecuharity 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 and Davison, and used by them for the first time in the organ at St. Paul's Church, Knightsbridge, built in 1843. 541. Hold-flute (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. 542. 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; both of which, however, have long since disappeared. That introduced 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 ; i. e. larger than NAMES OF ORGAN STOPS. 117 the Open Diapason, producing ii powerliil uiid thick, or, as the name distinctly inti- mates, a Iiollotc tone. There is a Ilohl-Hute in tiie organ erected l)y Schulze, in 186 L, in the Exchange at Northampton, of wood, and having tiie moutii on the broad side of the pipe. 54.*]. Ge'Hien Principal (Violin Diapason) is a manual stop of 8 feet, producing a pungent tone, very like that of the (Jamba, except that the pipes, being of larger scale, speak quicker and produce a fuller tone. The Stop is not much known in England — two specimens, of 8 and 4 feet, however, occurring on the Choir manual in the Exchange organ at Northampton. 544. Salicional, or Salicet. 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 hddle g, Geigen Principal, tenor d sharp, Gamba, and tenor c sharp, — of the Salicional, are all of the same diameter as the middle c^ of the Open Diapason; i. e. 1-^- in. 546. All the alsove-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 slow- est, but the most penetrating ; the Open, the quickest and fullest. 54G. Fifth — Qnint. Double Twelfth — Diapente. The Fifth is the longest mu- tation 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 and Davison, and in St. Margaret's Church, Gotha, built by Schulze — when it belongs to the Covered- work (Gedact-Quint : see Foreign Specifications, Nos. 6, 43, &c.). 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 Specifications, Nos. 1, 52, 63, 65, 71, 83, &c.). The greatest size of the Quint is usually 5|-feet on the Manual, and 10|-feet tone on the Pedal. In the Cathedral organ, how- ever, at Bremen, built by Schulze, is a " Quinten-Bass" of 21J-feet tone, of stopped wood pipes. (See Appendix, No. 64.) 647. 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, 10|- feet tone, was first introduced into this country by Robson, in the organ at Hudders- field, built in 1850. A second S})ecimen was introduced by Kirtland and Jardine, with excellent effect, into their organ in Holy Trinity Church, Manchester, made in 1852. 548. Principal Octave. A 4-feet Stop on the Manual, and 8 feet on the Pedal. 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, the Chapel Royal, St. James's, &c. ; the second one is then more correctly 118 CHAPTER XXII. an open wood Flute of 4-feet. At St. Sepulchre's ; St. Giles's, Camberwell ; Christ Church, Spitalfields ; &c. botli 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 apj)ropriate octave. 540. 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 Ro- chester and Salisbury Cathedrals, Greenwich Hospital, &c. 550. 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 Choir 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 wholly or partially, and the other of wood, the different materials being used as an auxiliary to secure an indi- viduality in the character of the tone of each. The majority of the modem Flute Stops are of wood, and open ; and hence are 4-feet Stops, as those already noticed are of 4-feet tone. 551. 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. 552. As a Pedal stop, the Flute has not as yet been much used in this country, although it is of the greatest utihty. A Bass Flute Stop occurs in the organ at St. Mark's, Hamilton Terrace, Regent's Park, built by Gray, in 1847. 553. Spitz-flute (literally, pointed or spire-flute). This Stop is found of 8, 4, and 2 feet length in German organs. (See Foreign -Specifications, Nos. 49, 75, &c.) In England, it has hitherto been made chiefly as a 4-feet Stop ; i. e. of principal pitch, as in the Choir Organ at the Temple Church. The pipes of the Spitz-flute ai-e slightly conical, being about \ narrower at top than at the mouth, and the tone is therefore rather softer than that of the cylindrical stop, but of very pleasing quality. 654. Gemshorn. The Gemshorn is a member of the Flute-work, and is met with of 8, 4, or 2 feet length in continental organs. (See Appendix, Nos. 3, 5, &c.). A Stop of this kind, of 4 feet, occurs on the Choir Manuals of the organs at the Pan- opticon, and at the Wesleyan Chapel, Poplar, built by Mr. Hill ; and of 2 feet in the Choir organ at the Temple Church. The pipes of this Stop are only I the dia- meter at the top that they are at the mouth ; and the tone is consequently light, but very clear and travelling. 565. Nason. This name is sometimes found appUed in old organs to awood-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 very quiet and sweet- toned Stop, producing a most lovely effect when combined with the Diapasons. 55G. Wald-flute (Wood or Forest-flute). Tlie name given in England to a Manual Stop of 4 feet, formed of open wood pipes of a large scale, with inverted NAMES OK ORdAN STOPS. Ill) mouths. It is a (iilI-toiiL'd ami iiowiTilil speaking Stoj), and, in all essential parti- culars, may bu considered as an octave Ciarabella. It seldom ranges lower tiian tenor c. Mr. Hill lirst used it in the Cheethani Hill organ, Manchester, built by him in 1841. The English Wald-flute is a distinct Stop to 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. 557. Clear-flute. An open wood flute of 4 feet, invented by the firm of Kirt- land and Jardine, of Manchester. It resembles the Wald-tlute so far, that the pipes have the inward-bevelled mouth ; but, in addition to this, they have also the bevelled block, shown in fig. 94, page DO ; are copiously winded, have no nicking, and are more nearly square in shape. The tone is exceedingly firm, cleai", and full. 558. Oboe-flute. Another 4-feet Manual Stop, composed of wood pipes of small scale. Its usual range is to tenor c. The tone of the Oboe-flute is very delicate and reedy, and not so strong as that of the Viol di Gamba. 559. Suabe-flate. Also a tenor c Manual Stop of 4 feet, formed of wood pi])es, 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. 560. Celestina. A 4-feet Manual Stop, formed of open wood pipes, of small scale, producing a very delicate and subdued tone. It is not often met with. Its usual place is in the Swell organ ; as at Christ's Hospital, and the Chapel Royal, St. James's. 5G1. Tenth — Double Tierce — Decima. This is an open metal cylindrical Stop, of 3|-feet length on the Manual, and 6f-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- sons ; all numerical names giving the altitude of the sound above that of the unison Stops. 5G2. Twelfth — Duoilecima. An open metal stop, of 2§ feet on the Manual, and 5 1 feet on the Pedal, belonging to the Diapason-work. Its pitch is a perfect fifth above the Principal, or a twelfth above the Diapasons. 503. 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 Fif- teenths on one Manual, the second is made of wood, as at the Chapel Royal, St. James's, forming, in fact, a Piccolo ; at Christ Church, Spitalfields, both the Fifteenths on the Great Manual are of metal. 5G4. 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 })ipe measuring very nearly 44^ inches in diameter, the measure of the 4-feet pipe of the Open Diapason being about 3 j inches. The tone of the Block-flute is very full and broad. 565. The Block-flute was a favorite Stop with Father Smith, who inti-oJuced it 120 CHAPTER XXII. into tlie Durham and St. Paul's Cathedral organs. The former specimen has disap- peared ; the latter still remains, under tlie name " Large Fifteenth." 560. 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 witli 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. 5G7. 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. 668. 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 Dia- pasons. The Tierce frequently constitutes one of the ranks of the Sesquialtera, 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. 569. Larigot — Nineteenth — Octaee-Tmelfth. This also is a small metal Mu- tation-stop, of 1^ 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. 570. Octave-fifteenth — Tit-enty 'SCCond. A small open metal Stop, of 1 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 specification for the old organ at York Minster, built by Dallam, in 1633. 571. Doublette. The French name for the Fifteenth; but in England applied, of late years, to a two-rank Foundation-stop, sounding a fifteenth and twenty-second above the unison, the two sounds being an octave apart. Compound Stops. 672. Sesquialtera. This Compound-stop is composed of either 5,4, 3, or 2 ranks of open metal pipes, tuned in thirds, fifths, and octaves to the Diapa- sons. The altitude of the several sounds of a 5 -rank Sesquialtera above the unison pitch, would, under ordinary circumstances, be, in the bass, a 17th (3), 19th (5), 22nd (8), 26th (5), and 29th (8), from the ground tone. Where, however, there is a separate Tierce, it is not usual to include a duplicate of that rank in the Sesqui- altera, 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, 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), I7th (3), 19th (5), and 22nd (8), as at St. Mary's, Nottingham (Snetzler), and at St. Botolph's, Aldgate. Sometimes it con- NAMES OF ORQAN STOPS. 121 sists of a 1 7tli (n), 1 9th (5), 22nd (8), and 24th (3) (Tierce and octave Tierce), as ut St. Magnus, London Bridge. Tiiis again, and indeed all Sesquialtcras, however numerous or lew 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 occur- rence, or not, of other Compound-stops on the same Manual. 573. As the pipes of the SesquiaUera would become exceedingly small, keen, and prominent in the treble, and, moreover, their presence is not demanded by the acousticid phenomenon on which the introduction of the Compound-stops is founded, as is fully explained in a succeeding chapter — the smaller ranks are usually discon- tinued from middle c ^ , or c ^ sharp, at their original altitude of pitch above the Dia- pason, and larger pipes, sounding an octave lower, are substituted. In this manner the Twenty-second or Octave-fitteenth, the smallest rank in a Sesquialtera of 3 ranks, is turned into a Fifteenth, and the Nineteenth, or Larigot, into a Twelfth. The Tierce is usually allowed to remain unbroken throughout the Manual. 57-1:. In consequence of these " breaks," as they are termed, there are then of course two Twelfths and two Fifteenths in the treble. All such duphcate ranks are, in England, usually made to a different scale. 575. The German Sesquialtera, when of 2 ranks, is composed of a Twelfth and Tierce, sounding a major sixth. 576. 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 Sesquialtera, particularly where the last- mentioned Stop is not very numerously ranked, and has nothing higher than a 22nd. 577. 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 J 9th (5) and 22nd (8) at middle c^, or middle c^ sharp ; i.e. on the same key where the Sesquialtera breaks into a 12th, 15th, and I7th. In some Mixtures the breaks occur sooner ; for in- stance, in Smith's, at the Temple Church, the Mixture breaks into a 19th (5) and 22nd (8) at tenor c sharp, and continues of that composition throughout the tenor octave. In some modern examples, on the contrary, both the Sesquialtera and Mix- ture are carried up to the smallest pipe commonly made, namely, f^, occurring on the treble f* key in the Sesquialtera, and on the fi above middle c^ key in the Mixture, before any break is made. 578. The Mixture of 5 ranks occurs the most frequently on such Manuals as 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 Sesquialtera, and closely resembles the Continental Mixture. 579. In Germany, the Mixture is usually the first Compound-stop, as the Ses- quialtera is in England ; and not the second, as we generally make it. Their second Compound-stop is generally either a Scharf (sharp) or Cymbel. 580. On the Great Manual of the organ in the Town Hall at Birmingham, is a 5 -rank Mixture, besides a Sesquialtera and Furniture of the same number of ranks. 581. Furniture. This Compound-stop consists of from 5 to 2 sets of small open metal pipes, the number of ranks, as well as the intervals they sound above the unison Stops, varying with circumstances. Where there is a Sesquialtera and Mixture on 122 CHAPTER XXII. the same Manual, the Furniture is sometimes above both ; as at St. Giles's, Camber- well. For instance, if it be of 2 ranks, they will probably be a 33rd (5) and a 36th (8) above the unison ; i. e. a 5th and 8th above the (usual) upper rank of the Mix- ture ; but the ranks will break in every octave, on account of even its longest pipes being but very small. In other examples, the Furniture is nearly identical in com- position with the usual 3-rank Sesquialtera ; as at St. Sepulchre's, and at the Panop- ticon. In many organs the Furniture appears as the second Compound-stop ; as at St. Leonard's, Shoreditch, &c. ; in which case it is nearly, if not quite, identical with the usual Mixture. 582. The Furniture, farther, appears occasionally on the Choir organ; as at St. Margaret's, Westminster ; Croydon Church, &c. where it is capable of great effect. 583. Cornet. This name is applied to several distinct kinds of Stops. 584. The Mounted Cornet is a Compound- stop, consisting usually of 5 ranks of pipes, made to a very large scale, and voiced very loudly. It is only a treble stop in English organs, ranging from middle c^ upwards ; but in German examples, its usual compass is to tenor c. The Mounted Cornet is composed of a Stopped (or sometimes an Open) Diapason, a Principal, Twelfth, Fifteenth, and a Tierce. The pipes are planted on a small sound-board of their own, raised some 8 or 4 feet above that of the Great Organ — hence its name, — and the wind is conducted from the Great Organ sound-board up to that of the Mounted Cornet through metal tubes. The Mounted Cornet is almost entirely confined to old organs ; and from many of these it has been removed. It was chiefly used for playing out the melody of the Corales upon, and for the performance of a now obsolete kind of voluntary, and is but seldom introduced into modern English organs, as its place, for all useful purposes, is well supplied by other Stops. 585. Echo-Cornet. This variety is also a Compound-stop, and is sometimes mounted. It is composed of the same number of ranks of pipes as the Mounted Comet, and usually, though not always, of pipes of the same pitch, but of Dulciana scale. This Stop frequently extends to tenor c. Its usual situation is in the Swell, as at St. Peter's, Cornhill ; its tone, besides being in itself light and delicate, being farther subdued by being enclosed within a box. 586. The name of Cornet is often found apphed to the Compound-stop so fre- quently met with in the short Swells of the last century. It is generally of 3 ranks, 12th, 15th, and 17th ; though, where there is no separate Principal, as at St. George's, Ratclift' Highway, that Stop is usually incorporated with it, which then of course con- tains 4 ranks. 587. In small organs, the Sesquialtera is not uncommonly made to " draw in halves;" the treble of which is then often labelled " Cornet." 588. The name is, in German organs, further apphed to a small Pedal Reed- stop, of 4 and 2 feet. (See Foreign Specifications, Nos. 4, 6, 7, 10, 50, &c.) Reed-stops. 589. Double Trumpet. This is a Manual Stop of 1 6 feet, with pipes either of metal throughout, as at the late St. George's, Doncaster, and at All Saints, Northampton ; or having the tubes to the lowest octave of wood, as at Ashton-under-line. Sometimes the pipes of the lowest octave are omitted ; in which case the Stop is frequently called " Tenoroon Trumpet." Its tone is weaker — NAMES OF OROAN-STOPS. though only slightly so — than the Unison Trumpet, to which it of course sounds the octave below. .'iOO. Doable Bassoon. Contra Fa- go ::22i O I > CO O ^ cSi '-^ Z o "= m ftOg'-' g-" goo 5 rank Mixture. Pedal. The sound of the 32-feet C is an octave below the first note above written. CHAPTER XXIII. THE ORIGIN AND NECESSITY OF FOUNDATION, MUTATION, AND COMPOUND STOPS. The introduction of 608. The preceding Chapter presents a list of all the dif- fonnded on a pheno- ferent organ Stops ordinarily found in English organs, with their mcnoa in nature. sizes 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 irrecon- cilable with them for any musical purpose. For example, if the 3 -part chord of c ! — be struck, with the Open Diapason drawn, the true sounds will be heard ; So that, in fact, we find the following apparently opposed sounds ; namely, c, e, g — g^, bi, d^ — e2, g2 sharp, b^ — concentrated on the same three keys. 609. 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, by which substitution the dissonance will appear to be still more egregious. 610. 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 suggested, arises fi-om the peculiar manner of using them, which is not in accordance with the generally received me- thod. The object, however, was simply to show that such combinations of sounds exist in organs : it has now to be explained how it is they are found there, and why it is they sound so well there, when well balanced and properly tuned. 611. 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 ground-tone. 612. A deep-toned string is best to select, in order to obtain a favorable illustra- tion of this experiment ; because the higher the fundamental sound is, the quicker but if the Twelfth be substituted, the chord of sounded ; or, if the Tierce be drawn, then the chord of e^ major FOUNDATION, MUTATION, AND COMPOUND STOPS. 127 will the harmonics follow eacli other, and consequently the less audible will th(>y he — particularly the higlior ones. (>i;i. These concomitant sounds are what are called the harmonic sounds-; and they stand, in relation to the principal or ground-tone, in the following ratios : Fundamental or Ilarmouic aownds. Ground-tone. ^ ^ ^ Some of the smaller harmonics, as being of no importance here, are not noted down. (>14. 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 sug- gested by nature. In fact, they, and indeed the sounds of all the smaller Foundation, Mutation, and Compound Stops, are introduced to corroborate Nature's dictates, and to reduce into the form primary sounds what she indicates in the shape of harmonic sounds. fil5. 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. 6 This unity of effect, and due subordination of the ]\Iutation-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 lengths. How the sizes of the 6 17. We have now to ascertain what those rightly decreas- ratino- arc deduced ^"g lengths are, and to what Stops those lengths direct us, as being and fixed. 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. G18. 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 tvuclfth 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. 619. According to this scale, the fixed length of the harmonic series of Stops should be \, \, \, \, \, and \ the length of the Chief Foundation or Ground-sto]), 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 (|), 2| feet (i), 2 feet (i). If foot (i), 1^ foot (i), and 1 foot (f). G20. Or if a 16-feet Stop be taken for the foundation, as would be the case for 128 CHAPTER XXIII. the Pedal, the length of the harmonic series would be 8 feet (A), 5^ feet (i), 4 feet (I), 3 1 feet Q), 2| feet (},). and 2 feet (J). G21. 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 are found to single out the identical Stops fi-om 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 Mixtm-e of three ranks. 1^ P 5s ^ £ .Sri Comparative length of Organ Stops. S^S =2 « c2 .2 go * 9-— =— — ^ ~4 # :&c. -s>- series of Harmo- nic sounds. Division of the string. t a 3 4 5 622. In the above talsle, 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 fi-om 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 623. We are thus made sensible of the advantage and im- Stops on the knobs, portance 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 not ; 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 excep- 624. It should not be omitted to be noticed, that some takenTo™ e'rtain theorists take exception to some of the Harmonic-corroborating organ-stops. 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 ; 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. 625. The rules of musical composition, however, are scarcely 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 FOUNDATION, MUTATION, AND COMPOUNI) STOPS. 129 soon evidenced on an organ that contains them ; though it will be necessary to proceed inversely. It may ho ascertained thus: first draw all the open Flue-work; if the Twelfth, the "consecutive fifth" Stop, be shut in, there is then Tiothing to break the bare octave-work from the Diapason, till you come to the Mutation-ranks 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 Foundation-ranks, to bind the whole together, are silenced. Next shut in all the "consecutive octave" Stops upwards, and tlie 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. 626. The laws of musical progression, and the phenomenon of harmonic attend- ant 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 Compound-stops drawn, first a series of single notes, and then the same succession in fifths, when the differ- ence between harmonic attendant sounds, and harmonic progressional sounds, must at once become apparent. K CHAPTER XXIV. PAiVnCUI.ARS CONCERNINO THE SCALE AND TIIK KALANCINd OF ORGAN STOPS. •Tlie comparative G27. It was stated in the preceding chapter that the sounds aii'd mutation stops, Mutation-stops and ranks of pipes are kept in a and ranks of pipes. certain degree of subordination ; and various means were men- tioned by which this end is attained. In German organs, where the 8 and 4 feet Flue- Stops are generally more numerous than in English instruments, to their great im- provement, and where Double Stops are such common as well as excellent features, the Mutation-stops are made to as large a scale as the Foundation ; the predominance of the latter being secured by their greater number. Great breadth, as well as ful- ness of tone, is obtained by these means. G28. The old English builders made very little variation in the scale of the dif- ferent Stops, but kept to nearly the same measure through them all. This accounts for the remarkably fiill as well as brilliant tone of the chorus-work of the best of their organs. This ringing, cheerful quality, 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 modern views, — or the pipes were not sufficiently blown ; consequently, the tone of the small Stops and Mixtures became thick, or, as it is tech- nically called, " horny." On the other hand, when the scales run too small, the tone indeed becomes bright, but without sufficient fulness ; " sharp," as the Germans have it. 029. Father Smith made his Principal, Twelfth, and Fifteenth one pipe smaller than his Open Diapason ; and the several ranks of his Mixtures tico pipes smaller ; so that the Twelfth was 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 ranks 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 occasionally lacking sufficient body, firmness and depth of tone, consequent on the smallness of the number of Unison and Octave Stops, and the entire absence of Double Manual Stops. As this circumstance involves a matter of some moment, where the renova- tion and enlargement of an old organ is concerned, it may be briefly discussed here. 030. Much pains was taken by the writer, while abroad, to test several Con- tinental organs, with precisely the same Stops drawn that are usually found in old English organs, and the experiments were invariably attended with the same effect as that witnessed from some of the best old instruments of this country, namely, the production of a clear and ringing character of sound, but accompanied by an over- amount of Mixture-tone. It was also observed that, on adding the remaining Stops, PARTICULARS OONOERNINO ORGAN STOPS. 131 tlie accurato l)ulan(e of tone was immediately restored. An inr concert-room organs being all but universally admitted. Ex. I. As writtoii. As sounded on an nnoiiually-tempcrod Ex. 2. S/ii///(' Chant. DtlPUrs Sincjle Chant. Hayes. Mm I I 1=t &- ■&- m I I Ex. 3. Single Chant. Battishill. e>i — 1 c TIIK TRM A M KNT (»F TIIK OHOAN. 147 Ex. (!. Double Clidni. Lord Mornington. 7rS'^,~rt» — — ® rJ- — ■ (^^^ - ° ' - 1 1 f-s^— g-i o ■ iar" — & — 1 — e — L 1 1 a ^ Q — o- I G 1 1 P3 1 j 22 — — & — J T — s::^ e. ■ 1 1 1 1 • ^ 1 ! — © — Ms ..^^ z_ o -frb—r.- . 22 L— © — I — & — 1 o_J c — (a e, J — o g 1 1 1 ^. 1 — o — u ^^^^ Ex. 7. Behold now praise the Lord. Rogers. 148 CHAPTER XXV. TIIK TEMPERAMUNT Ol' TlIK OIIOAN. 149 I'Lx 11. IVii' Father everlasting/. RodEUrt, in )). ^1 -I r T (S*- 150 CHAPTER XXV. Ex. 13. Surely he halh borne our griefs. Handel. It Ex. 14. Surely he hath borne our griefs. Handel. ^ ^ 71 vjl H 1- -,— ^ ^ 1^ ^ I r I 152 CHAPTER XXV. 096. No one who is aware oi' what intervals a common chord is formed would desire to designate tlie strange accumulations of notes occupying the lower lines in the foregomg examples as specimens of " musical composition ;" and it is not easy, therefore, to conceive why the crude sounds which those notes represent should be received as " harmonious combinations," save on the weak ground that the ear has, by long custom, been rendered partially insensible to their harshness. It is certain that nothing half so egregiously bad can be made to emanate from an equally tem- pered organ. 097. Concerning the composition from which the last example given above is taken, Dr. Burney says, in his Musical History, vol. iii, page 008 — " The anthem for three voices, from the eighty-eighth Psalm, is truly pathetic and expressive from the 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." It would seem from this that the learned Doctor was no admirer of what German organ-builders term the barbarous system of tuning. Unequal tempera- 698. The retention of unequal temperament for the tuning scnrcTlmrit preserves organs continues to be occasionally urged in England ; and the a distinct character of second and distinct plea sometimes set up for it is, that it pre- serves the distinctive character of the different scales or keys. The unequal temperament unquestionably renders all the scales either better or worse than the equal, at the same time making some of them so bad as to be unfit for use. None are the same in both temperaments. It, therefore, undoubtedly divides the scales into good and bad, smooth and harsh, bearable and unbearable ; but, beyond this, it does surprisingly little that is advantageous. A few of the commonest scales are by it rendered nearly perfect, consequently but little distinction of chai'acter can exist between them. If there did, then a Service or Anthem, a Psalm Tune or Chant, could not be transposed from one of those good scales into another good scale for the accommodation of voices, as is at present fi-equently done, without \'iolating the character of the keys. Any alteration of character that may be observable, con- sequent on transposition, is chiefly due to the change of pitch — a separate cause of variety in scales that has not always been sufficiently recognised in discussions on this subject. Then with regard to all the other scales, their " distinctive character" arises from their being more or less out of tune. For instance, some of those with flats have, on account of the lessened intervals — extreme thirds instead of perfect fourths, and extreme seconds in place of minor thirds (see examples 0, 10, 13, 14, and 1 6) — a melancholy, tame, and limping character : others with sharps for the sig- nature have, on account of the augmented intervals — diminished fourths for major thirds, &c. (see examples 5 and 12) — an excited, restless, and stilted character: while the extreme keys, which comprise both diminished and augmented inter- vals, are so crude as to be altogether intolerable. See examjjle 12. The "cha- racter of the key," therefore, does not appear nearly so distinctly among the good scales as among the bad ; and as those having the most character are the very ones that are recommended to be avoided — even by those who advocate the system of tuning that produces them, — it is obvious that the preservation of the " character TUK TKMPKltAiMKNT OK TllK OKdAN. I . '■).") of koy" can form no well-grounded argument in favour of ti\e retention of the un- equal system of tomporaniont. Sciiciblor*, speaking historically of the arguments that had been used by the old German theorists, a century ago, in defence of this primitive method of tuning, and which were identical with those put forth for a similixr purpose in England at the present time, says, "Such a modification, or rather corruption of the scales, was called tcmperuynent ; and, strange to say, the old theorists advocated the adoption of such unequally tempered scales, on the plea that the dif- ferent degrees of deviation from the mathematical purity tended to give them a greater characteristic difference of ett'ect, and thereby give a greater power of colouring to the nmsical art : a plea that represented a necessary evil in the colour of a real advant- age and benefit." 009. When even the most sincere supporters of the theory of securing " distinct character of key," by means of the unequal tuning, discovered good reason for dreading its efi'ect when it was secured, the inference was but a natural one that there must have been something inherently defective in that principle of tuning. Indeed, had it been otherwise, tlie most eminent organ-builders, organists, and ma- thematicians, German as well as English, would not for so long a period have directed their attention to devising means for superseding it ; and which some proposed to efiect by means of extra keys ; others by a system of equal temperament. Equal temporamont 700. As much stress, however, is still at times laid on the SMUG gix)uii(ls.°'^ ^'''^^^ unequal temperament effects for agreeable distinc- tion of key, it may not be out of place here to quote what has been advanced on the other side, i. e. in favour of the equal system of tempera- ment. Bombet, in his life of Haydn, pages 98, 99, and 100, has given a list of keys, with observations in reference to this subject, which are here extracted. " F major "1 This key is rich, mild, sober, and contemplative. D minor C Possesses the same quahties, but of a heavier and darker cast : more doleful, solemn, and grand. (x major "| Gay and sprightly. Being the medium key, it is adapted to ^ the greatest range of subjects. E minor ) Persuasive, soft, and tender. A flat major. , , ^ The most lovely of the tribe. Unassuming, gentle, sofl, de- licate, 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 I refined sentiments. Y minor ) Religious, penitential, and gloomy. A major ^ Golden, warm, and sunny. F sharp minor . j Mournfully grand. B flat major. . . "| The least interesting of any. It has not sufficient fire to )■ render it majestic, or grand, and is too dull for song. G minor j Meek and pensive. Replete with melancholy. * Aa Essay on the Theory and Practice of Tuning, by Sehcibler, published by Robert Cocks and Co. page 26. 154 CHAPTER XXV B in sharps. . . Keen and piercing. Seldom used. C major ^ Bold, vigorous, and commanding; suited to the expression of >• war and enterprise. A minor J Plaintive, but not feeble. D flat major. . . Awfully dark. In this remote key, Haydn and Beethoven have written their sublimest thoughts. They never enter it l)ut for tragic purposes. D major ^ 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 the 4th j line. B minor J Bewailing, but in too high a tone to excite commiseration. E Hat major. . . Full, and mellow : sombre, soft, and beautiful. It is a key I in which all musicians delight. Tliough less decided in its ^ character than some of the others, the regularity of its I beauty renders it a universal favourite. C minor J Complaining : having something of the whining cast of B minor. 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." 701. Enough is set forth in the above quotation — even allowing something for over-colouring — to argue a great superiority on the part of the equal tem- perament over the unequal on the question 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 702. But, in truth, it appears doubtful whether the ques- tion^ ^of"^ k;y^ '^ques-' ^^^'^ " character of key" should ever have been .so 7mtc/t mixed tioned. up with that of " temperament" as it has been, since writers are by no means unanimous as to the source of that distinction ; some even going so far as to doubt whether it exists at all, save in education and imagination. Pitct supposed to e.x- 703. In unequally tempered instruments, a distinct cha- ercise an influence in . iiiH -i i cstablishino- the cha- racter 01 key undoubtedly exists ; but it is oi so untuneiul a racter of key. nature, that, instead of proving an udmntac/e, it is a source of pain to sensitive ears, as Dr. Burney has testified in the passage quoted in paragraph G97, page 152. The equal temperament removes the cause of the crude distinction ; but, in doing so, it, in the opinion of some, must also destroy all difference between one key and another. This appears to be only a natural inference ; yet experience shows that on an equally tempered instrument, such as the pianoforte, for instance, a very visible distinction of key does exist. Some would account for this Ity supposing that THE TKMPEllAMENT 01' THE OIKiAN. a sort of unintentional temperament must find admittance ; that the tuner, uncon- sciously, has perhaps a bias in favor of certain keys. Others would attribute the distinc- tion to the influence of a second and independent agency, namely, pitch, or the grave and acute (lualities of sound. As to the manner in which that influence is exercised, they propose to account for it by supposing that, when an author composes a })icce of music, he first determines his key, and then confines his ideas to the proper compass of the voices or instruments 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 ; iff, it would be a whole octave upwards, and half an octave downwards ; if a' Hat, 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 harmonies. 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 vsrritten, 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 con- tinue to exist ; therefore, on an alteration of pitch taking place, such as has actually occurred, by ascent, to the extent of a semitone, 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 ro- 704. The probability is, that neither temperament nor sowees of the musical 7 1,1 u / ^; w c • • • a 1 art capable of givin" piic'h although both capable ot exercismg gi"eat mfluence, have any character to any so much to do with giving " greater power of colouring 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 an 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 Han- del selected the " bold, vigorous, and commanding" 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 peaceful aria, "0 rest in the Lord." If he fixed upon the scale of G minor, "replete with me- lancholy," for his most pathetic second movement in the instrumental introduction to the "Lobgesang," he adopted the same "meek and pensive scale" with equally perfect suc- cess also for twoof his most nvacious "Scherzos," those in the " Ottetto" and the " Mid- summer Night's Dream" music. Weber selected the " avyfully dark and tragic" scale of D flat major for his inspiriting " Invitation to the Dance." But to whatever cir- cumstance, or combination of circumstances, the distinction of scale observable on an 156 CHAPTER XXV. equally tempered pianoforte or organ is to be ascribed, (nic thing is evident; — if the unequal temperament was felt to be insiilJicient for the purposes of church-organ accompaniment in the seventeenth century, as is evidenced by the unwearied at- tempts that were made to (jet rid of it, it cannot be sufficient in the nineteenth, now that the use of a far greater number of scales has become unavoidable, from a variety of causes. Characteristics of 705. We have heard how "out of tune" the unequal equal tompciamont. ^ . , , ., . tunmg makes some oi the scales that are even m constant use ; and we have seen the cause. The equal temperament removes that cause, by, among other things, tempering the sound of all the short keys, so that they will serve either as the flat to the white key to the right, or as the sharp to the white key to the left. Its mfluence 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 peculiar to itself 700. In distributing the wolf equally among all the scales, the major thirds in a few common keys are made rather sharper than in the unequal tem- perament. This — the most grave objection taken to the equal system of tuning — never amounts to a striking defect, while in many instances it necessarily becomes a positive beauty. It is well known that the most perfect organ and instruments in existence, the human voice and the viohn, can produce all the gradations of the en- harmonic 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 the fifth below, f ; 1^ 'BE it follows that its third, e in the above examples, as the leading note of that domi- nant 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 fi-eshness and spirit into the common keys, which according to the old temperament they do not possess ; added to which, they relieve the extreme keys fi-om that undue proportion of the dissonance which renders them scarcely bearable on an unequally tempered organ. Besides this, the equal tem- perament 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 tempered 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 D and E flat, or between G sharp and A ; or such as those between A flat and B flat, or between C sharp and TIIH TEMI'ERAMKNT 01' THE (>K(!AN. D sharp for whole tones; or such as those lietvvcen A Hat and C, or liotwoc'it B ami 1) sliarp llir major thirds. In tliis respect, singers liave fie(|Uontly hecn censured for " singing out ot" tune," when tlie fault has rested solely with the unequal tempera- ment of the organ on which they have been accompanied. 707. 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 re- quired), without distorting the intervals of its melody, or rendering the progress of its harmony crude and exaggerated. In this variable climate, it frequently hapj)ens 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 harshness being imparted to it. In the Ilarmonicon 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 org.an-part of the music performed at the Feast of the Sons of the Clergy was there- fore obliged to be transposed half a note lower than the other parts, for the accom- modation of the organist." It is easy to conceive how horrible several movements in Handel's Dettingen Te Deum must have sounded when thus transposed into D flat, A flat, B flat minor, &c. in consequence of the unequal temperament of the organ. A recurrence of such untuneful missoundlngs in St. Paul's is now perma- nently averted, the instrument in that cathedral having been recently re-tuned on the equal temperament principle, owing to the enlightened views entertained by the present organist, Mr. Goss. And it is worthy of observation, that, at the Bicentenary Festival Meeting of the Sons of the Clergy held in that edifice this year (1854), it was universally remarked " how well in tune the voices were with the organ," the fact being that the organ had never before been in tune with the voices. 708. 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 determined, 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 tempered 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 carefuUy 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 dif- ferent notes in each octave. He continues to press these opinions, not merely be- cause they are his own, but because, in so doing, he is contending for the far higher authority of the judgment and practice of one whom, he trusts, his opponents must venerate and admire — the greatest of all composers for his sacred instrument — Sebastian Bach." CHAPTER XXVI. TTIE TUNING OF THE ORGAN. Laying tbc licarings ; 70S). The first step taken, when tuning an organ, is what influcn^'ce to thi Sto^s technically termed " laying the bearings." This process, after generally. adjusting the starting sound to the pitch of the tuning-fork, con- sists in tuning the remaining eleven sounds of the octave by intervals of third, fourth, fifth, sixth, or octave, up or down as the case may be, and at the same time of mak- ing those intervals " bear" nearer towards or farther fi-om the sounds from which they are being calculated than if they were being tuned absolutely perfect. 710. The following scheme exhibits one of the most approved methods of lay- ing the bearings on the unequal temperament principle : The bound note is in each case supposed to be tuned ; the other is the one to be ad- justed. In laying the bearings, all the thirds, fourths, and sixths, that are tuned upwards, are made a httle sharp, and those that are tuned downwards, rather flat. The fifths, on the contrary, are tuned a shght degree flat upwards, and sharp down- wards. As the tuner proceeds with his work, he occasionally tries the temperament of a note just tuned with some other note previously adjusted, to ascertain whether the bearings are being laid correctly. These references are called trials or proofs, and are made by adding the major third, fourth, or sixth, above or below, to the note just tuned. If the intervals upwards prove to be rather greater than perfect in all cases, except between c sharp and f sharp, which should be rather flat, all is right ; but if otherwise, then some of the previous bearings are not quite correct. The proofs are, in the above scheme, indicated by the initial letter p. 711. In laying the bearings according to the equal temperament system, the tuning is frequently proceeded with by fifths and octaves only, as shown in the fol- lowing example : ; <2 22 -^s, — ■■■ & ^& p a.: 1^ ^ ■&-^ ^ "ST Proof. =#22 Z2 — a 1 — ' 1— - ^ ^ or Ps>- THE TUNING or I'lIK. oUIIAN. 712. The bearings ave laid in and alimit tlic uiiddlc octave and a half of the Stop, as will he perceived on referring t.i the notatidu nf the two last examides ; and the Stop usiudly selected for the puri>ose is the Trincipal, the pitch oi' tliat Stop heing the medium one between the Unison and small Stops. The bearings having been laid, the remiiinder of the Stoj) is tuned in octaves to the ])ipe8 already adjusted. Atler this, the Unison Flue-stops are tuned, and then the smaller Stops ; the Reeds being left till last. The fifth and third-sounding Stops, as also the fiftli and third- sounding ranks of the Compound-stops, are tuned in absolutely perfect thirds and fifths to the Foundation-stops. How the pitch of tho 718. A Latye Open Metal Flue-pipe has its pitch raised I7n^'i cIs tltered" ' by cutting away a ring of the metal from off" the top of the pipe, and is lowered by soldering a ring on. Or the pipe is furnished with a sliding-cap or cylinder, which is slipped up or down, according to whether the pitch of the pipe is to be lowered or raised. Sometimes a large pipe is tuned by a slit made in its back at the upper end. This is particularly the case with Front Pipes. By bending the two edges apart, so as to leave an aperture, the pitch of the 101. 102. pipe is sharpened, and by closing them, it is flattened. 714. A Small Ope7i Metal Flue-pipe is tuned by an instrument constructed for the purpose, that is conical in shape, and called a Tuning -horn. Tuning-horns are of many different sizes, all of which come into requi- sition in the course of " tuning an organ through." The larger ones consist simply of a hollow Cone (fig. 101)> made of brass ; the smaller, of a handle (fig. 102) with a sohd metal Cone at one end (a), and a hollow Cone at the other (b). Through the instrumentality of a Tuning-horn, the top of a pipe may be contracted or expanded ; i. e. its edge may be drawn in or turned out as occasion may require. 715. All the Flue-pipes in an organ are first "cut down" as nearly as possible in tune. If any pipe is still a slight degree too flat, the pointed end of the cone is pressed into the aperture at the top of that pipe, which turns the edge a little outwards, and so slightly raises its pitch. If, on the con- trary, a pipe is a little too sharp, the hollow part of the cone is forced over the top of that pipe, which presses its edge inwards, and thus has the same effect that very slightly lengthening the pipe would. The pipes are therefore first cut down as nearly in tune as may be, and the tuning-horns are then used for their nicest adjustment. 716. A Large Open Wood Flue-pipe is sharpened by cutting the body of the pipe shorter, and flattened by nailing a piece of board as far over the open end of the pipe as is necessary to make it give its true note. 717- A Small Open Wood Flue-pipe has a metal shade fixed into the upper end of the back of the pipe. To flatten the pitch, this shade is bent down over the orifice of the pipe ; to sharpen it, the shade is raised. 160 CHAPTKR XXVI. 718. As the Compound-stops have several pipes to a note, and all 103. these would of course sound at the same time, and he apt to confuse the tuner, a small mop (fig. 103) is thrust into each pipe of the given note, excepting the one about to be tuned, to silence them. Sometimes the various ranks of pipes that form a Compound- stop are governed by as many small sliders, capable of being drawn sejjarately. Where this is the case, mops ai'e not used, as the small special slider to a single rank of pipes can then be drawn without disturbing any of the others. 719. Stopped Metal Pipes, whether entirely or partially closed, are furnished with a cap, and by this they are occasionally tuned. By pres- sing this cap down, the vibrating column of air within the pipe is shortened, and the sound of the pipe is therefore raised, and vice versa. This mode of tuning Metal Stopped Pipes is, however, more prevalent in Germany than in England, in consequence of the Quintaton and some other Stops having fixed ears and beards. In England, Stopped Metal Pipes, which have generally very large ears, are more frequently tuned by those ears. By bending them nearer towards the mouth of the pipe, they lower the pitch ; and by bending them outwards, they, on the contrary, raise it. 710. Stopped Wood Pipes are closed with a stopper, that is forced into the upper end of the pipe ; and in this respect differs fi-om the cap of the Stopped Metal Pipe, which encloses the top of the body. Its influence, however, is the same ; namely, that of sharpening the pitch of the pipe the further it is pressed down, and of flattening it, the more it is drawn upwards. 721. Reed Pipes ave tuned by means of the tuning- wire, on raising which, the vibrating portion of the tongue is lengthened, causing it to give a deeper tone ; and on depressing which, the vibrating portion of the tongue is shortened, and the pitch consequently raised. Thepitoh of the organ 722. The pitch of the organ is affected to a considerable anrcold'm'^Jifferont extent by the altered temperature of the atmosphere at different seasons. The extent seasons of the year. This fact was satisfactorily elucidated by the late Dr. Smith, Master of Trinity College, Cambridge, who has given the results of his experiments, in his work on Harmonics, page 192, 2nd edition : — " I found," he says, " that the particles of air in the cylindrical pipe, called d^, in the middle of the Open Diapason, made 2G2 complete vibrations, or returns to the places they went from, in one second of time. This experiment was made in the month of September, at the time when the thermometer stood at tem- perate, or thereabouts. But, upon a cold day in November, I found, by a like ex- periment, that the same pipe gave but 2.54 complete vibrations in one second ; so that the pitch of its sound was lower than in September by something more than A of a mean tone." 723. "And, upon a pretty hot day in August, I collected, from another experi- ment, that the same pipe gave 208 complete vibrations in a second of time; which shews that its pitch was higher than in November by almost half a mean tone." 724. " By some observations made upon the contraction and expansion of air, from its greatest degi-ee of cold in- our climate to its greatest degree of heat, com- THE TUNING OF THE ORfiAN. Ifil pared with Sir Isaac Newton's theory of the velocity of sounds, I find also that the air in an organ-pipe may vary the number of its vibrations made m n given time in the ratio of 16 to !(!, which answers to the major heniitonc, or about ,"g of the mean tone, and agrees very well with the foregoing experiments." 725. Tiie influence of a change or rise in the temperature on the pitch of an organ, is sometimes rather strikingly illustrated during the evening meeting of large congregations, and also in concert-rooms ; and it is not unfrequently also attended with some temporary inconvenience. On account of the church or room being filled with people, the temperature soon rises ; the atmosphere in and around the pipes of those parts of the organ that are exposed to it undergoing a similar change. The metal pipes themselves also become warm from the heated air coming in contact with them ; some metals and compounds, however, being sooner infiuenccd than others. When the parts of the organ in question are played, supplied as they now are by a warm air, and with their pipes also warm, they are found to sound much sharper than before. The Swell pipes, however, supposing the shutters of the box to have been kept closed, are surrounded by an atmosphere of the original temperature, the heat not having been able to penetrate thi-ough the box ; they, therefore, remain cool ; and the warm air from the bellows as it passes into them becomes chilled and is reduced to its original density ; the consequence being that the Swell, at its unaltered pitch, sounds, perhaps, a quarter of a tone flatter than the Great organ. This non- accordance of pitch is often very detrimental in its effect ; but it can generally be obviated by fixing the Swell open, whenever the organ is not being used during the evening, so as to allow the warm air to reach its pipes, and raise their pitch with the rest of the organ. Care should afterwards be taken to leave the Swell" open all night, that its pipes may cool with the other parts of the organ ; or it may be too sharp when next used. The writer has known a concert-room organ to rise as much as a semitone in pitch in the course of an evening's performance, when the temperature has very much increased. 726. When an organ has been tlu-own much out of tune by a great change of temperature, it will be found that the Flue-stops are not so much at variance among themselves, nor the Reeds, as that one class of Stops has bodily separated from the other. This change is commonly attributed to the Reeds, which are said to have " gone flat," — Reed-pipes being rather proverbial for their instability of pitch ; — but in this instance the alteration appears to rest rather with the Flue- stops. 727. A simple and ready illustration of the influence of heat in raising the pitch of a Flue-pipe may be obtained in the following way. Take out the top pipe of the Dulciana, if it be in tune, and hold its body in the hands until it becomes per- fectly warm, and then return it into its place, and sound it with the Stopped Diapa- son. It will then be found to sound very sharp. This is because the warm pipe raises the temperature of the air as it passes through it. If the two pipes are allowed to continue to sound together, a rapid beat will at first be heard ; but as the current of air gradually cools the pipe, the beats will become slower, until they at last en- tirely disappeai' ; as the pipe, on attaining its first temperature, returns to its original pitch. M 162 CHAPTER XXVI. 728. As to the cause of the change of pitch, from alteration of temperature, some have been inchned to attribute it partly to the expansion of the metal in warm weather, and its contraction in cold ; and partly to the lighter density of the atmos- phere in summer than in winter. Dr. Brewer, in his recently published work on " Sound and its Phenomena," page 255, says, " the reason is, an increase of tem- perature increases the elasticiti/ of the pipes ; in consequence of which, they vibrate somewhat more quickly, and render a higher note." This refers to Flue-pipes. With regard to the tongues of Reed-pipes, which are of brass, as the heat expands them, it would be supposed that they would vibrate slower, and produce a lower sound ; but if their elasticity also is increased, the one influence may to some extent balance the effect of the other. 729. As being connected in some degree with this subject, reference may be made to the cause of the draught that is so generally felt to issue from the region of the keys of an organ. The warmer atmosphere, as it comes in contact with the numerous metal pipes, becomes chilled ; and its density being increased, it descends. In this manner a constant eddy is produced, resulting in the disagreeable effect referred to, and which has been attributed to almost every cause but the right one. 1 CHAl'TER XXVU. THE PITCH TO WHICH AN OKGAN SHOULD BE TUNED. The question a most 7,'50. The question as to the pitch to which an organ should lutcrestiug ono. tuned, introduces to consideration several very interesting particulars. A concert-room organ would, as a matter of course, be tuned up to the present concert-i)itch, in order that it may accord with the orchestral instruments. With regard to church organs, however, this same question cannot be satisfactorily answered in so brief a manner. There are several circumstances which first demand attention, particularly if the establishment of a Choral Service is contemplated. The presumed lower 731. Much has been written, at various times, to show that rio's'^sii^cV^^'' ^^^^ musical pitch has been gradually rising for the last two centuries ; and the opinion has even been expressed, that in Tallis's time it was some two tones lower than it is now. The difficulties in- 7,32. The difficulty, or rather impossibility, has been to theory^^'' ^^^^ reconcile this theory with the notation of the venerable pieces of church harmony of the sixteenth and early part of the seventeenth centuries. All who have been accustomed to assist in the Choral per- formance of the Services and Anthems of the early English Church composers, must have observed that the parts, generally speaking, lie so low for the voices that they can be sung only with some difficulty, even at the present supposed elevation of a major third above the original pitch ; and this circumstance has naturally led to much speculation as to whether they ever could have been sung at a pitch much, if at all, below that in present use. 733. Several different theories have been propounded, with the hope of settling tliis by no means unimportant question. 734. Some have supposed that the range of the human voice must have been lower at that period than it is now ; others, that the composers could not have studied the compass and convenience of the voices for which they wrote; while others main- tain that the compositions in question were not contemplated by their authors to be sung to any definite pitch, but were intended to be transposed, to suit the voices, as occasion might require. All these explanations', however, are accompanied by some circumstance that proves fatal to its unqualified reception. Let us examine them in the order they are above given. SI 2 1G4 CHAPTER XXVII. The compass of th(> 735. It must be needless to insist on the extreme impro- to'have chan<4d''^''^'^' bability of the supposition that nature has found it necessary to revise that which has always been ranked among her most perfect works ; namely, the vocal organ of the human species ; particularly as there exists no real difficulty to render the retention of so unseemly an hypothesis necessary. But were it otherwise, the questionableness of such a theory is soon rendered evident by making an analysis of the music of the period already alluded to. In the Services of Tye, Tallis, Bird, Gibbons, Bevin, Farrant, Hilton, and others, the notation of the treble part in no case ascends higher than d^, the fourth line in the treble ; while in a few instances it descends as low as tenor a, the second line below. The bass constantly ranges down to F F, and sometimes even to E E ; and the inner parts lie proportionably low. The Anthems of the same composers slightly exceed the above upward range in the treble part ; but that only rarely. Now, if the pitc//, at the time alluded to, were some two tones lower than at present, the above writers must have considered the sound corresponding with the modern b^ flat, or b^ natural, the third hne in the treble, as marking the full aver- age upward range of treble voices, and an occasional tenor f, the fourth line in the bass, as not too low for them ; and further, they must have viewed D D flat, and even C C, the second line below the sounds quite within the range of the ordinary bass voices ; — ideas certainly most opposed to our knowledge and experience of the compass and capabihties of the several voices in existence in the present day. But, inasmuch as the theory of the former existence of a complete series of different, that is, deeper voices, rests solely on the presumed lower pitch of the seventeenth century — and this latter point is not yet proved, — acquiescence in it may for the pre- sent be fairly withheld. The old composers 7.3G. With regard to the second suggestion, " that the supposed not to have 1 1 i i ^ v 1 i consulted the conve- composers could not have studied the compass and convenience nience of the voices of the voices for which they wrote ;" the answer to this must they wrote or. depend entirely on the decision arrived at in reference to the former question, and, therefore, may also stand over for a time. The early English 7,37. The third supposition is, " that the compositions in to havrwritteifwUt question were not contemplated by their authors to be sung to out regard to any de- any definite pitch." This, however, does not meet the diffi- finito pitch, culty. Unless the old English treble voices were as deep as the modern counter-tenors, and all the other voices proportionably lower, Tallis, Gib- bons, and the other church composers of the period, must invariably and intentionally have written their music in a pitch in which it could never have been sung, and have thus rendered recourse to transposition not simply a matter of occasional expediency, but one of constant necessity. Nay, more, as their Services, &c. were from the first intended to be accompanied by the organ (the composers themselves, in many cases, taking their seat at the instrument), and as the organs of that day were tuned ac- cording to the unequal temperament ; — as, moreover, the music was always written in the scales that were specially favoured by that temperament, but out of which, according to the above theory, they must uniformly liave been transposed ; — it follows, THE PITCH TO WHICH AN OIKIAN .SHOUI.D HE TUNED. 11)5 if the above hypothesis be correi't, tliat tin; learned composers referred to must liavc avoided usiiiij; the //wx/ keys in perfiirniance, it' not in writing, and preferred the iud. Now, it is not possible that proceedings so needlessly complex and objectionable as those just detailed could have been recognised, still less have received jore/ere«ce, at the hanf\eii, also, the Principal and smaller St()}>s, according to circim\staiices. As a rule, all Keed-stoi)s should have some Unison Flue-stop, or Stops, combined with them, to add body to the penetrative and powerful character of that produced by the Heeds. 771. Clarionet. The best Flue-stop to draw with the Clarionet is the Stopped Diapason ; as this not only mixes well with the former, but does not give more body and thickness to the tone of the Stop than it should have in its imitative capacity, and it is not generally used in any other. This Stop is often used, among other purposes, for playing out the whole or a portion of the melody of a Psalm Tune upon. For an accompaniment thereto the Swell Diapasons and Hautboy answers well, with a couple of soft Stops (16 and 8 feet pitch) for a Pedal Bass. 772. The Ilauthnii, as already intimated, when about to be used as a Solo- stop, will tell best with the Stopped Diapason only added. The instrument itself (Hautboy) is by nature but of thin tone ; hence, to preserve the resemblance between the tone of the original and the prototype, a Flue-stop of light but firm tone is the most a[)propriate to be employed. When used for the purpose of accompaniment to voices, the Hautboy Stop tells best combined with both the Diapasons, and perhaps also, though not always, with the Principal ; which latter Stop will sometimes blend and sometimes not, according to the exact character of the Reed-stop. .773 In blending together some of the smaller Foundation Stops with the Unison, for the purpose of accompaniment, they are generally taken in their regular octave progression. Thus, after the 8-feet Stops are drawn, some of those of 4-feet are next brought on ; and then, if necessary, those of 2-feet ; but not those of 2-feet first, and then others of 4r-feet. The Flute or Principal, or both, according to the strength of the unison tone, therefore follow the Unison Stops ; and then the Piccolo or the Fifleenth, if necessary ; and not tice versa. For particular effects, unusual combinations are made; as, for instance, 16 and 4 feet Stops without any of 8 ; or 8 and 2 feet Stops, omitting those of 4 feet. Such combinations produce the best effect when compounded of members of the covered or Ught-toned Flute-work. The tone of Stops of the Open Diapason species is generally too strong and sonorous for such purposes. On the comlrination 774. By means of an appropriate combination of the Stops productbn''cjf'any''^ which all well- arranged or complete organs contain, any strength required strength of organ-tone may be obtained, fi-om the softest to the loudest. The kinds of Stop arrangement that will produce these several desirable and necessary gradations of sound, may be distinguished by a particular letter or letters, thus: PP, P, MP, MF, F, and FF ; under which heads may be conveniently given such combinations as will produce the strength of tone that the musical meaning of those letters are understood to indicate. 775. PP. For the production of a Pianissimo, a single sofl-toned 8-feet Flue- stop* on the Manual will be sufficient as a Stopped Diapason, Dulciana, or Gamba, * The size of .Stop here spoken of may or may not be its standard size. " When, in organ music, " 8-fcet Fhie Stops" are directed to be used, the expression is understood to mean the combination of all Stops, except the Reeds, that give the 8 -feet sound. This interpretation is always accepted when speaking of the use of the Stop. 174 CHAPTER XXVIir. &c. On the Pedal, its own Bass (1(1 feet) may be drawn, or, if that is not present, some otlicr Stop of an equally subdued tone. It is generally of advantage to add a " helper" (that is, a Stop giving the octave above), to the Pedal : this can either be a soft Pedal Stop of 8 feet, or the Manual Stop coupled to the original Pedal Stop. 77(5. P. for Piano, all the smooth-toned Manual 8-feet Flue-stops. On the Pedal, the corresponding 16-feet Stops should be drawn. The addition of an S-feet Open Stop will in many cases improve the effect of the Pedal ; but, if a Stop of this kind should not exist in that department, one of a similar nature can be borrowed from the second Manual ; or the first Manual may be coupled to the Pedal. 777. M.P. a Mezzo Piano is gained by adding the 4-feet Flue-stops of the Manual (Principal, Flute, &c.) to those ah-eady named ; and those of 8 feet to the Pedal. 778. For the production of a medium strength of tone between the two last- given gradations, combine all the soft 8 and 4 feet Manual Stops, as the Stopped Diapason, Dulciana, and Flute. These, together, possess more brightness, but less fulness than the former, and less roundness than the latter. 779. M.F. A Mezzo Forte is produced by adding the 2 1 -feet and 2 -feet Stops (Twelfth, Fifteenth, &c.) on the Manual, to those of 8 and 4 feet, and those of 5^ and 4 feet to the Pedal. 780. F. For a Forte, the collected Compound-stops may be brought into play. When a medium between the two last -mentioned gradations is requu-ed, only one Compound-stop need be dravm. 781. FF. A full chmax is secured by adding the Reed-stops (Trumpet, Clarion, &c.) to the foregoing. 782. A medium may here again be obtained by adding the 8-feet Reed-stop only to the Flue-stop, previously drawn out. 783. The Manual 16-feet Flue-stops {Doubles) have not been specified in any of the above gradations, because it is not so much the nature of such Stops to add power as weight, gravity, and solemnity, to the tone of the other Stops. Their use with or rejection from any particular combination, therefore, does not so properly come under consideration, when the question of strength of tone is being discussed, as when that of character of tone is being treated of. Almost any combination, whether loud or soft, may receive the accession of a 16-feet Stop with advantage, under particular circumstances. Thus, some soft or moderately strong combinations that would perhaps give a tone approaching towards joyfulness, becomes imbued with a more serious character, when a Stop of 16-feet pitch is added thereto, and is there- fore rendered a more fit accompaniment to music of a sad character. ■ A strong combination which possesses the brilliance and point of the Mixture-work, and perhaps also the impressiveness of the Reed-stops, acquires weight and magnificence from 16-feet Manual Stops, particularly if they are accompanied by Double Mutation Stops and a 16-feet Reed-stop. 784. Moreover, the organ should be used in a somewhat different manner when any IG-feet Manual-stops are drawn, otherwise the excellent effects which that class of Stops are especially calculated to produce, will be to some extent obscured. The omission of all " Doubles," as a rule, from the Manuals of English ON TUK (U)UllKCT IISK OK TllK STOPS. organs, until of lato years, rendered it compulsory on organists to invent a sort of substitute for tiieni in c(l\'ci ; for it was found that tlie organ-tone lacked tlie requisite gravity and dignity, however numerous the Unison. Stops might be. Performers on that instruinent, therefore, had to lay aside the purer and more strict style of playing, as being " ineffective," and to fall back upon the system of keeping some eight or nine notes down at a time, to draw from their instruments anything ajjproaclung a broad and massive character of tone. Latterly, the serious omission above adverted to has been supplied, by addition to old organs, and by incorporation with new ones ; and the care already hinted at, as being required in playing on an instrument possessing so valuable an acquisition, consists in not adopting so full a style of playing, when the 10-feet Stops are drawn, as when they are not. The former is viewed as rather a complicated substitute for the latter ; and if both are had recourse to simultaneously, the one is most hkely to destroy the effect of the other. A very charming contrast may, however, frequently be produced by accompanying a Chant or Corale, sometimes in four parts with the Doubles drawn, sometimes in about six without them. 785. It may be mentioned here, that many object to the Doubles being used in accompanying Fugal compositions, particularly at those points where the subject is led off by one of the higher parts. There is much reason in this objection, although it only applies to the precise times specified. The Doubles may, between whiles, be introduced with even greater effect, when the voices are moving in harmonic masses. For the best illustrations of the occasions when the 16 -feet Stops may or may not be used in choral accompaniment, the organ pai't to Israel in Egypt, written by Mendelssohn for the Handel Society, may be consulted with the greatest advantage. 786. When the organ is being used as a solo instrument, i. e. 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 played his Fugues with the Doubles drawn ; therefore, those who would aspire to perform his works after his own manner, can only do so by availing themselves of that dignified class of Stops. As to " the octave below" being discern- ible at the starting of a Fugue, there is no doubt that any moderately educated mu- sical 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 conclusive 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 hun- dred or so, which fact is beyond question, the far greater evil would arise from their exclusion. 787. 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 inesti- mable advantage for all classes of accompaniment, as it enables the performer to in- crease 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 expression to the music, which latter attribute is of such peculiar value, as well as being highly acceptable to those who have true appreciation and sound musical feeling. 176 CHAPTER XXVIII. On the adaptation of 738. In applying the various combinations and resources the organ-tone to the , , , , r- 1 1 • . true purposes of clio- aiready specitied to the purposes 01 choral or congregational ac- ral accompaniment companiment, there are many circumstances to be taken into consideration, and which ought always to influence the selection. 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 impression. 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 applicable 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 orchestral 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 accom- paniment 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 op- portunity of showing his superiority over the mechanical work of a self-acting in- strument. 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 gi'eat 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 suppUcatory ; 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 ap- propriate and inappropriate for all occasions ; and it is, therefore, capable of con- siderably heightening or of injuring the effect, according to whether its powers be rightly directed or not : and an organist who misses their judicious apphcation, 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. 789. 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 very considerably 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 (IN TIIK CiiItKKOT USK OK TIIK Sl'dl'S. 177 to the voices of a full congregation, will ciins(.'((iieiitly be tuo nuu-h when IIktc is hut ii " thin attenilance." Particular care, therefore, should he taken to modify the tone in some way, so that it may not he too strong for a reduced numher 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 accom}ianimont without destroying its spirit and character, is to draw, on the Second or Third Manual, Sto]is of the same size, and perhaps name, that one would us(> 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. 700. 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 ful- filment 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 fi"om the following quotation from the introduction to Schneider's School for the Organ, which well describes what is looked fiir from the Church organs and organists of Germany. " An organ consecrated to the sanctuary and to sacred music, is intended to be sub- servient 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 ele- vation above every thing 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 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 tranquillity 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 sub- lime 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 lofly vaults of the vast Cathedral, support the singing of large congregations, and, by its power, operate upon the religious feelings." DIVISION Yin. THE CAUSE OF MANY OF THE FAULTS WHICH ARISE IN AN ORGAN, TOGETHER WITH THEIR REMEDIES. CHAPTER XXIX. 791 . 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 when he is there. Schneider, in his " Organ School " (page GO, 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 par- ticular 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 ap- pointed 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 de- rangements in tlie mechanism, &c. which are unavoidable in an 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 ac- quainted with the construction of the organ, fulfils that duty to the fullest extent, and, in tliose 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 ui a sound condition, and a more extensive repair be rendered unnecessary for a considerable period. On the contrary, an ignorance of the construction of the organ, and negli- gence in the cjire of tlie instrument, and also with respect to getting small defects TIIK CAUSK (IK KAITI,TS IN AN OIKIAN, AND TUKIR UEMEDIK.S. 17!) remedied, always loads to inevitaltlo and more considi'ralilc (laiua!j;c ; aii • 11 fallino- between the rangement 01 the key movement. Commencing at the keys, ^e:js. 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 800. Another cause of a sticking at the key, is its warp- a key warping. .^^ ^^^^^ excessive heat, which causes it to rub against its THE CAUSK OF FAl LTS l.\ A\ OIKIAN, AND Til 1)1 It K KM K 1)1 KS. liU neighbour, aiui bfciunc fixed, 'I'he eye will easily discuver wliercaliouts the key is out of the parallel, if it is in the tore fiart of the key ; as well as the jjrobaijle [joint of contact. To remedy this, the key has to bo removed from its place, and either scraped, or a tc'vv very fine chips pared off from tlu' ]iart where it touches the next key ; which may be done sufficiently to case the key, without disfigui ing it. To re- move 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 jjo] . Sometimes a sticker will " bind " in the hole in the s ic er iiK iiij,. register through which it should move, Irom 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 802. In a backfall movement, a ciphering will sometimes theTtickerf^'^'^'"'' ° caused by the backfall shooting off the sticker, under the in- fluence of a violent blow on the key, and catching on the top of the sticker-pin. To set this right, it is simply necessary to press the sticker-pin care- fully, but firmly — without, however, bending it — into its place under the drill-hole in the backfall, and lowering the backfall into its right place. On doing this, the key will resume its proper level. Ciphering from grit 803. A ciphering will sometimes be caused by grit, dirt, in the centre-holes ; ,, , , i i ■ i • • , ,i • i i or by a swelling of small wood or metal chips workmg mto the pm-holes oi the movement. some {lart of the movement, or between a square or back - fall and the franie ; which, by preventing the complete action of the movement, will hold the pallet a little way open, and also cause the key to re- main a little way down. By tapping the key rapidly, the fault will frequently correct itself, and save further trouble : if not, it must be sought for through the movement, and removed. Or some part of the movement 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 atmos- phere ; 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 FROM DEFECTS IN THE SOUND-BOAKD. 804. A running. One of the most tiresome and vexatious defects which can occur in an organ is a running ; because the region of the disarrangement is fre- 18-2 CHAPTER XXIX. quently one of the most hidden parts of tlie organ. Its seat is ahvays 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 efiect : but when one or two soft Stops only are drawn, then it frequently becomes painfully so. A running caused by 805. A running may arise from an upper-board not an upper-board being , . , , re- ■ .t i . i ■ v i i_ too loose. being screwed down suthciently ; which is soon remedied by tightening 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, ante, page 42, and the secondary sound is the half tone above or below the tone sounded ; or if the pipes are disposed tonally, as in plans 1 and 3, ante, pages 41 and 42, and the unbidden sound is a tone above or below that produced in the usual way ; the defect will, in either case, be trace- able to the above-mentioned cause. A running caused by 80G. Or a sound-board bar has " sprung," i. e. has separating from the become partially separated from the table ; or a small crack table; or by an un- has "started" in the sound-board bar itself, allowing a little sound bar. . , ^ ,i i c • , m ^ Wind to pass through irom one gi'oove into the next, lo stop this, the crevice is well covered with paper, coated and saturated with glue. Some- times, to cure this fault, recourse is had to "bleeding" (see ante, page 34, sec. 145); which, however, is only an objectionable method of hiding the fault. A humming caused 807. A disagreeable humming, not unlike a running in by one slider touch- tc ^ i^i i . . . ,. .,, . , ing and partly draw- errect, although it is not in reahty one, will sometimes be ing a second. caused by one slider rubbing against the next as it is being drawn, and pai'tially 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 aggi'avated 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. TlIK CAUSE OK l-'AUI/rS IN AN (IIUJAN, AND TIIKIll UEMEDIKK. Hi;! A humming oiiusod iUUi. Smiietinifs tin- uiibiildi'ii stiuiiJing of a sccoml \n\n' tooXrproslmfty!' ^^ill arise from tl.e pipes being paci Till- toiu h oi' till' imi- BIO. In wiinn, dry weiitlier, the tducli sometimes becomes nunU too 8lu.ll.,w at j,i,.^iiow," aiid the pullets do not open sufficiently; con- too (loop at otliL'is. sequently tiie pipes sound out of tune, from the inadequate su})j>ly 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 ci})hering, from the keys then pressing against the thumping. board. 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. 817. ]\Iost 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 former 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 facilities, the depth of touch can only be regulated by screwing or unscrewing the button of every key separately, wliich 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 re- gulated, 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 unevonness in the 818. A single key will sometimes be out of the level with tii^e'immutd.'^''^ ° ^^^^ '^^y*- below, without causing a ciphering, the irregularity is most probably caused by the button having slipped, which, in that case, nmst 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 fi-om 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 819. A key that is screwed up rather too high, will fre- causes^th(f speech of quently cause the pallet to open and close slightly and rapidly, the pipes to tremble. admitting a small quantity of wind into the groove by fits and starts, and imparting to the speech of the pipes an efTect 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. A ciphering caused 820. A ciphering is sometimes caused by the spring that by the breaking of a , 1 1 • i i i • , i i , , pedal-spring. should raise a pedal havmg broken, whereby the weight of the pedal-key drags on the movement, and has the same effect 18G CHAPTER XXIX. 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 DRAAV-STOl' ACTION AND SLIDERS. A draw-stop rod will 821. A draw-stop rod will occasionally come out far be- sometimes come out , .. ^ 1 -11 1 . . r 1 .1 . too fir, or go too far yond US proper distance, and will also return too tar, and that in- 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 supphed by a new one. A draw-stop some- 822. Sometimes, on the contrary, a draw-stop is very imes very s i . difficult to 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 shder 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 hberty. On the re-appearance of warm weather, and the subsequent drying, shrinking, and return of the wood-work to its original and precise dimensions, the screws should of course be tightened again. In hot 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 ac- companied 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 atmosjihere have had the effect of disturbing the accurate ad- justment 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- 823. One of the most frequently recurring faults in a tion at the centres. , ,, r ^ ^ ^ ■ n r ii i. 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 OAUSK ()!•' KAULTS IN AN OIKiAN, AND TIII'.IR RKMEDIES. 1!!7 the bellows-handle on its centro, or from ;i similar ruliliing at, tiic junction oi' the pump-rods witii the lover or feeders ; and is removed by simply ajijilying a little grease. A clacking, caused hy 824. 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 tlie bottom-board with an audible blow. To remedy this, new leather valves must be substituted for the noisy old ones. A gasping, from tlic 825. A rushing, gasping sound may occasionally be dis- valves bfuig too few , p i i , i ■ , i /■ , i f • i and small. cerned, as a leeder descends and mhales a iresh supply ot wmd. 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 82(5. In very dry seasons, the contents of the bellows will m hot weather. • i i , i , ■ sometmies be exhausted much sooner than at other times. This is pai'tly 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 together 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. Bellows produce a 827- After damp weather, the bellows will frequently cracking sound after , , , . i i , i , ■ i damp weather. produce a sharp, tearmg sound when they are first blown, particularly if they have not been used for some days. This, however, does not announce any real accident, though its cause might lead to one. In damp weather, the coat of glue with which the inside of the ribs is covered, to close the pores, becomes softened ; which causes the ribs, as they lie together, to adhere slightly. When the bellows are subsequently blown, the ribs are separated, producing at the same time the sound above noticed. Tremulousness, from 828. Sometimes the working of the bellows affects the the length and elasti- i c ,i ■ • i- , , • r • <.,, , city of the column of speech ot the pipes ; i. e. a slight waving or forcing ot the tone ■wind. vvill be heard at the moment the feeders commence and com- plete their operation. This arises from the additional compres- sion which takes place at the moment that the feeder and the surface-weights alter- nately exercise their influence. The feeder, 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 com- mencement and completion of each stroke, which are sometimes communicated to the 188 CHAPTER XXIX. speecli of the pipes, particularly if the wind-trunks 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 unavoidable 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 elastic from the same cause, aided by its lesser length ; consequoitly it is not nearly so liable to communicate every little disturbance at the bellows to the speech of the pipes. Tremulousness, from 820. Sometimes if a chord be held down with the right shortness of supply. j^^nd in the treble, on 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, 830. In some organs it is found that certain Stops sound grooves^and"pallct- sharper and brighter, or stronger, when tried by themselves ; holes. A 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 in- variably 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 Mix- tures fell 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 effectual remedy for this defect is 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 JlaUeni)it] efl'ect caused by the robbing ; and this is why the TFIK CAirsK OK FATl/I'S l\ AN (iRdAN, AM) THKIII RICMKDIKS llt'.> siiKill Stops siiiiiid sluiriHT, and [u'rliaps tremulously, when tried liy thenisclves, at which time tiiey receive their full supply of wind. A hissing, arising 881. Sometimes a hissing or whizzing sound is heard to J ""^ '^"""''^ emanate from some part of the organ. The sound itself is, perhaps, scarcely perceptible, but it arrests the attention by its continuance. The exact where it occurs is frequently difficult to discover. An engineer has an advantage over ai\ organ-builder, under parallel circumstances ; for, in a steam engine, the locality of a slight leakage is immediately made evident by the escaping steam turning to vapour and attracting attention ; whereas no such assist- ance 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 tiame 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. 832. 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 having become loosened, from damp, age, or decay. This is remedied either by glueing the leather down again ; by applying a fresh 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 pull-down has not been per- fectly hoi'izontal, and has worn the hole into an oval shape. FAULTS CONNECTED WITH THE SPEECH OF THE PIPES. Small pipes are fre- 833. It frequently happens, particularly with regard to niulouJ or wcak'^^n small open Flue-pipes, that a pipe will be " off its speech," their speech. i. e. will not sound, or it will sound tremulously, or with less than its proper strength. A most frequent cause of this fault is dust ; a very 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 carefully dust- ing the nicking, and clearing the wind-way with a fine brush. Flue-pipes become 834. Sometimes, however, an irregularity will be caused unequal in their . , n • , i- , c .i • • strength and quality large or small pipes by some disarrangement oi the pipe it- of tone from various self. The upper-lip may be pressed in too tar, or not far enough ; the under-lip may have met with a similar temporary derangement ; 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 foot. Any 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 190 CHAPTER XXIX. discover whicli may be the true cause of the fault in any individual instance, than to correct it when it is found 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 j)osition of the upper-lip in the same direction. A pipe that sounds too weakly, frequently has its jiower increased by the opposite process. A pipe somotimes 8,S.5. A pipe will sometimes "sound its octave;" and from tlie cflects of Stops of small scale, as the Dulciana, are particularly liable to clirt, or over-blowing, such derangement. This may be caused by a little dust having fallen into the wind-way ; or by the pipe having rather too much wind ; or even by simply a change of temperature. All Stops of slow speech — " heavy intonation," as the Germans have it, — as, for instance, the Ger- man 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- 836. Wood-pipes are much influenced by change of tem- chan^oe"of"t«iii3e^ perature. In rainy weather, the damp, by swelling the fibres ture. of the wood, presses and closes the pores ; and, by thus ren- dering 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 fre- quent 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 837- Stopped wood-pipes are in summer, occasionally, b^liearandlw^ght. P^^ ^ut of order by the stopper shrinking and falling into the pipe ; raising the pitch and destroying its quality. The stop- per 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 also arise, if the stopper is not driven in perfectly level, but sideways. TlIK CAUSK OK FAUI/rs IN AN OlUiAN, AND I'llKIR REMEDIES. I»l ll(!C(l-pipcs very sus- !{;(!!. Hcoil-pipos are very delicate in tiieir nature ; and tcmpcratifre^'''^"*^^ '^^^ frequently disarranged by the merest trifles. When it is borne in mind that, even in a large Reed-pipe, it is not the long tube, luit the small tongue that originates the tone, — that the smallest particle of adhesive substance on the tongue will sometimes retard the rate of its vibration, — and that a very small piece of grit on the edge of the mouthpiece is frequently suffi- cient to prevent the tongue striking equally and tridy, — it ceases to be a matter of wonder that a Reed-pipe should here and there so frequently get a little out of tune, or irregular in its tone. Moreover, the slightest shifting of the tongue will prevent its sounding properly. Or, if it should be rather too thick and stiff, or too much curved, it either will not sound at all, or only weakly, as the draught cannot then make it reach, or at any rate strike the mouthpiece with the requisite firmness. On the other hand, if it be too thin, weak, or insufficiently curved, it will strike the mouthpiece too violently and cause a " cackling." A tongue that is too stiff, or stands too far from the mouthpiece at the lower end, is set right by being reduced in thickness, or by having its curvature lessened. A thin or weak tongue cannot be altered for the better, and therefore should be removed and replaced by a stronger one. 839. The above are some of the most usual faults or defects occurring or met with in organs. Their ordinary causes have been specified, to show that the most cai'eful vigilance of the organ-tuner is fi'equently insufficient to prevent their occa- sional or periodical occurrence. The nature of the several faults or defects have been explained, that the organist may be enabled to discover for himself whether they are of a superficial or of a vital character. Their usual remedies have also been given, in order that the organist might, if the derangements are of a superficial and trivial nature, proceed to rectify them himself, if he is quite sure that he is capable of doing so ; or, if they are of a more vital and important nature, that he may at once call the attention of those in authority to them, and obtain from them the necessary permission to procure the assistance of the organ-builder to effect the necessary repairs or im- provements; — for although, as Schneider observes, "the organist is not to be the organ-builder," yet it is peculiarly his duty to act as the protector and conservator of the instrument. SiO. On the same page from which the extract at the commencement of this chapter is taken, and in continuation of it, Schneider proceeds to say — " If the organist conscientiously fulfils his obligation in this respect, as above described, those who have to provide for the keeping in repair of the Church and organ must also do their part ; must take notice immediately of the report of the experienced organist ; and not regard the expense, to have any defect which may be discovered, and which the organist himself cannot rectify, immediately remedied by a competent organ- builder. Unfortunately, this is frequently not the case ; for, as experience everywhere shows, there are few organs in good condition ; and the fault is not always to be at- tributed to the ignorance or the carelessness of the organist, but to the want of atten- tion being paid to his complaints, and the dread of expense on the part of the authorities ; — the organ is rather left to become completely spoiled, than an en- deavour made to remedy, in good time, whatever is capable of lieing remedied." DIVISION IX. SUGGESTIONS FOR THE CONSIDERATION OF THOSE WHO HAVE TO SUPERINTEND THE CONSTRUCTION AND ERECTION OF AN ORGAN. CHAPTER XXX. 841. 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 en- trusted. THE COMPASS OP THE CLAVIERS, AND OP THEIR SEPARATE DIVISIONS OF THE ORGAN. 842. The first subject to be considered, is the compass necessary for the Manuals and Pedals, together with their respective departments of the organ. 848. It is most desirable that patient attention should be devoted to this ques- tion, since every separate compass yet devised has its advocates, even among those whose opinions are entitled to great consideration ; but yet, which same opinions, when compared, are found to be conflicting. As, moreover, what is advanced in favor 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 purest intentions, his eiforts may only end in a perpetuation of the existing confusion. Precedents forn early 844. There are precedents for almost every imaginable va- ClavLr ran^o " ^'^^^Y range, both of Manual as well as Pedal ; and if the selec- tion of the 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 militate 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, there 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 arrangements of the entire instrument. It is very important, then, that the most careful consideration should be given to this sub- SITOGESTIONS KOR TIIK rONSTIirCTION AND ERKCTION OK AN OUOAN. I !)•'$ ject, before proceeding ixuy fiirtlior in Itio work, particularly as, a false step in this direction, once taken, cannot afterwards be retraced. Tho compass of tlio 845. Those who have been much in the custom of visiting luscd'sta'te iu^vldch EngHsli Churcli Organs, and observing their general arrange- tho question is in- ments, nuist have been struck witli the remarkable variation and Uie'^iniportamio ^^^^ exists in the compass of the Manuals and Pedal of differ- of a correct view of cut instruments. A dozen Organs might be visited promis- subject. cuously, witliout any two being found to agree precisely in the above respects. Some have short-octave GG Manuals ; others, GG Manuals with long octaves. Some have Manuals descending a note lower, to FFF ; others, Manuals to CCC ; while a fifth class will have Manual organs of the orthodox CC range. Then of the Pedal : some Organs have an octave of Pedals commencing at GG ; others, an octave and a half beginning on the same note, or perhaps on FFF. Some have two octaves of GG Pedals, while others have from two octaves to two octaves and a half of CCC Pedals. Such is the undecided state into which these divisions of Organ arrangement had fallen in this country, previous to the com- mencement of the now widely-spread desire for its amelioration. IIow the true manual 846. That all the compasses for Manual and Pedal just compass is to be as- ., , , ... ., , .,, certained. ^^^^^ ""^ 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, out of the number, which are of the correct compasses and which are not? 847. 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 and 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 certain result of finding a correct solution to the above problems, are the Choral and Instru- mental 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 performance 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 examination will be attended with the following results. 848. In the selected movements from the works originally written with orchestral accompaniments, such as the solos and choruses in Oratorios, ]\Iasses, &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 0 104 CllAl'Tliil XXX. a deeper-toned instrument ; yet, as it does not give a sound in accordance with the • notes written, but the octave below, as far as its compass permits, its representative is correctly to be found among the unison (16-feet) Flue- work of the Pedal Organ. Again, if the masterly compositions written expressly for the Organ, by Bach, Mendelssohn, Hesse, and others, be consulted, it will be seen that the greatest extent to which the Manual part of those classical works descends, is also CC. The finest and 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 recognize a greater extent of compass downwards than that possessed by the shortest of the various kinds of Manual above mentioned. A few exceptions to this otherwise universally supported fact, may indeed be found in the admirable Organ compositions of the late Samuel Wesley, Thomas Adams, and Dr. Wesley of Winchester ; yet these examples would scarcely be deemed suffi- cient to outweigh the united authority established by the voluminous works be- queathed 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 clearly 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 849. Against it, and in favour of a longer compass, it is the CC Manual com- ^. 3 ^- ■ l\ i c ■ pass and in favour of sometmies urged — (Ij that m accompanymg the Choral feervice, a longer range. and more particularly the quieter parts, a soft bass is frequently required (though not written) beloic CC ; (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 shifling 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. 8.50. 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 CC, the Manual sounds must also cease 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. When there are two Manuals, the Great Organ should invariably 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 even the smallest Church Organs of that country (see foreign specifications, Nos. 54, 55, Gl, G2, 87, 102, 104, &c.) ; and it does not follow that, because the Great Manual of an English CC Organ is sometimes made without a Stop of IG-feet size of tone, the inconveniences that must arise from such omission are to be attributed to a principle of Organ-building, from which it is actually a departure. Where a Stop of the kind in question is disposed — and it should never be absent, — 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 SUGGESTIONS I-'Oll THK CONSTRUCTION AND KRECTION ()|.' AN OIUiAN. I !)o seven semitones bci/ond vvluit an old-fashioned GG Manual could produce; so that, even on tiie question of " depth of tone," a CC Manual Organ on the Continental principle has the decided advantiige over a GG Manual Organ on the English principle. Furthermore, the concentration of so many deep sounds on the Manual ohviates the "necessity" for employing the Pedals so constantly, if the })erformer 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 Pedjils 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 wind- trunk valve (Sperventil) to cut off the wind from the Pedal Heeds 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. 851. One 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 ac- companiments, the Second Manual (Swell), on which the quieter parts would fre- quently be played, is always made not only without those very keys, but, in the gi'eat majority of cases, also without the next whole octave above. This important circum- stance much weakens the position, as to the " necessity " for the Manual keys de- scending below CC, to meet the requirements of soft playing. 8.52. Nay, more ; when the Second Manual Organ (Swell) in GG Instruments 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, hi the former case, a shifting 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. 853. The CC is the only Manual range now accepted on the Continent. In Germany, Holland, Belgium, the Netherlands, Switzerland, France, &c. no Organ is ever made to any other compass. The celebrated Organs at Haerlam, Freiburg, Frankfort, Hamburgh, Rotterdam, Dresden, St. Denis, &c. are all CC Manual Organs*. 854. Among the 300 or 400 English Organs that have been either built or remodelled conformably with this range, may be mentioned those at Christ Church, Newgate Street ; St. Paul's, Knightsbridge ; St. Peter's, and St. Michael's, Corn- hill ; St. Michael's, Chester Square ; and St. Giles's, Camberwell. Also those in the Birmingham Town Hall ; All Saints' Church, Northampton ; the Collegiate Institu- tion, Liverpool ; the Parish Church, Ashton-under-line ; &c. * It is worth the mentioning, that the Manuals of Spanish and Italian Organs sometimes descend below CC. Those of the new Organ in the Cathedral at Seville go down to AA ; those of the two Organs in Milan Cathedi-al descend to FFF ; those of the chief Organ at St. Peter's at Home range to CCC, short octaves ; while those of the Organ at St. Alessandro at Milan are of CCC range, and of complete compass. (See accounts of these Organs in the Appendix.) 196 CllAl'TER XXX. Much i-oum, and ii 055. The CC conlpa^ss for a Manual Organ, at the same fumls recjia>cd to'ex- '-hat it is quite satisfactory as to completeness and conve- tend tho coinpuss of nience, is far less costhi than one of longer range ; not that a Manual Or-an be- , u. . 1 i • 1 ■ u low CC. cheapness ought to be made a consideration m any case, where the object is to be devoted to the service of the Church, and where the question should not be " what will do," but lohat is best. Still it does so chance to 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 ob- serving the distinction between what is essential and what is not, are of vital im- portance 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 even altogether excluded, in order to allow of the lengthen- ing out of a Manual Organ. 856. Some idea may be formed 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 GG, will be increased to nearly thirty pounds ; if the FFF and FFF sharp be added, its price will be about forty pounds ; and if its compass be further extended down to the CCC or 16-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 Manual, and this too, without extending its resources as a Manual Organ in any shape or way. The true method of 857- For an illustration of this fact, try two Manual souvci's of a Manual Organs by the same builder, furnished with Stops similar Orgau. in every respect, only that the compass of those of the one shall stop at CC, while those of the other shall extend to GG, or anywhere else. If this or any other chord be struck in j)ure four-part harmony, first on one — 0 — 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 in- creasing 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 their range ; which is like adding a fifth or sixth string to the stringed instruments in a band, with the view to increasing their effi- ciency. 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 mmiber and variety of instruments as SUfiUKSTIONS I'OIl TIIK rONSTIllII'TION ANI> K li KCTIO N (ir AN OltdAN 107 the means of extending the resources of an orchestra. An the capabihties of a hand would be extended, — both in regard to its power of varied coinliination 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 on/i/ by this prhiciple of development. A Manual can but be com]ilete, let its compass be ex- tended below CC 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 were really 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 violin features. In like manner all Church music has to be altered, before any use can be made of the keys below CC as Manual features. How it niiiy bo ascer- 858. The best proofs of there being no legitimate use for tain kcvs are csseiit'ial I*'"? octaves with the hand, are to be gathered from the de- er not as manu;J viations which it is necessary to make from the musical text, in order so to employ them. The keys acting upon these additional 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. 859. Speaking of the superior effect that divided harmony produces upon the Organ, over close harmony, Forkel says, " by this means, a chorus, as it were, of four or five vocal parts, in their whole natural compass, is transferred to the Organ. Let the following chords, in divided harmony, be tried and then compare how the following. more common way of rendering the same, sounds in comparison ; 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 the Organ." (Life of Bach, Boosey's edition, p. 33.) 860. Taking all the foregoing circumstances into consideration, it seems clear that the " long octaves" do not possess any real advantages as Manual keys, to compensate 198 CHAPTER XXX. for their enormous cost. And it is as indisputable that their application to certain de- partments— say the Chief Manuid, or Great Organ — is often the means of excluding many of those which would be 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 sufficient 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 with the object of the present work. The ameliorations 861. If the general arrangements of some modem £400 on"a'^n-en^speci£ca- £500 GG Organs be examined, they will in the majority tion, by regulating of cases be found to be as follows — tlianTn th^ conTtnlc- Compass of Great Organ, GG to f ' in alt, with tion of unessential GG sharp 59 notes. 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 Great Organ, or on the Pedal Pipes, at pleasure. Compass of Pedal-board, GG to Tenor c... 18 notes. Compass of Pedal Pipes, from CCC to CC 13 pipes. 862. From these particulars we perceive that, while the Chief Manual or Great Organ is carried half an octave lower than CC at a considerable cost, the second Manual Organ (Swell) is discontinued a whole octave above that note ; the funds then not admitting of the latter department being made complete ; and the Pedal Organ consists of " half" a Stop. Now it need scarcely be urged that the only correct points 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 one without any bass to it. 863. 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 arrangements, but for which they must not be held responsible, and, for reasons already shown at page 131, 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, par- ticularly 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 remarkable ex- ceptions only to this rule are known to exist. In the generality of instruments 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. 864. 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 im- perfectness 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 GG 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 di- rected ; so that the above plea is hardly admissible under such circumstances, since SllCKJKSTlONS b'Oll TIIK CONSTUUrTlON AND KRIOCTION UK AN ORUAN. I 'JD the lessened range of" that dejiartnieiit can then no longer he attributed to tiic small- ness of the grant, hut to the mode of its outlay. 805. 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 Manvnl 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, however, to advert to the de- rivation of the terms Maiuuil and Pedal (" manus," a hand, and " pes," theybwi) ; when the inaccuracy of bringing on to a Manual certain Pipes designed exclusively for the use of the feet, and distinctly designated " Pedal" Pipes, will become ap- parent. 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 singu- larly inappropriate. Again, in many examples where there are " Double" Pedal Pipes, instead of there behig 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 arc 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. 866. Neither does the Bass octave of the loud or Great Organ form a satisfac- tory continuation to the sofl or Swell Organ ; for the reason that, if the same com- bination 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, fliwer 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 vo- luntaiy, as they must be admitted to be when they appear in conjunction with a GG Great Organ, it is quite another. 867. The next point to be illustrated is the extent to which " long octaves" limit the Specification of the different departments of an Organ. 868. A good average specimen of a GG Great Organ contains the following 10 Stops ; viz. 1 — Open Diapason. 6 — Fifteenth. 2 — Open Diapason. 7 — Sesqui-altera — 3 ranks. 3 — Stopped Diapason. 8 — Mixture — 2 ranks. 4 — Principal. 9 — Trumpet. 5— Twelfth. 10— Clarion. 86'J. By confining the above 10-Stop Great Organ to the C C compass, instead of extending it dovra to GG, the sum so saved would nearly, if not quite, defray the cost of the following Stops ; viz. 1 — Double Stopped Diapason . . 1 G feet tone. 9— Twelfth 2 § feet. 2 — Open Diapason 8 feet. 1 0 — Fifteenth 2 feet. 8 — Open Diapason 8 feet. 11 — Piccolo 2 feet. 4 — Stopped Diapason 8 feet tone. 12 — Sesqui-altera ... .IV ranks. 5 — Dulciana to Tenor c 8 feet. 13 — Mixture Ill ranks. 6— Stopped Fifth 51 feet tone. 14— Trumpet 8 feet. 7 — Principal 4 feet. 15 — Clai'ion 4 feet. 8— Flute 4 feet. 200 CHAVTl'.K XXX. 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 semi- tones ; and the capabilities of the department for varied combination nearly doubled. 870. 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. 4 — Principal. 2 — Open Diapason. 5 — Trumpet. 8 — Stepped Diapason. 6 — Hautboy. 871. Not only could its Specification be made to take the following improved form — 1 — Double Stopped Diapason. .16 feet tone, 5 — Fifteenth 2 feet, 2 — Open Diapason 8 feet, G — Mixture V ranks, 3 — Stopped Diapason 8 feet tone, 7 — ^Trumpet 8 feet, 4 — Principal 4 feet, 8 — Hautboy 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 G to 12, 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 IG-feet octave to the Great Manual Organ. 872. Or again, if the amount saved as above were to be laid out in getting rid 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 providing some- thing more intelligible in their stead, the following Stops could be secured : Pedal Organ, compass C C C to tenor d. 1 — Open Diapason wood .... IG feet. 2 — Stopped Diapason wood .... 1 6 ft. tone. 3 — Trombone wood .... IG feet. 873. 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 them 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 requirements expected of each de- partment, and which, from its well-tested merits, has become the standard principle in nearly all other countries but England ? 874. Or, secondly, if either of the three modifications just suggested on the ori- ginal Specification were to be followed, whether there would not result a much more satisfactory instrument ? 875. It should be remarked that the shortest and least expensive of the various long octave Manual Organs was selected wherewith to draw the foregoing 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 com- pass, had two Manual Organs been taken into account instead of one ; or even one Manual Organ, but having more Stops. SUUGKSTIONS KUU TllK (U)NSTRUCTION AND lUlKCTlON Ol' AN OIKiAN. 2(11 "i'i"]^,''!';'''^ "'"O. Tliere lire otluT grounds yet to bo noticed, on of (iG Mami;il3, uiid i ■ ^ , jigainst CC, consi- winch tlie desn-o tor the perpetuation of elongated Manuals J'^rcd. is founded. }!77. It is urged — (1) 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. 878. That sounds below CC 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 of their introduction does not call for a lengthenimj of the key-hoard. 879. When, for example, such sounds are required, it is very easy to draw the 16-feet Stop alone, when they will be obtained not only to GG, but seven semitones lower. For this method of using 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 IG-feet Stop only ; by which means he drew from his instrument the practical effect of a C C C ]\Ianual, without overturning the theory of Organ-building to obtain it. See the translation of Forkel's " Life of Bach," p. 8G. 880. No rules or specific directions, setting forth the manner of using the extra keys of a GG 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 assistance on the sub- ject ; 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 at- tended with various degrees of success. That the 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. 881. But whatever may be the effects attendant on the lengthening of the Ma- nuals, 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 impossibility 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. 882. The next position, " that the presence of the extra notes on the Manual is essential, that they may serve as Pedal tones," offers anything rather than assistance to the principle of Organ-construction it is intended to support. The anomaly of at- taching to the Manual keys. Pipes that are expressly adapted for the feet, has already been pointed out. The above plea is in favor 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 introduced, 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 Diapasons, they should descend as far as those Diapasons, 202 CHAPTER XXX. namely, to CCC ; if as Octave Stops, only to CC. The GG range is 7 semitones too short for the one purpose, and 5 too long for the other; therefore the peculiar unfit- ness of the notes in question, from BB to GG, for rendering the assistance sought, in a correct and intelligible manner, becomes obvious. 883. In suggesting the adoption of the CC compass for the Manual, it imust not be concluded that the notes below CC are not required anywhere, but simply that they are not required on that Clavier as Manual notes. This leads to the third ob- jection, 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 legi- timate 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 vio- lin, 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 fi'om BB to GG on the Great Organ. It is believed there could be but one opinion as to the most correct course to pursue in regard to the stringed in- struments ; and it would seem surprising there should be a second one against an equally consistent proportioning of the different departments of an Organ. 884. It may be mentioned, by the way, that although the " Viols" of former times had six strings, and the modern violins have but four, yet the latter have always ranked as the more perfect instruments; while the advancement in the com- position of music for string instruments; as well as of the playing on them, date from the time of the general adoption of the instrument having feu'er strings. The pa- rallel holds good, in every respect, in regard to Organs and Organ-playing in England. 885. The advocates for the long and for the short Manuals appear to be agreed on one very important point, namely, that the 16-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. 886. In Germany, also, the CCC or IG-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 j ustly 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 " Principal-irtss 16 feet" on the Pedal ; — to the " Octave 4 feet" on the Manual, an " Octave-4ass 8 feet" on the Pedal ; — to the " Flote 4 feet" on the Manual, a " ¥\oit-bass 8 feet" on the Pedal; — to a " Quint 5^ feet" on the Manual, a " Quinten-ir«,9 of 10| feet" on the Pedal; — and so on. A reference to the German Specifications in the Appendix — taken either SUOUESTIONS b'Oll THE CONSTRUCTION AND KKKCTION OK AN OIUiAN. 20;! from German Organ-books, or copied from the Stop-lubcls themselves — will fully illustrate this fact. How the CC Manual c.onipass was first ex- ceeded. iU!7. The question here suggests itself how the CC com- pass ever came to be exceeded. The Manual range of tlie Organs built innnediately 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 instruments for religious purposes. In pro- ceeding to supply the existing deficiencies, without regarding either of the two systematic causes that were open for adoption, the third and only remaining mode of doing so was by extending the Manual dovrawards. Two notes were therefore added ; one, sounding AA, placed on the CC sharp key ; and the other, giving GG, on an additional key placed next beyond the CC 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 favorable as to the effect, the intermediate semitones from CC to GG were applied (excepting perhaps the GG sharp) ; and thus the GG long octave Manual Organ was formed. Further exten- sions were subsequently made ; first to FFF, then to CCC. 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 GG 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 GGG or even a CCCC Manual, if individual taste should desire it. Such an exten- sion would be but carrying out, to the extent of a second octave, the elongating prin- ciple, which many would advocate to the extent of one octave, and which, moreover, would be equally justifiable on the same ground of individual fancy. 888. That the CC is the only true Manual compass, would not then seem to be so much a matter of individual opinion (as must be the supposition on behalf of any other), as a self-manifesting fact — all Church Music clearly showing it to be so. That it is also the only one that facilitates the perfecting of the range and pro- portionate development of the other departments, by avoiding 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 suggested with confidence for adoption as the best for the Manuals of new Organs. The confusion in the 889. But there is a disadvantage in lengthening out the causcd*^by their elon- Manual Stops that has not as yet been hinted at; and one, gation. moreover, that seems to be always overlooked by the promoters 204 CIIAPTKR XXX. ot long Manuals ; namely, the confusion into which such elongation throws the question of the standard length and the literal 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 ; as, 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 consequence, that many of the lengthened Stops on a GG, FFF, or CCC 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 perplexity. For example — an Open Diapason would be of 8-feet length on a CC Manual. On a FFF Manual, the Quint would be the Stop of that size ; and on one of the CCC compass, the Principal. If, therefore, an 8-feet Stop were really 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 wi'itten ; and in the third, the octave above. Again, in the instance of a GG Organ, the Diapason and Principal (10| and 5^ feet), which should be freely avail- able for the majority of combinations, and understood to be so, are, from their altered size, made to be identical in measurement with the Quints of better- arranged Organs; while the Twelfth and Larigot of a FFF Organ (4 and 2 feet), which require to be used with much care, are by the same process made to correspond in size with the Principal and Fifteenth of a CC Organ, which are scarcely at all restricted iu their use. In fact, the size of the Unison, Octave, and Mutation Stops are mixed, crossed, and inextricably confused together. 890. But it might be suggested, if the confusion of lengths could somehow be got over (which of course it cannot), and the Manuals were to be extended down to CCC, whether then there would not result a satisfactory substitute for a proper Pedal Organ ; and one moreover that would offer great conveniences for the purpose of Duet- playing. In one sense it would ; but at the same time new difficulties would be created. What is required of an efficient Pedal Organ, is not simply a Bass to the Great Manual Stops, neither more nor less ; but a Pedal Bass to as many of the leading Stops of all the Manuals as circumstances will permit ; with the addition of such others as will stamp that department with a character of individuality. All these ends can never be attained by extending the comjiass of the Great Organ even to CCC. 891. 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. 892. Again, if the Manual Unison Stops be increased to the 10-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 chim- neys, which would be destitute of definite tone when made. 893. In suggesting the adojition of the CC compass for the Manual, it will not of course be supposed that discontinuing the Manuals at that key will, alone and of SlKUiESTIONS KOIl TIIK (M)NSTKrCTlON AND l';ilK(."i'l()N OF AN OllUAN. itsL'lf, R'luler an Or<,'iin a better and a nuire perfect iustrinnent. It is notliiiij^ more than one necessary stop towards a successful issue. Two of tlie most prominent faults of the long Manual systems are — they allut too much to certain Manuals, and Uio little to the Pedal; I'otli of which laults requirfi correcting. But if the ](!-feet octave, or even a portion of it, be omitted from the Manual, and uothuii/ be added to the Pedal by way of compensation, then the Organ is letl 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 promoters of the long Manual systems, that " shortening the Manual compass is going back- wards." The minimum number of " Pedal Basses" which a CO Organ should have, is one third as itiany 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 Top- fer, Ki'itzing, Seidel, Schlimbach, &c.) These observations, however, are not intended to qualify in the slightest manner the ample proofs already adduced of the great su- periority of the CO Organ, when consistently carried out. As compared with it, the inferior and patchy Pedal effect of the GG Organ is only equalled by a second un- successful imitation, 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 re- modelled, offer no satisfactory precedents for their adoption in new work. The upward range of 894. 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 continued up to f ' in alt, a' in altissimo, or even to c* in altissimo. This latter range is in some respects desirable for Con- cert-room Organs. CHAPTER XXXI. OF THK PEDALS AND PEDAL OR(3AN ; THEIR GRADUAL INTRODUCTION INTO ENGLAND ; AND THEIR CORRECT COMPASS. 896. 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 in- strument of even moderate pretensions, are even now only just beginning to be adequately valued in this country. Yet, as Forkel observes, in his hfe 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." 896. A few particulars concerning the date, compass, and number of Stops found in some early Continental Pedals, may be of use, as showing at how early a date an independent Pedal was appreciated abroad. NAME OF I'LACE. DATE. NUMHER OF STOPS. COMPASS. NO. IN FOREIGN SPECIFICATIONS. Amiens Cathedral 1429 7 .. . U Constance Cathedral 1518 8 .. CCC to Gamut G 115 Freiburg in Breisgau 1520. ... 4 . .CCC to CC 37 St. Peter's, Hamburgh, earlier than 1548 13, including 2 of 32 feet 69 Rouen 1030 8 . .CCC to tenor c 17 Lucerne Cathedral 1651 .... 13, including 1 of 32 feet, and 5 of 10 feet . . . CCC to tenor c, short . . 114 St. Nicholas, Hamburgh 1686. ... 16, including 2 of 32 feet .... 68 897. As to the precise period when Pedals were introduced into this country, great uncertainty prevails. According to an autograph letter, written by the late Charles Wesley, and now in the possession of Dr. Eimbault, the Savoy Organ, by Snetzler, was the first that had the important adjuncts in question, and which OV TIIK I>KUAI„S AN1> I'lODAI, OIUIAN. 207 tiinncil [liirt of Snetzler's original work. Another iiccount states the Organ in St. Mattlievv's Church, Friday Street, to liavc been the first to have Pedals ; and, fur- ther, that they were of two octaves in conij)ass ; were of" CCC range ; had a complete set of Stopped Diapason Pipes of IC-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 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, afler receiving those additions. 898. Let which of the above accounts be riglit 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 PedaJ compass, the surest course will be to enquire for what end the Pedal is introduced into the Organ ; and take, as a guide, the answer this question will elicit. 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 pai"ts ; to which, it is scarcely necessary to say, his left hand should be chiefly devotedf. 899. 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 made to accord with the incorrect GG Manuals. 900. But as nmsic had to be more or less altered and injured to suit such Pedals, a proper spirit of enquiry was awakened ; the contents of the English and German Sacred musical storehouses were diligently consulted ; and from those un- impeachable 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 CCC, and ascending to Tenor d, e, or f. 901. This CCC scale has accordingly been almost uniformly adopted in England during the last few years. Occasionally only has the old GG range been adhered to. As, however, the latter still finds favor at times, it is necessary to set forth on what * Bach " produced with tlic Pedal, not only the lower notes, or tliose for which common Organists use the little finger of the left hand ; but he played a real Bass melody with his feet." — ForkeVs life oi Bach, p. 33. t The Tenor was formerly the Canto Fermo, Plain-Song, or principal part in a composition, and derived the name of Tenor from tlic Latin word teniio, I hold ; because it held or sustained the air, point, substance, or meaning of the whole Cantus ; and every part superadded to it was considered but as its auxiliary. In TaSis's Responses, the Plain-Song is preserved in tlie Tenor. 208 CHAPTER XXXT. substantial grounds it is considered wholly unsuitable to the present advanced state of Organ-playing in this country. The insufficiency and 902. The first disadvantage attendant on a GG Pedal- incorrectness of GG 1 1 • .1 . 1 i.- r- ii i\/r • -ii. Pedals for practical board, is, that a very large proportion oi the Music written ex- purposes, pressly 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 which descend no lower than GG are precisely in the same imperfect state that a violoncello would be with- out 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 dovmward range. The wrong pitch in 903. In such case, even passages which actually lie within execute on the \la- ^^eir compass are not sounded in the right pitch on the Manual nual Stops such pas- Stops. It is the true nature of a Manual Unison Stop to pro- wUhin then- lange™*^ ^^^^ 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 GG Organs. For instance, if some simple progression, such as the following, H' ^ be played first on the Manual Unison Stops, and then repeated on the Pedals coupled thereto ; instead of the same sounds being produced, we have the following — — ^" -| J — In fact, we find this singular confusion of " size" — -&- and " sound" presented by a GG Open Diapason: — while the Stop itself is of feet standard length, its pitch will be of 8 feet, if played with the hands, and of IG if played with the feet. The impossibility of 904. The second disadvantage attendant on a GG Pedal- CCC*^^ Pi'peJ to'^^^GG board consists in the impossibility of satisfactorily attaching Pedals; and the false thereunto an octave of Pipes having CCC for their lowest sound. P^pes ^sound^'^when "^be Pedals do not extend low enough to admit of the Pipes they are so united. being 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 trans- position, which materially alters their nature. Instead of forming the lowest octave of a 16-feet Stop, they then constitute the upper octave of a 32 -feet Stop, and pro- duce a sound tvi-o octaves lower than the notation, thus — -Q- written ~l q ~^ _ sounded 3 ^ = OF THE PEDALS AND PEDAL OROAN. 20!) 005. The incorrect Manuals suggest wrong Pedals ; and tiio wrong Pedals necessitate a det'ective application of the " CCC Pedal Pijies." The Pi|)(;s being attaciied to tiie Pedals in the maimer just noticed, the remaining half-octave of Pedals (i. e. the five treadles from BB down to GG) are either made to communicate with the same Pipes as their octave above, or they are furnished with Pipes in unison therewith; the result in either case being virtually the same. A " return" or " re- peat" is caused in the series of Pedal sounds, which leads to this singular anomaly, — that the Pipe which produces the Inwe.tt sound is attached to one of the tniddle Pedals, while another that gives one of the medinm sounds is made to act on the lowest Pedal. Tho ^ falsc^jcadiiiKs OQG. The third disadvantage attendant on a GG Pedal- Pipes create. board arises from the compulsory attachment of the CCC 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 Pedal Pipe sys- tem" the two G, G sharp. A, A sharp, and B Pedals are made to produce pre- cisely the same sounds; so that whether the upper half- octave of Pedals be used BE or the lower, or both together. f\. ^ a 11 ^ — -- — : no contrast or rehef of any kind can be gained. The con- — « & — 0 sequence of this identity in the sound produced firom both ends of the GG 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 painful description. A few illus- trations of this fact wdll now be given. 907. The first is taken fi-om the well-known Chorus in HandeVs Messiah, " And with his stripes." The subject, on its first entry in the Bass, stands thus in the score : =1= &c. 908. On " Return Pedal Pipes" it is given in the following form : — -X 3r 3: the subject being, in a musical sense, destroyed by the " return," marked by an asterisk, and a grammatical error of the worst description introduced. 909. The next illustration is the subject of the concluding Chorus in Mozart's Litany : 910. The above — one of the most dignified and pompous subjects ever written -is thus altered by the " Return Pedal Pipes :" &c. CHAPTER XXXI. 911. The reading conveyed of the first five bars of tliis subject, then consists of a tame and monotonous reiteration of a single note. 912. The following few chords exhibit the progress of the harmony in the opening phrase of the introductory symphony to HandeVs Coronation Anthem, " Zadok the Priest :" and the following notes show the very objectional form the resolution of the seventh in the Bass is made to take by the Return Pedal Pipes : 913. The foregoing selections are from works written for Voices and Instru- ments. The two following are subjects from strict Organ compositions. 914. No. 1 is taken from Bach's well-known Fugue on the German Chorale, " Wir fflauben alV au einen Gott" and which stands thus in the composition itself: 915. This is given out in the following form on the Return Pedal Pipes : 916. The next is from Mendelssohn s Fugue in C Minor: 917. The Pedal Pipes give the following version of the above : -m- ' -m- • -•- • 918. It would scarcely be possible to recognize either of the foregoing subjects when played on the Pedal Pipes alone ; for the original order and nature of the in- tervals from note to note are so frequently altered, that but few vestiges of the original progression remain. 919. 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. OF THE PEDxVLS AND PEDAL ORCMN. 211 As given on a Return Pedal Organ : -®- &c. ■s>- Opening subject of the Anthem, "Almighty and everlasting God," by Orlando Gibbons : &c. Subject as given by a Return Pedal Organ : 3: 920. The list of examples of false reading rendered unavoidable by the principle of Organ-construction already adverted to, might be increased ad ivfinitum^ 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 " Double Pedal Pipes" as the first Pedal Stop, not in accordance with the laws of Organ- buildins. 921. But, independently of violating the rules of the Grammar of Music when they are being used, the " Double Pedal Pipes," by their introduction as the first Stop on the Pedal, involve a departure fi-om the very rudiments of Organ- building ; one of which is, that the Unison Stops of each Cla- vier, as being the most important, should be first introduced. Others are, (1) that the sound of the Unison Stops should predominate; and (2) that the first Stops proposed for the Pedal, should 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 16 -feet — are designed to be omitted, and another — the Double — which should be subservient, is to be in- troduced, is self-evident. Moreover, the Specification itself presents great want of unity and clearness of design, when the " Double" is the only Stop proposed for the Pedal, and yet is the Stop that is excluded fi'om perhaps all the Manuals, as is gene- rally the case with GG Organs. 922. 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 16-feet pitch 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 fi-om 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 pro- portion, even if the Diapasons of all three Manuals are coupled together and brought to bear against it. 923. 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. P 2 212 CHAPTEU XXXI. 924. For, in the first place, it is as necessary to have the Bass part of a Com- position 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 instru- ment so defective in the main points we have described, the greater pai't of the Music of the Church can either not be played at all, or without due effect ; as is well known to many Organists whose misfortune it is to have so unequally 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 IManual Diaiiasons, or whether it gives the octave below ; or if it does neither the one nor the other in particular, but partly both. Neither can it be dis- covered whether its Pipes are made of wood, or of metal, or whether they are Open or Stopped. Then of the Scale ; the CCC Pipe will in some instances be scarcely 10 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- 925. Besides the defects above enumerated which they IVdal' Pipes oftou a bring with them, the premature introduction of Double Pedal liiiidraiue to the in- Pipes is an injudicious step on other grounds. They are often troduction of more ^, „ , c ,i important Pedal means 01 preventmg the subsequent mtroduction oi the Stops. more 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 tico 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 judgment into a wrong conclusion. Their tone, standing apart (as it must do under such circum- stances) 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 op- posed 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 OP THE PEDALS ANU PEDAL ORGAN. 213 Music, that a soft Pedal Unison Biiss (tlmt is, one of IG-fcet pitch) is the only ap- propriate Bass, while one of a heavier and deeper tone is quite oj)posed to the pur- pose ; yet when, instead of some of tliese most imjiortant Pedal Stops, there are only the " Double Pedal l'i])es" at connnaml, the Organist has no alternative hut either to use those, in spite of their manill'st inappropriateness, or none at all ; and with the certain prospect of missing the true efiect, do which he may, and perhajjs 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. The arrangements of 92 G. How strongly do the simple, systematic, and most ft CC Or*^'in contrist " »/ \ ' j ' favorablv with those excellent arrangements of the Pedal of a genuine CC Organ of UG compass. contrast with the complicated, faulty, and incomplete attributes of the GG plan — many of the particulars of which have just been detailed ! For instance, on a correctly planned CC Organ, the Bass part of any piece of Church Music can be executed on the Pedals in all its integrity, let the in- strument 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 Facial Un'ison 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 faci- litate, and render comparatively easy, the perfect execution of music of the highest and most difficult class. 927. It should be the aim, then, of those to whom is entrusted the task of de- signing an Organ (if it really be desired that the instrument shall be as applicable and adequate to all its purposes as circumstances will permit, and be worthy of re- cognition 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 attemjits to produce an artistic instru- ment 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 10-feet pitch, be substituted. In Organs even of the most duninutive 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 IG-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 veri/ first, to be proposed. The rules which regulate the admission of these and smaller Pedal Stops is a subject for separate consideration. i)28. 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 tlie Tenor c Pedal. The intermediate Maiiutd notes would of course be at- 214 CHAPTER XXXI. tached to the respectively positioned Pedals*. Thus would be secured the presence and union of the 8 and 1 G feet scales, even in an instrument of the most prescribed limits. * In adding C Podala to a long octave Manual Organ, it would ho necessary — to prevent the notes below CC from becoming useless — to have two Pedal Couplers ; one of the kind above recommended, and another to unite the GG Manual note to the GG Pedal, and so on. In many existing cases, where there are CCC Pedals and GG Manuals, the Pedals from CCC 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. CHAPTER XXXII. THE SITUATION FOR THE ORGAN. 929. The next subject for consideration — the situation for tlie Organ — is of no less importance than those already discussed ; since on it dei)ends, in a great measure, the best effect of the instrument when it is finished. So great an influence, indeed, does this question of position exercise, that an inferior Organ favorably 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 un- favorable situation. Acoustical facts to be 930. Before, however, entering upon the enquiry as to ' which are good situations and which are not, it may not be unimportant to mention certain facts connected with the production and propagation, the absorption and weakening of sound ; as a recollection 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 pro- 931. "When bodies are brought into sudden contact," gated. '^^ P^"!''* gj^yg ^j^g author of the volume entitled ' The ai't 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, it is easy to discover the cause of the excellent musical effect produced by Organs occupying a central position in a building ; as, for instance, the Choir screen of a Cathedral or other large cruciform Church. How brief sounds 932. A sound that is only an instant in duration, does not disperse. 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 21G CHAPTER XXXII. 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 933. A continuous sound, on the contrary, pervades the sounds more com- ^. 1 1 • 1 1 ^ n i 1 f 1 pletely occupy space, entu'e space through which it has travelled ; because fresh sound-waves are constantly being engendered, which succes- 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 7iot 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, how- ever, from the keys, the sound will again be heard fading away. The distribution of a 934. A sound that is produced in such a situation that it sound that cannot , , 1,1 1 , f , ■ , travel backwards. cannot travel backwards, on account ot there being a large re- flecting surface to check its progress in that direction, as in the example of an Organ placed at the west end of a church, spreads somewhat 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 re- flected 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 mterpositions would, in the example of light, only cast shadows. 93.5. An illustration of the fact of sound spreading as it proceeds may easily be found in a galleried Church having the Organ at the west end. The tone of the in- strument is the most completely " caught," 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 little 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 little distance from the instru- ment 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. 936. 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 travel- ling 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 Cathe- dral during the present 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 THE SITUATION KOR TIIK ORdAN. 217 fore- mentioned part of tlie building, the tone of the Choir Organ, as far as the I'rin- cijiul — rellected as above — sounded louder, and afforded more support to tiie vocal Choir, than did the same Stops, with the Twelflh and Fifteenth added — impeded as above — when the singers sat outside the Choir. 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 nmch 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, allow- ing more of the tone of the Choir Organ to travel backwards hito the nave, caused it to appear more " faded" in the Choir. Sound weakened by 937. As the rays of light would become more faint as divergence. ^j^^^ proceed and diverge, so sound becomes weaker the farther it travels and the more it disperses. " Whenever," says Dr. Brewer, in his work on the ' Phenomena of Sound,' " sound can diffuse itself freely round its centre of pro- pagation, it loses in intensiti/ what it gains in extent ;" 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 in- versely 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 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. 938. When the return of the sound is perceptible to the ear, it is termed an echo. A certam 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. Echo, then, is caused by the reflection of sound from distant surfaces. Ecsonance. 939. 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 vi- brations 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 excitation ; 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 strin(jfs vibrated, the sound would be compai'atively insigni- 218 CHAPTER XXXII. ficant ; but when the entire body of the instrument is set in motion, the impulse is sutticient to produce sounds of considerable power. QiO. A sound thus increased and enriched is capable of further augmentation and improvement from resonance, if it is produced under circumstances favorable to the extension of that influence. The tone of a double-bass, for instance, is much in- creased 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 instru- ment 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-) 941. 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 instrument 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 as the sound-post ; and the looodeti 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. 942. The vibratory motion of portions of the framework is sometimes percep- tible 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. 943. 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. 944. 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 instru- ment. 945. 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. 946. 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 beneficial to the quality of their tone, as well as favorable to their distribution. TIIK SITUATION KOR THE OIKIAN. 219 047. Resonance is the ciiuso of the agreeable, pleasant, humming effect which is heard to come from witiiiii the Organ itself In low, broad, galleried buildings, wiiere but little room has been allotted to the Organ, and wiiere 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 frc(iuently 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 separate and isolated sound. Impediments to the 943. The most common impediments to the equal dis- co ual distribution of • <■ ,1 , p r\ ■ ^ ^^ gQ^^(] persion 01 the tone ot 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 otherwise do. Absorbents of sound. 949. The materials and fabrics, common in Churches, that soften and deaden sound, are wool, cloth, hair, tow, mat- ting, &c. " They shut up 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 950. The exclusion of lateral galleries from modern sound'!'^^ avora e to Churches, together with their baize linings ; the introduction of low open seats, in place of high closed pews ; the removal of hassocks in favor of kneeling boards ; and the substitution of JMinton's tiles for mat- ting up the avenues ; are all favorable steps towards the preservation of the acoustical properties of the building. Absorbents some- 951. While the influences of impediments and absorbents subdue excessive generally speaking, highly detrimental in their effect, there 6cho. 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 insufficient 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. At St. Paul's Cathedral, again, at the rehearsal of the music performed this yeai- (1 854) at the festival of the " Society for the Propagation of the Gospel in Foreign Parts," the semiquavers in Handel's Chorus, " Great was the company of the preachers," when played upon the Organ, 220 CIIAPTEll XXXII. ran into each other, and proiluced a confused effect; but it was calculated that the clothing of the vast congregation expected to assemble under the dome, would so far lessen the echo as to render the same passages perfectly distinct, when performed in the Service, and this proved to be the case. Velocity of sound. 952. The average rate at which sound travels in atmo- spheric air, is 1120 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 sis those of the heaviest Bass voice ; and the sounds of the most delicate Dulciana as quickly as the tone of the most ponderous Posaun. 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. 958. 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 cast- ing 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 meeting with an obstruction. When there are no impediments, and but few ab- sorbents in their course, the sound not only reaches farther, but mellows as it pro- gresses : when they meet with many obstructions or absorbing substances, it not only does not reach so far, but its strength is lessened and its quality impoverished. 9.54. The distance to which a sound will travel, depends also on 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 Ophiclides. Grave sounds also appear to travel farther than acute ones ; at any rate the Open Pedal Diapasons of an Organ may be heard at a greater distance outside a Church than the higher Organ-sounds ; and in like manner the tone of the double basses in an orchestra may be distinguished sooner than the 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 955. The apparent strength or weakness of a sound will on thrpositiun™/thc depend on the relative position of the sounding body and tlie auditor, &c. auditor ; that is to say, whether they be near together, 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 htthigs. If the auditor is stationed below the level of the THE SITUATION POK TIIK (HUIAN. 221 sounding body, ho will hear the sounil us it diverges downwards ; if ho is on either side of it, ho 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 impediment to its free progress ; while, on the contrary, if he is stationed at a distance, and tither jiersuus intervene, the sound will reach him in a weakened and iaded form. 95G. When the amount of absorbing substance in a Church is needlessly increased, and the Organ occupies a position unfavorable to the equal distribution 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. <)57. Sound possesses the power of penetrating and passing 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 arrange- ments 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 penetration 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. 9o8. 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 959, The most usual position assigned to the Organ, in tiou for' the Organ. Continental Churches, for at least the last three hundred yeai's, has been the west end. Old examples of west 960. A few examples and dates may be cited, illustrative ncntal Churches. °^ ^^^^ f^^^- '^^^^ Organ in Amiens Cathedral (Foreign Speci- fications, No. 14), which has a IC-feet front, and was com- pleted in 1429, originally stood and still stands at the west end. The Organ in Chartes Cathedral, built in 1513, was first erected over the gi-eat western doorway. In the Cathedral at Constance, in Switzerland, the Organ at the west end was ori- ginally erected in that situation in the year 1518, which date appears on the case of the instrument (see Specifications, No. 115). The Organ at the west end of the nave of the Cathedral at Freiburg, in Breisgau, was built in 1520 (Specifications, No. 87). At Hamburgh, the oldest Organ in the town, previous to the conflagra- tion of 1842 — in St. Peter's Church — stood at the west end, and had a 32 -feet fi-ont. It was not known when or by whom it was originally built; but the last two Llanuals — it had four — were made at Hartzogenbach, 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 Liibeck, in St. ]\Iary's Church, the Great Organ, which has lately been re- 222 CHAPTER XXXII. built, is similarly situated. It is not known when it was originally built, but the Front Choir Organ, which is a .vihsequcnt addition, was made as long ago as the year 1561, which date is ingeniously recorded among the ornamental carving at the top. The 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. 9(51. There are three old west end Organs also still standing in Churches at Liege. That in the Church of St. Denis, which has the Choir Organ in front, bears the date of 1589 carved on the case; — the second, in St. Jaques', also vdth Choir in front, was built in 1600 ; — and the third, in St. Anthony's Church, has the date of 1624 carved and gilt on the case. The merits of the 962. In selecting the west end of the Church as the situ- Mion'^for the Organ, ation for the Organ, the Ecclesiastics, Architects, Organ-builders, considered. 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 or- chestra ; — namely, because the tone could travel " forwards, sideways, upwards, and downwards ;" in fact, could be dispersed throughout the building more equally from that situation than from any other. 963. An orchestra, so placed, has the area of the entire length of the room be- fore 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 Or- gan, similarly situated in a Church, has the area of the entire length of the nave and chancel before it ; into which the sound fi"om the several pipes can travel, and, in an united and mellowed form, reach the ear of the Clergy and congregation. 904. The west end afforded sufficient space to admit of the Organ being erected on an elevated platform or gaUery — as a modern orchestra is elevated above the level of an audience — whereby the resonance was increased, and additional fi-eedom also imparted to the tone. 965. 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 fi'om 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. 906. The west end, at the same time that it admitted of the Organ being suf- ficiently 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 mellowed effect. 967. Had the Organ, however, been placed too near the roof, its tone would have been partially " smothered" in effect, and the instrument itself exposed to con- siderable 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 THE SITUATION FOR THE ORGAN. 223 be unavoidable, as explained in a former chapter (see cmlc, page 100); but such variations would have told with much greater severity, had the Organ l)een ])laced 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, ))y 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 have nevertheless been compelled to become flmiiliar, in consequence of their having to erect so many instruments in " second galleries." 9(58. 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. 0C9. When an Organ-builder is " cramped for room," the meclianism 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 failing 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. 970. 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 onij ; 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. 971. The reasons, musical, acoustical, and structural, in favor of the west end, as an eligible situation for the Organ, therefore were very great. An^ architectural ob- 972. ArckUecturalhj considered, however, it was fre- occupying Vhe west quently open to one great objection. Most Churches had a west window; generally one of the most handsome in the building ; to hide which would have been a serious sacrifice. ]\Iany 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 973. " In the town of Courtray, the Organ, at the col- Continentd cfhurches. legiate Church of Notre Dame, is disposed of in a very singular manner ; it is placed in a gallery at the west end of the build- ing ; 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 commu- nicate 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. 224 CHAPTER XXXII. 974. " Tlie Organ at the Dominicans Church, at Frankfort, has an arch cut through it, to let the hght into the Church from the west window ; it is in a hand- some case, the ornaments over the arch are in a good taste, and the side columns are well disposed. The keys are on the right hand side of the instrument, over which there is a small front ; the compass is from C to C, the pedals have an octave below double C. 975. "In the Cathedral at Passau, which is a very beautiful modern building, 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 co- lumns 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 thirty-two feet Organ. The front pipes are of burnished tin." 976. 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." 977. 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 fi'amework, pillars, base, and ornaments of this instrument, in front, are of white marble." 978. 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 semicircular- headed windows, ranged in two rows, of three each. The Organ at the Minoreten Church, at Cologne, is also pierced with several window-Uke openings, to admit light from the west window into the body of the building. Smith and Harris's 979. When Smith and Harris settled in England, towards gans usually placed ^^e latter part of the seventeenth century, for the purpose of at thu west end. taking part in supplying our Churches with new Organs, in place of those that had been so needlessly destroyed ; they fol- lowed 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 pur- pose 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 Organ is really of CC compass, but having short octaves ; which fact appears to have escaped the Doctor. See Foreign Specifications, No. 107. TIIK SITUATION KOlt TIIIC OHCAN. 22.") the most successful in its treatment being that by Hill, in the Church of the Im- maculate Conception, Farm Street Mews. Thoir Catliodial Or- !)80. The Cathedral Organs built by Harris and Smitii oii'uio"choh^scTC^^^ ^^^^'^ usually placed on the Choir screen. This situation ap- pears to have been selected for two reasons. The instruments 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 gene- rally in such a situation as a knowledge of acoustics prescribed as the best. Harris's proposal for 081. Renatus Harris, indeed, made a proposal, in 1712, gan 'in St. Paul's Ca- ^""^ therefore after the death of Smith, to erect an Organ in St. ttedral. 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, 1712.) Is it possible, as this quotation would imply, that Harris had some partial acquaint- ance 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 Fa- 982. Father Smith had previously erected an Organ on on the "choir screen ^'^^ Choir screen of St. Paul's ; but whether it should occupy of St. Paul's, op- that position or not, had been a subject of warm contention be- Doscd. tween Sir Christopher Wren and the Dean and Chapter of the Cathedral. 983. " 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 build- ing 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 sjwiled 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 ; Q 226 CHAPTER XXXII. 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. Schuiidt 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 exceedingly. 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." 984. In this struggle, Smith evidently vifewed the question musically, while Sir Christopher Wren considered it arcfiitecturally ; and both had reason on 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 ob- jection applied with equal force against the Choir screen, to defend which, and con- demn the Organ, involved a manifest inconsistency. 985. 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. The comparative me- 986. In recent times, the west end of a Parish Church, as rits of tiiG SG vorEil • • side situations con- position for the Organ, has been strongly objected to, parti- sidcred. cularly 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. 987. 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 side of the Church ; and in every instance, where all or most of them have been complied with, a very good effect has resulted. 988. The Organ in the new Church of St. Mary Magdalene, St. Pancras, built by Gray and Davison, may be cited as a successful example of an instrument 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. 989. 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 from one of the sides for its reception. One old example of such an Organ- chamber exists in the Chapel of Christ's College, Cambridge. 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 dis- advantages of such a situation, however, can be considerably modified by making the chamber of ample dimensions, by lining it with wooden boards, and by furnishing it with a hoUow 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 will be no possible means of egress for the tone, M'hich will then be smothered. All THE SITUATION FOIl TIIK OR(iAN. 227 these preciiutioiis were taken in constructing the Organ-chamber at the Temple Church, (lie Huoring of" which is It feet aljove the level of that of the Church ; the Great Organ sound-board being 8 feet 9 inches above the chamber-flooring, and tlierefore 1 6 feet 9 inches above the ground ; and there is also a clear height of nearly 1.1 feet between the spring of the gables of the case and the roof of the chamber. i)'.)0. 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 rij)es, and attention jiaid to other circumstances favorable to resonance, what the instrument loses in power it frequently gains in sweetness of quality and Cathe- dral-like character of tone (as is particularly the case with that at the Temple); and as the loss of power can be easily compensated for by disposing additional Stops, there appears to be no reason why an Organ should not tell fully as well, if not better, at the side than from the west end, if every means be taken to make it do so. 991. 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 counteract the otherwise ill effect exercised 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. Supposing the strength or abstract power of sound produced by each to be about the same, yet there will be a marked diffei'ence in the qualltij of the tone, which, under many circum- stances, will be in favor of the larger, but softer, sounding body. The subduing in- fluence 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 shght haziness — as though a fine veil were drawn over it — that is exceedingly pleasing, and even beneficial, if the volume and fuhiess of tone at the same time remain unreduced. The experi- ment of moving the Organ from the west end, and placing it in an ample and lofty Chancel Chapel, at the same time enlarging it, was being made at Doncaster Church at the time of the fire ; and the effect of the few Stops that had been finished, are said to have promised the happiest result. 992. At Lubeck, the " little" Organ in St. Mary's Church — which, by the way, has upwards of 30 Stops, including 10 on the Pedal — partly projects fi-om 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 Instru- ment 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 hun- dred yeai-s old. 993. A most unfavorable plan, 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 fill- ing up of the aixh. With walls on three sides, and a tier of large Pipes entirely oc- cupying 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, in fact, more calculated to keep the tone back, than to let it out. The Organ at All Q 2 228 CHAPTER XXXII. Saints' Church, Manchester, built by Kirtland and Jardine, of that town, is most picturesquely treated, it being divided, and a portion jilaced in a recess on each side the Chancel ; but the Pedal Open Diapason, which produces 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 is similarly placed in a chamber; and the calculation of the Organ-builder, Bevington, is, that only one-fourth of the tone of the instrument finds its way into the Church. The melody of a Chorale played out on the Great Diapasons, Principal, and Trumpet of this Organ, sounds no stronger than it would do on the Stopped Diapason and Cla- rionet of most instruments that are favorably situated. 994. But 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 I'emarkable arrangement exists at St. Mark's, Old Street Road, where three-fourths of the Organ-tone is boxed in, and which, returning and descending on the Organist, often produces a din around him like that heard from a peal of bells in a belfry. The wall of Pipes is not only a serious impediment in the way of the Organ-tone travelling into the Church and reaching the congregation ; but, telling both ways, it is as effec- tual 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 — must be producing between the congregation and Organist, presents another difficulty in the way of the one hearing the other. Indeed this last arrangement has not one redeeming point to recommend it. The east end of an 9^rco-ation anIaiiual and Stop that forms the unison or basis of the Manual and Pedal Pedal tone. tone. For all the Manuals this would be the same — namely, 8 feet; but for the Pedal, IG 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, IG feet, or 16 feet size of tone. Stops of one size 1029. At the same time it would be incorrect, for reasons Pedal ^"incorrcct^^ °^ 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 monotonous, 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 men- tioned in former chapters. The proper size for 1030. A Table of the smaller Stops just referred to was OTLr^in'which'^they g'ven on page 128. All these of course cannot be placed in should be selected. everi/ Manual Organ in the first instance. They are not in- deed 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. 1031. Where, however, fulness and power are required, as is always the case with regard to the Great Organ of even small instruments, the series of smaller or harmonic 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 ex- tent. When, however, the Church is very small, the fiinds limited, or there is any other circumstance to prevent the introduction of all the ranks of Pipes in ques- tion, then those Foundation ranks which are the nearest in pitch to the fundamental or ground-tone should be first selected. Thus the Principal, 4 feet, must be the first Stop of the series introduced, after the Unison Stop itself. Next to that, the Fif- teenth. It is a rule never to propose a Third or a 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 2| feet, and that of the latter only 2 feet. In like manner the Seventeenth or Tierce, and the Nineteenth or Larigot, should always be accompanied by the Twenty-second or Octave Fifteenth, or the Mutation tone may appear re- markable, or even offensive. R 242 CHAPTER XXXIV. The Stop from which 1032. As the tone, on the one hand, would tend towards borating"stops'^niust thinness, if any of the requisite Mutation ranks were to be be measured. omitted ; SO, on the other, it would become thick and indistinct if Mutation ranks of too great size were to be introduced. It is very 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 pro- posed to be placed on the same Manual. If that Stop is to be of 8 feet, the har- monic series would, for the theoretical reason before explained, be as follows : 1 8 12 15 17 19 22 26 29 -&- —a -A ; £2 4-: — e — & — 8 leet 4 feet 2'^ feet 2 feet 1 § foot 1 \ foot 1 foot 8 inches 6 inches 103.3. The order of the harmonic sounds will easily be committed 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 filling-up sounds, in their correct situations, are represented by minim notes. 1034. If a large Organ is proposed, having a 16-feet Stop — Double Open Diapason — the harmonic series will be of the following sizes and pitch. 12 1.5 17 19 8 feet 5' feet 4 feet 3' feet 22 26 29 2 feet 11 foot 1 foot 16 feet 1035. 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 : BE 12 15 4 feet ■&- 2 feet li foot 1 foot 1036. 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 depart- ments, as shown in the following scheme. • In Germany, the Tierce is not commonly introduced into new Organs of moderate dimen- sions, on accoimt of its not harmonising so well with the sharp thirds of tlie equal tempera- ment. Tlie flat Twenty-first is never included, even in the largest Organs of that country. MATTERS CONNECTED WTI'll THE DIVISION OF THE STOPS, ETC. 245 Of o -CO E-i 3 ii Hi el u a 6 inches ( } 8 inches ( ) -o- Twenty ninth Twenty-sixtli ..Twenty-second— C J l.i ..Nineteenth 12 .Seventeenth ..Fifteenth Q 8 ..Twelfth Tenth ..Priucip.il ( ) 1 Fifth ..Open Diapason... 16 feet Double Diapason. 1037. 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 intro- duce 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 apractlral instead of a t/ieo- i-eiical 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 eff^ect, these would, under such circumstances, obscure the Foundation tone, and render the whole thick and indistinct. 10.38. 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 1039. As the meaning of the German terms " IG-feet feet Manual™%-feet IManual," " 8-feet Manual," and " 4-feet Manual," are by no Manual, and 4-feet means generally understood, an explanation of them may not be uninteresting in this place. They have by some been sup- posed 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 German Manuals never descend below CC, and they very 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 apphed. If the Stop in question be of Sub-octave pitch, corresponding with the English Double Open Diapason of 16 feet, the Manual on which it stands is said to be a 16-feet Manual. If it be of 8-feet length, the Manual is said to be an 8-feet one. The fact of there being a Bordun of 16-feet tone, and R 2 244 CHAPTER XXXIV. perhaps even a " rredact-Quint," or a " Rohr-Quint" (Stopped Fifth, 5|-feet tone)^ does not afiect the classification. If the largest Stop of the Open Diapason species is of 4-feet length only, as is usually the case with English Choir Organs, that Manual is said to be oiily a 4-feet Manual. 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 of^ one^ class 1040. Two facts have already been mentioned, that the to produce the best harmonic series of Stops are usually formed of Pipes of the Organ effect. 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 Oi"gan stateliness and splen- dour, and in return receive fulness and brightness from the Open series of Stops. The proportion to bo loii. In selecting Stops from the Covered, Flute, or Reed ber of Stops of dif- species, for addition to those of the Diapason kind, certain pro- ferent sizes. portions should be observed in regard to the number of 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 predominate 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 follows. 1042. A Great Organ Manual should ordinarily have, besides the Open Dia- pason, from one to three or four other 8-feet Stops, according to the size of the in- strument. 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 favor 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 ; M Vn'KRS (-ONN,ECTEl) WITH TlIK DIVISION OF THE .STOPS, ETC. 24j (;)) to f<)ur or five ft-fect Stops, there sliould be three -l-feet Stops, and two 2 -feet Stops. lOit]. The Stops should, in fact, in regard to their proportion and size, ))e arranged after the manner of a pyramid ; lessening gradually as they rise. Thus, ti)r 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 de- sirable a characteristic for even the most limited Manuals of the kind to possess. 1044. A Great Manual that is to have 9 or 10 Stops should include a Twelfth, a Compound Stop, and a Bordun. This would make the second of the three tables just given take the following form : One IG-feet sounding Stop; three or four 8-feet Stops, two 4:-feet Stops, one 2|-feet Stop, one 2 -feet Stop, one Mixture of 4 or 5 ranks — 9 or 10 Stops. 1045. If the Great Manual is to have IG Stops, it should include two l(i-feet Stops and a Quint of o^-feet. These would give to the third table the following form : Two l(3-feet Stops, five 8-feet Stops, one 5^ -feet Stop, three 4-feet Stops, one 2 f- -feet Stop, two 2-feet Stops, two Mixtures, comprising 7 ranks — 16 Stops. 104G. It will be understood, from a glance at the foregoing tables, that it must be manifestly 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, whereljy the requisite fulness and gravity would be lost, and an undue brightness and thimiess substituted, 1047. 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 246 CHAPTER XXXIV. 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. lO-iS. 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. 10-19. To serve as an Echo to the Great Organ, the Swell should have, besides the two Diapasons, the Harmonic-corroborating series of ranks complete, as far as practicable ; and also a Bordun. As a Solo Organ, it requires two Unison Reeds as a commencement. 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 four 8- feet Stops, one 4-feet Stop ; but the proportion would be much better preserved, and the effect more than equi- valently improved, by the insertion of a second 4-feet Stop — as, for instance, a Cla- rion. 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, which stand in about the same relation to each other, in regard to strength of tone, that the Open and Stopped Diapasons do to one another. 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. 1050. 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 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 characterised by excessive thin- ness, in spite of its sprightHness. Probably tliis misproportion in the old Choir Or- gans arose from the same cause which 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 tliis two-fold modification, 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, MATTEUS CONNECTED WITH THE DIVISION OV THE STOPS, ETC. 247 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 ii and 4 feet Stops, comprising delicate accompanimental and Solo Stops, are among the first that should be selected for this department. 10,')1. The Pedal Organ should contain a "Bass" to as many of the leading Manual Stops as circumstances will allow. A good complement of 10 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 IG-feet Stops are the most indispensable, because their tone forms the true basis of the Pedal tone. Of scarcely less importance are the 8-feet Stops. When there is a choice of Stops of this latter size, the Pedal can then, in soft playing, be freely used without there 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. 1052. With regard to the proportion between the 10 and 8 feet Stops on the Pedal, this should be the same as in the Great Organ ; and when there are 10 Pedal Stops, these should include either a Sub-Bourdon — 32-feet tone, or a Double Open Bass of 32 feet. CHAPTER XXXV. THE COMPOSITION OF THE MIXTURES. 1053. 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. This 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 Har- monic-corroborating series of Stops entire, and to secure the proper proportionate number of Stops of the different sizes, it is quite in the power of incorrectly com- pounded Mixtures to disturb those pre-arrangements, and to qualify the perfect effect of the work. For this reason, it becomes necessary to enquire what may be the several requisites of the class of Stops above named. Why should there be 1054. The first question that presents itself is, why pound Stop ? should there be any " breaks" in a Compound Stop ? Because there is a practical difficulty in the way of continuing the smaller ranks throughout at the original altitude of pitch above the unison. It would be scarcely possible to make Pipes small enough for the purpose ; and if made, they would be as difficult to tune. Moreover, they would be put out of tune again by the slightest change of temperature, or by the smallest particle of dust. A Compound Stop 1055. Moreover, there exists no necessity for continuing ^ accordance with ^ Compound Stop up without a break. The Mixtures are in- the suggestions of tended to corroborate certain of the higher harmonic sounds ; and 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. For example — 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, therefore, without a break, supposing it were practicable, would be to " corroborate" what cannot be heard. The same compound 105G. Furthermore, there is a very important practical samc^c'ffcct^ln dif- f^^^, connected with the sound of the small Stops of an Organ, ferent parts of the that 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 appears to possess more prominence in the upper than in the lower part. For example — if the Great Orgaji Stops, as far as the THE COMPOSITION OF THE MIXTURES. 249 Fifteenth, be drawn, and this or any similar passage be played in the Treble, a certain completeness of effect will be produced that will be satisfactory to the ear. Repeat the progression in the Bass, 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 will again appear to be in adcance 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 cor- roborating Stops, when of approximate range. It is moreover evident, from their works, that the old English builders were aware of this, and that they worked ac- cordingly, so far as circumstances permitted. inglit not a rank 10.57. The Second question is, might not a rank, as its presenting a break ? continuation becomes unadvisable or impracticable, be allowed 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 alti- tude 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 re- maining tones, will add fresh energy to that tone, and so partly compensate for the loss of extent in the harmonic series. The valuable aid ren- io58. These duplications, introduced where the breaks oc- dcred to the Treble of , . . ^ , , . . , au Organ by the re- '^^''> ^'^^ mcreasmg as the harmonic series decreases, perform a turn ranks. 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," although they do not exactly double their power. 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, improve- ment to the general effect. The two chief rules to be observed in regard to the Treble, are (l) that, of the Foundation ranks, those of a smaller size shall never exceed those of 250 CHAPTER XXXV. 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 better. The re- inforced Treble then more nearly matches, in strength, the brighter Bass. On -what keys the 1069. The breaks, then, being not only unavoidable, but pljjpg_ 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 reeognised 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. As, however, c is viewed as the normal note of the Organ for most other purposes, the key so named in each octave would appear to be the most appropriate seat for the returns or breaks in the Compound Stops, provided it can conveniently be rendered so. This it has in the great majority of instances been made, with excellent effect ; and it is therefore in most cases also retained for the same purpose in the following plans for Compound Stops. Where the broken 1060. 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 Temperament, in which there either are no Tierces, or they are made to draw separately. 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 preserving the predominance of the Foundation-tone, and the subordination of the Mutation. 1061. These precautions used not to be uniformly taken; hence certain mis- proportions 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 mis-proportion 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 qua- lity to it, that has nothing to do with the production of the peculiarly rich and mellow tone that so frequently distinguishes the old Mixtures ; but, on the contrary, it to some extent deteriorates it. 10G2. In one Organ the writer examined not very long since, there were in the Treble of the Great Organ, to 1 Open Diapason — 2 Principals — 3 Twelfths — and 4 Fifteenths. The tone was amazingly bright, on account of the Fifteenths being so much more THE COMPOSITION OF THE MIXTURES. 261 numerous than tlic Principals and Diapasons ; but the fundainfiital 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, but rather was thick and indistinct, 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. Plans for Compound 10G3. Some compositions for Mixtures will now be given, in the preparation of which special care has been taken to guard against the appearance of any of the misproportions already alluded to. Advantage 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 incor- porated, so far as the proposed number of ranks would in each case allow. As, how- ever, two Mixtures of even the same number of ranks will produce a very different effect according to their composition, 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 sub- stituted that might be preferred. 1064. 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. Key on Manual. Intervals in relation to the The corresponding sounds Unison. in Tablature. CC to middle b 15—19—22. c^— g'— c«. Middle ci to the top. 8 — 12 — 15. • ■ c^ — g* — c'. 1065. This alteration is effected entirely by substituting some other rank for the Tierce ; which latter might be added as a separate Stop, if thought desirable. The Fifteenth gives increased clearness to the Bass, while the Principal adds to the fulness of the Treble. The above composition is in firequent use among German Organ-builders, and produces an admirable effect : the Furniture in Mr. Hill's Organ at the Panopticon is also compounded as above. 252 CHAPTER XXXV. 1066. 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 pro- portion 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 imme- diately preceding the Appendix. The proportion in the size of the Stops as there given is as follows : 3 Unisons — 2 Octaves — 1 Twelfth — and 1 Super octave throughout. With the above addition, it would stand thus : From CC to Middle b . . . 3 Unisons — 2 Octaves — 1 Twelfth — 2 Super octaves — 19 and 22 ; and From Middle c^ to the top. 3 Unisons — 3 Octaves — 2 Twelfths — 2 Super octaves. 10G7. For a somewhat larger Organ, such as our Specification No. IV, a 4-rank Mixture woul,d be required. This might be of the following compound : II. COMPOSITION FOR A CLEAR MIXTURE OF IV RANKS. Key on Manual. Intervals in relation to the The corresponding sounds Unison. iu Tablature. CC to Middle b 19—22—26 — 29. gi— c«— gs^— c'. Middle cUobi above. 12 — 15 — 19 — 22. g^— — — c^. Treble c« to the top . . 1—8—12 — 15. — c^— rc^— g^— c*. 1068. Tlie duplication of the four principal ranks of the Organ firom Treble c^ upwards (an octave and a half) imparts great breadth and dignity to the upper part of the Manual. The Sesqui-altera in the Organ at the Stockport School-room, by Kirtland and Jardine, is compounded as above. 10G9. If a keener tone should be required, the compound might have the following form : III. COMPOSITION FOR A SHARP MIXTURE OF IV RANKS. Key on Manual. Intervals in relation to the The corresponding sounds Unison. in Tablature. CC to Middle b 19—22—26—29. gi _ci _g2 —c^. Middle ci to Treble f2. 12—15—19—22. g2 — c' — g^ — c'*. Treble f2» to b2 above. 8—12—15—19. f^lt- c^JI— fifl- c*tt. c3 in alt. to the top. . . 1 — 8 — 12 — 15. c^ — c* — g* — c*. 1070. As compared with the preceding composition, the above presents a two- fold contrast from Treble c^ to b^ in alt — nearly a complete octave. In the first half of that octave it has a 19 and 22 in place of the Open Diapason and Principal ranks before proposed ; and in the second half octave, nearly, it has a 1 9 in lieu of the Open Diapason. 1071. In both the above schemes, the same unbroken composition is preserved through the Bass and Tenor octaves. The upper rank, however, might have been THE COMPOSITION OF THE MIXTURES. 263 changed at Tenor c; and at Treble tlic 22nd might Iiavc been discontinued, leaving the li)th at top. These modifications would have caused the composition to stand thus : IV. COMPOSITION FOR A QUINT MIXTURE OF IV RANKS. Key on Manual. Intervals in relation to the The corresponding sounds Unison. in Tablature. CC to Tenor b 19—22—26—29. gi_c2_g2_cs. Tenor c to Middle b. . . 15— 19— 22— 2G. c^ — g2_c.^— g.-5. Middle c» to Treble bi. 12—1.5—19—22. g2_c3_g3__c'i. Treble c2 to b2 above. . 8—12—15—19. c^— g'— c*— g*. c 3 in alt. to the top. . . 1—8—12 — 15. c'— c*— g*— c'5. 1072. A break here occurs on every c key throughout the scale; and the Oc- taves and Fifths are discontinued alternately, after the manner proposed by Seidel. The changes are therefore very gradual. In some respects this composition re- sembles that frequently adopted by England, who was very partial to the 2Gth as the top rank in the Tenor octave ; and sometimes in the Bass octave also. In con- nection with the discontinuance of the Octave Fifteenth at Treble c^, it may be mentioned, as a circumstance worthy of observation, that the tone of that particular rank has a decided tendency to fall on the ear with great prominence above that note, unless it be very carefully treated, and well balanced. 1073. If a very full tone be desired from the Mixture, the following com- position would produce that effect. V. COMPOSITION FOR A FULL MIXTURE OF IV RANKS. Key on Manual. Intervals in relation to the The corresponding sounds Unison. in Tablature. CC to Tenor b 15— 19— 22— 2G. c^- g'- c-'— g^. Tenor c to Middle b , . 12—15—19 — 22. g^— c- — g— Middle ci to the top. . 1— 8— 12— 15. c>— c^— g2— c'. 1074. At Tenor c 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. 1075. Let these several IV-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 — 1 Twelfth — and 1 Super octave throughout. With the clear Mixture of IV ranks, it would have. From CC to Middle b 3 Unisons— 2 Octaves — 1 Twelfth— 1 Super octave — 19 — 22 — 20 — and 29 ; From Middle c^ to bi above. 3 Ui'iisons — 2 Octaves — 2 Twelfths — 2 Super octaves — 19 — and 22 ; and From Treble c2 to the top ... 4 Unisons — 3 Octaves — 2 Twelfths — and 2 Super octaves. 254 CHAPTER XXXV. With the Sharp Mixture of IV ranks, it would have, From CC to Middle b H Unisons — 2 Octaves — 1 Twelfth — 1 Super octave — 19— 22— 26— and 29. Prom Middle to Treble f-.3 Unisons — 2 Octaves — 2 Twelfths — 2 Super octaves — 10 — and 22. From Treble fsjj 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 CC to Tenor b 3 Unisons — 2 Octaves — 1 Twelfth — 1 Super octave — 19— 22— 26— and 29. From Tenor c to middle b. . .3 Unisons — 2 Octaves — 1 Twelfth — 2 Super octaves — 19— 22— and 26. From Middle c' to b^ above. 3 Unisons — 2 Octaves — 2 Twelfths — 2 Super octaves — 19— and 22. Erom Treble c- 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 Full Mixture of IV ranks, it would have, From CC to Tenor b 3 Unisons — 2 Octaves — 1 Twelfth — 2 Super octaves —19— 22— and 26. From Tenor c to Middle b. . .3 Unisons — 2 Octaves — 2 Twelfths — 2 Super octaves —19— and 22. From Middle upwards ...4 Unisons — 3 Octaves — 2 Twelfths — and 2 Super octaves. 1076. 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 pur- poses, or to cause it to suit individual tastes or feelings, and yet without creating any misproportion in any one instance. For a V-rank Sharp Mixture, the following com- position would answer well : VI. COMPOSITION FOR A SHARP MIXTURE OF V RANK!?. Key on Manual. Intervals in relation to the The corresponding sounds Unison. in Tablature. CC to Middle b 15—19—22—26—29. ci — gi — c2 — g2 _c5. Middle cl to Treble f-'tt. 8—12—15 — 19 — 22. — g2 _c3 — gS — c*. Treble f2jj to b^ in alt. 1—8—12—15—19. pfl_f3t{_c4Jt_f4jf_c5jt. c' in alt to the top 1 — 6 — 8 — 12 — 15. c' — g' — — g* — c^. 1077. 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 TUK COMPOSITION OF TIIK MIXTURES. 255 a 16 is substituted for tlie octave Tierce. The composition from Middle c* to Treble f- is iilso the same, with the exception of the substitution of a 22nJ for the Tierce. Tlie Fifth at c' in alt, introduced afler tlie manner common in German Mixtures, sliould be scaled and voiced as a Dulciana, when the Double is a Bordun. It is a notewortliy fact, that scarcely any of the old Organs contain a 22nd in the Treble, even when tliere 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-. 1078. The omission of the 22nd from the Mixture compound in the Treble of old Organs, and the occasional appearance of the misproportion in tliat part of those instruments, seem to have arisen from three causes ; (1) the omission of Doubles, which deprived the Treble of all depth of tone, and so prevented its successfully re- sisting the upward-directing influence of the octave Fifteenth ; (2) the non-return of any Mixture rank to the unison tone, which fiu'ther militated against the effectual balancing of the acute rank in question ; and (3) the comparatively 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. 1079. 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 Prin- cipal, is comprised in the Mixture compound, in the Treble. 1080. In compounding two separate Mixtures, the same attention should be paid to the preservation of the proportion in the Bass, and the regular duplication of the ranks in the Treble, that has already been bestowed on the single Mixtures. VII. COMPOSITIONS FOR a Full Mixture, III ranks, — and a Sharp Mixture, III ranks. CC to Middle b 15 — 19 — 22. 22— 2G— 29. Middle ci to bi above 8 — 12 — 15. 15 — 19 — 22. Treble c^ to f2 above 1—8—15. — 12—19—22. Treble fajt to b^ in alt .... 1— 8—15. 12—15—19. c3 in alt to the top 1—8—15. 8—12—16. 1081. Although it is true indeed that the octave Twelfth and octave Fifteenth sounds cannot be traced among nature's suggestions in the higher parts of the musical scale, yet those tones have a wonderfully fine effect in the Treble of an Organ, when they are well balanced. Moreover there are several arrangements which will aid in bringing those acute sounds into due subordination, without the two ranks which pro- duce them being voiced weakly ; as, for instance, the duphcation of their octaves below, i. e. of the Twelfth and Fifteenth, which will be found to occur in all the best modern Mixtures, as well as in the old ; the presence of a -l-feet or second Principal rank, which however is met with more frequently in old Organs than in modern ; and more particularly the insertion of a Sub-octave sounding Stop, which is always found in new Organs of pretension, and never in old. These, in connection with the usual 256 CHAPTER XXXV. proportion of Stops— as, for instance, those in Specification No. VIII — would produce so great a body of tone that there would be little chance of the 19 and 22 predomi- nating in the Treble octave. At Treble c^, where the 22 begins to produce an effect of remarkable acuteness — a fact, no doubt, observed by Green, as he discontinued that rank on the very next note, after completing the octave — an Open Diapason rank might be introduced, as suggested in the Full Mixture of the preceding compo- sition ; which, in conjunction with the Double, would certainly tame down that otherwise noisily inclined rank. VIII. COMPOSITIONS FOR a Full Mixture, III ranks, — and a Sharp Mixture, IV ranks. CC to Middle b 15— 19---22. 19 — 22—26—29. Middle ci to bi above 8 — 12 — 15. 12 — 15 — 19 — 22. Treble c^ to P above . . 1 — 8 — 15. 12 — 15 — 19 — 22. Treble f-'tt to b- in alt 1^8 — 15. ■ 8 — 12 — 15 — 19. c5 in alt to the top 1 — 8 — 15. 1 — 8 — 12 — 15. 1082. On examining the above compounds, it will be seen that either- of them could be used separately with the larger Stops as far as the Fifteenth, accord- ing as a full or a ringing tone might be required, without any lapse appearing in the progression ; while both could be united for a third and fuller effect, without any misproportion occurring. This idea is taken from some of the Continental Mixtures. The separate Tierce, moreover, could be drawn with either of them, and thus the usefulness of that rank be doubled without its being repeated, which, in an equally tempered Organ, would have a most offensive effect. IX. COMPOSITIONS FOR a Full Mixture, III and IV ranks, — and a Sharp Mixture, V ranks. CC to Tenor b 15 — 19 — 22. 15—19—22 — 26—29. Tenor c to Middle b 12—15—19—22. — 1.5—19—22—26—29. Middle ci to Treble f 2 1—8—12—15. 8— 12— J 5—1 9— 22. Treble f^tt to b2 in alt . ... . 1— 8— 12— 15. 1— 8— 12— 15-19. c' in alt to the top 1— 8—12—15. 1— 5— 8—12—15. 1083. It may be as well, before proceeding further, to explain why one of the most generally received names for a Compound Stop — that of Sesqui-altera — has not, in the foregoing schemes, been retained. 1084. The Continental Sesqui-altera, from which the English Stop was originally derived, is a II rank Mutation Stop, composed of a Fifth and a Third- sounding rank ; the Fifth being the lowest, and the Third the highest ; the two thus sounding a major sixth — as g — e^ on the CC key, — hence the name Sesqui-altera, from Sexta, a sixth. The size of the two ranks was usually 2§ feet and 1| foot, which therefore corresponded exactly with the English Twelfth and Tierce. Sesqui- alteras of this kind wiU be found in the Great and Positif departments of the Rot- terdam Organ (Foreign Specifications, No. 2) ; also on the Choir Manuals of the THE COMrOSITION OF THK MIXTITItES. 257 Orgiins at Ainstenliim (Foreign Specifications, No. 5) ; the Hague (Foreign Sy)ecifi- cations, No. 8) ; Freiburg (Foreign Specificatiinis, No. 37) ; FraiikHui Cathedral (Foreign Specifications, No. 30) ; &c. When the Sesqui-altera consisted of 111 ranks, a Fifteenth was frequently added to the Twelfth and Tii^rce, making it sound g — c' — ei ; and it was in this form that the Stop was introduced by Smith and others into the Treble of their English Organs. Sometimes tlie Sesqui-altera consisted of IV ranks, in which case a Principal was usually incorporated. This is the form in which the Stop stands in the Treble of Snetzler's excellent Organ at St. Mary's, Nottingham. 1086. Another II rank Mutation Stop used frequently to be admitted into Continental Organs, called a Tertian — from Tertia, a third. This consisted of an inccrsion of the two Sesqui-altera ranks ; that is to say, the Fifth-sounding rank was the smallest, and therefore the highest in pitch. The two ranks thus sounded a third, as — g^ on the CC key, and therefore agreed precisely with the Tierce and Larigot of English Organs. A Tertian of II ranks occurs on the Great Manual of the Haarlem Organ. (See Foreign Specifications, No. 1.) 1086. It will be seen, however, that the two Stops in question were named after the interval which their own two distinctive ranks conjointly produced, without reference to the relation in which they might stand to the fundamental tone of the Organ ; and in this respect they differed from all the other Stops in the Organ- builder's vocabulary. In fact, the Sesqui-altera was, in a few cases, simply labelled " Sexta ;" as on the Great Manual of the Organ at Miilhausen (Foreign Specifica- tions, No. 49); and on the same department of that in the Church of St. Dominico, at Prague (Foreign Specifications, No. 85). A third Stop, of II ranks originally, and mostly composed of a Twelfth and Fifteenth on one slider, used also to be frequently introduced by German Organ-builders, under the name of Rausch-quint, or Rausch- jifeif (See Foreign Specifications, Nos. 65, 66, 85, 91, 92, &c.) This Stop is still in use. In English Organs, until recently, the first III rank Compound Stop usually disposed, and called Sesqui-altera, was really one of that nature from Middle ci upwards — namely, ]2 — 15 — 17 ; but from that note downwards it was essentially a Mixture of III ranks — namely, 17 — 19 — 22. To the Sesqui-altera composition in the Treble, many modern Organ-builders and Organists have latterly taken great exception ; some proposing to suljstitute in its stead a continuation of the 19 and 22 through the next octave and a half — thus forming a sort of III rank Sharp Mixture — while others suggest the introduction of a Principal in place of the Tierce, after the manner of the III rank Full Mixture already given. J3oth the compositions recommended remove almost every vestige of the original Sesqui-altera, even from the only half of the Manual range in which it ever appeared in English Organs ; and on this account it becomes a subject well worthy of consideration whether the name should continue to be applied to a Stop to which it is no longer in the least degree appropriate. Following the modern German custom, the name was relinquished with the composition in the plans for Mixtures just now proposed ; and other names were adopted, which very simply yet most clearly announce, even to the uninitiated, what are the distinctive properties of each ; as " Full Mixture," and "Sharp Mixture." The only deviations from the Continental nomenclature consist in the addition of the adjective " full" to the largest Mixture ; — which appeared to be necessary, inasmuch as fulness of tone is by no means a common attribute of an s 258 CHAPTER XXXV. English Mixture, although it is one of the leading characteristics of a German one, in the Treble ; — and in the addition of the word " Mixture" to that of " Sharp," to intimate that such a Stop is a Stop of that kind ; a fact known sufficiently well abroad to be understood without the announcement being placed on the Stop-label, but which probably would not be so at first in this country, supposing that name to be adopted. J 087. One of the chief objects for which the Sesqui-altera was originally used abroad, was to place a second Twelfth on the Manual of those large instruments in which the Mixture ranks were sufficiently numerous to require it to bind their tone more firmly to the large work of the same Manual. (See Foi-eign Specifications, Nos. 1, 2, 4, 4(>, 60, &c.) In the modem instruments of German builders, fi-om which the Stop in question is mostly omitted, the second Twelfth is usually incorpo- rated with the " Full IMixture," as illustrated in the IXth Composition already given. That plan might be followed for new Mixtures ; or, if the introduction of a separate and genuine Sesqui-altera were desired, this would be well secured by arranging the composition after the following manner : X. COMPOSITIONS FOR a Sesqui-altera, a Full Mixture, and a Sharp Mixture, II ranks, III & IV ranks, V ranks. CC 12—17. 15—19—22. 1.5- 19— 22— 26— 29. Middle c^ 12—17. 1— 8—12—15. 8—12—15—19—22. Treble f^S 12—17. 1— 8—12—15. 1— 8—12—15- 19. C-' in alt 12—17. 1— 8—12—15. 1— 5— 8—12—15. 1088. The Tierce, or second rank of the Sesqui-altera, is, in modern German Organs, usually incorporated with the Sharp Mixture, and not the Full Mixture — i. e. with the second Compound Stop, and not the first ; and for this reason : When the unequal temperament was in vogue abroad, the pure thirds in the common scales so nearly accorded with the Third-sounding rank of the Mixtures, that the latter effected a direct improvement on the general tone of the Organ. On the equal tem- perament, however, being adopted, and the consequent sharpening of the thirds on the keys, the Tierce was found to harmonise less agreeably than before ; hence arose the plan of not introducing a Third-sounding rank so soon as had previously been the custom. Five ranks of Mixture thus came to be generally proposed without a Tierce ; and in its stead a duplication of the Fifteenth was usually introduced, which materially added to the distinctness and the silvery character of the Mixture-sound. And it may be mentioned here, that the superiority of a Mixture, having a few ranks, without a Tierce, over one including a Tierce, may be interestingly exemplified on Mr. Hill's Organ at the Panopticon, the Mixtures of which are of the following compounds : Furniture, III ranks. Sesqui-altera, III ranks. Mixture, III ranks. 1.5—19 — 22. 17—19—22. 2-1-26-29. by trying the larger Stops first with the Furniture, then with the Sesqui-altera. 1089. With regard to the incoi-poration of the Tierce with the Sharp Mixture, this Continental custom was not followed in the preparation of the foregoing schemes, because in England the prevailing feeling is at present more frequently in favour of the THE COMPOSITION OF TFIK MIXTURES. 259 enrJij iiso dC the Tiorcc tliaii not ; tlicrefore by leaving it to be disposed as a separate Stop, it could h(> drawn oitliev with the first Mixture or not, according as the taste of the Organist inigiit dictate. lOOO. There is another German Compound Stop, sometimes met with in large Organs, that might here be noticed, called the Cymbal. This frequently consists of a duplication of the two or three upjier ranks of the Sharp Mixture, with sometimes an octave Tierce added. In connection with a Stop of this kind it may be men- tioned, that when the Mixtures ascend very high, and are particularly strong in the Tenor octave, there is always a danger of the Treble being overpowered and obscured by them ; and it is then that Cavaille's admirable increasing pressure system is so useful. For the Treble Reeds of large Organs the heavy pressure system is in- valuable. The tendency to weakness as the scale ascends was observed by the Dutch and German builders, nearly two centuries since, who proceeded to rectify it by furnishing the leading Manual Stops of their Organs with two Pipes to a key from Middle c, Fiddle g, or even Tenor C upwards ; and also by increasing the number of ranks in the upper part of the Mixtures, as at Haarlem, Rotterdam, Amsterdam, Hamburgh, &c. The increasing pressure system attains the same end without such reduplications. The necessary repetitions which occur in the Treble of the Mixture Stops exercise a material influence in that direction, and the powerful wind does the rest. At the same time, all the proportions which have already been detailed, and the duplication of all larger ranks before smaller must be duly observed, otherwise it is not in the power even of a heavy wind to secure a well-balanced effect. 1091. No compositions for a Mounted Cornet are here given; as the purpose which that Stop was originally designed to fulfil is so much better attained by other Stops in modern English Organs. The Mounted Cornet was originally used for giving out the melody of a Chorale upon ; and hence was usually only a Treble Stop in English instruments ; but in Germany, where the Canto Fermo is frequently an- nounced in the Tenor, a. la Bach, it generally descends to Tenor C. In modern English Organs the Clarionet in the Choir, and the Reeds in the Swell, together, offer so many ways of giving out a melody prominently, either as the upper or an inner part, that for its original purpose the Mounted Cornet has become quite obsolete. 1092. In regard to scale, the Mounted Cornet was larger than the Open Dia- pason ; the Principal and Twelfth ranks being three Pipes larger, and the Fifteenth and Tierce two Pipes larger. 1093. Herr Franz Weber, the excellent Organist of Cologne Cathedral, con- stantly uses the Mounted Cornet as an accompaniment to the priests' voices. 1094. As the Mixtures of many of the old Enghsh builders have been so fre- quently referred to in the present chapter, the composition of some of them may prove interesting to many readers, and are therefore subjoined. SMITH. (temple church.) Sesqui-altera, III ranks. Mixture, III and II ranks. CC 17 — 19 — 22. 22 — 20 — 29. Tenor cJt 17 — 19 — 22. 19 — 22. Middle c'Jt 15_17_19. 12—15. Treble c-JJ 12 — 15 — 17- 12 — 15. Treble f-Jt 8 — 12 — 15. 12 — 15, S 2 260 CHAPTER XXXV. harris and btfield. (doncaster church.) Tierce. Sesqui-altera, V ranks. CC to Middle b 17. 19 — 22 — 24 — 2G — 29. Middle ciJJ to the top 17. 8 — 12 — 15 — 17 — 19. SNETZLER. (ST. mart's, NOTTINGHAM.) Sesqui-altera, IV ranks. CC to Fiddle g 15 — 17 — 19 — 22. Fiddle gJJ 1 2 — 1 5 — 1 7 — 19. Middle giQ 8 — 12 — 15—17. GREEN. (ROCHESTER CATHEDRAL.) Sesqui-altera, III ranks. Mixture, II ranks. CC ]7_10— 22. 15—19. Tenor c 17_]9_22. 12—15. Fiddle g 15 — 17 — 19. 12 — 15. Middle c' 12—15—17. 8—12. ' GREEN. (ST. KATHERINE's, regent's PARK.) Sesqui-altera, III ranks. Mixture, II ranks. CC 17_19_22. 22—24. Fiddle g 17_19_22. 17—22. Middle ci 15_17_19. 17—22. Treble c'^ 12—15—17. 15—17. ENGLAND. (LANCASTER CHURCH.) Sesqui-altera, IV ranks. Mixture, II ranks. CC 17— 19— 22— 2G. 24—29. Gamut G 17— 19— 22— 2G. 22—24. Tenor c 17—19—22 — 26. 19—22. Tenor f 15_17_19_22. 19—22. Middle 8—15—17 — 19. 15 — 19. Middle fi 8—12—15—17. 16—19. Treble c2 8—12—15—17. 12 — 15. CHAl'TER XXXVI. THE EXTERIOR ARRANGEMENT OF THE ORGAN. The Organ-Case. 1095. The two great desiderata in an Organ-case — the one referring 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. 1096. The most appropriate style for a Church Organ-case, generally speak- ing, is one of the periods of the Gothic ; because in some one of these 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 Lubeck, at the west end of the building. It consists of three main compartments, flat ; the centre one being the largest, and containing the S2-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 dai"k 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. 1097. The oldest Organ-cases in England — those 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 therefore un- suitable 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 out- line. 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 : (1) to impart dignity to the general appearance of the instrument, and to secure for them plenty of speak- ing room. The larger the Pipe, the greater is the gust of wind emitted from its mouth ; and consequently 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 fi-eely, without encroaching on the speaking room inside the case necessary to ensure the correct enunciation of the interior Pipe-work. 262 CHAPTER XXXVI. 1098. In some modern Organs the case has heen made with carved wood- work in front, instead of" Pipes, giving the instrument a " shrine-Hke appearance." If a case of this kind is ])roposed — 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 ap- pearance of these casualties, even when circumstances are most favorable ; 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 most unnecessarily increased. 1099. The principle of arranging large Pipes with their mouths turned out- wards 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 por- tions, 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 ojienings or gratings in the case made for the purpose ; as at St. Paul's Cathedral ; Christ Church, Newgate Street ; St. Olave's, Southwai'k ; St. Peter's, Cornhill ; &c. This plan is a very good one, not only because it prevents the pos- sibility 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. 1100. 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 at Croydon Church, built by Avery in 1794; and also in that at St. Katherine's Church, Regent's Park, by Green. Organs that are to stand on a central screen should have an east and west front, not simply for ornament, but to allow the tone to travel up and down the building. 1101. 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 be left unobscured ; instead of their being formed of an inferior compound, and then gilded or painted. This improve- ment might be the more 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 be amply sufficient to secure substantial Pipes of the more handsome and durable material. The Manuals and Pe- 1 102. The width for a Manual that ranges from CC to f ' thoh- propVr situ^ keys, is 2 feet 6 inches. For the Pedal-board there in regard to eaeh is in England, at present, no fixed width ; which is a circum- stance much to be regretted. On this subject Dr. Burney wrote, eighty years ago, " Scarcely two Organs in the kingdom have their Pedals THE EXTERIOR ARRANUKMENT OE THE OR(iAN. 203 alike, cither with respect to iiuinher or position ; so tiiat every j)erformer vvlio comes to an Orj;an with whicii he is not previously iicquainted (be he ever so skilful in the use of Pedals), has the whole of liis 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. 1103. 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 towai-ds the sides ; as in that case the foot would only touch the crown of the Pedal. The angles, however, would of course be bevelled oft", 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 facihty, when necessary. 1104. 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. 1105. A good medium scale is obtained by planting the Pedals so that the naturals measure 2^ inches from centre to centre. This is 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 3i inches from centre to centre; while in England they are as frequently placed too closely together. 1106. 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 fi-ont or lowest part about an inch above the neighbouring part of the naturals. When so shaped they meet the broad part 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. 1107. Several experimepts have at various times been made with the view of bringing the Pedals more conveniently under the control of the performer. In the Oi-gan at York Cathedral, erected in 1829, Mr. Hill made the Pedal-board on the radiating principle. In Germany, the Pedal-loard is frequently made concave in shape, i. e. the Pedals to the extreme right and left are made to rise gradually in a curve. 1108. Lately, Willis of London, and Heinrich of Cologne, have been making Pedal-boards in which it has been the object to combine the peculiai'ities of the ra- diating with the concave principle. 1 1 09. The Manual Keys should not be too short, otherwise the touch will be too shallow and too heavy. On the other hand, they should not be too long, other- 264 CHAPTER XXXVI. wise the touch will be too deep, and most likely also destitute of firmness. About | of an inch is a very good and a ftiir 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 to a rather deeper or slightly more shallow touch than the average one, or even to one that is a degree heavier 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 neighlwiu-s to press down, or descends lower, or not so low, the playing is rendered more difficult by such vex- atious inequalities. Check-springs are a prolific source of unequal resistance. 1110. 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 favor 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' usage. 1111. When the IManual Couplers are drawn, the resistance offered by the chief Manual to the finger will of course be increased. The touch, however, should still pre- serve its elasticity. Sometimes a very disagreeable grating sensation is experienced by the finger, as though the Coupler-stickers were working through scouring-paper. 1112. 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 fi-ont of the Great Organ keys is made to project over those of the Choir about an inch ; 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 Panopticon 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. 1113. For the Pedals, thirty-one inches below the Great Organ Manual will be found a most 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. 1114. 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 (l) 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 (.S) if the stoo) be placed about six inches in front of the Choir Manual. THE EXTERIOR AURANdEMENT OP THE ftRfJAN. 265 11 If). When seiitod at tlic Organ, the feet should be suH]ieii(le(l immediately in front of the short Pedals. If, when seated at a distance of twenty-two incites ahove tlic 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 oft" — and if, on adjusting it so that the Manuals are within convenient reach, the feet hang over the short Pedals — this sliows that the Pedal- board is much too forwai'd. Tho Organ-stool. 1110. 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 so much more firmness at the instrument. For this purpose it should be made about fourteen inches in width, and should not incline downwards towards the fi'ont, 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, wdth a little stuffing. The plain wood is oflen left for the top. In such cases, it is much better for it not to be polished. 1117. 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, will 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. 1118. 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. Sometimes 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. 1119. 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 the 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 misarrajigement in the region of the keys. Either the Swell Pedal will jirove to be too high or too forward ; or the Stool or Pedals will be too low or too forward, 26G CHAPTER XXXVI. The Music-dosk. 1120. It is a matter of great convenience to have the Music-desk properly adjusted. When there are three Ma- nuals, 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 forward at it. The Composition Pedals. 1121. 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 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. The Composition Pedals should not remain down so as to be in the way of the short Pedal Keys. The arrangement of 1122. The Draw-Stops should be so placed that they will the raw Stops. ^^^^ ^^^^^ under the convenient control of the player, but also present a handsome and symmetrical appearance. 1123. In many of the old Enghsh Organs half the Stops belonging to each de- partment 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. 1124. 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. 112.5. 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 dif- ficulty to the performer. With a view to the attainment of this end, it is important to bear in mind the two following facts: (1) 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 fi-equently brought under the control of the feet of the performer by means of Composition Pedals than those of any other department. 1126. 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 fi-equently required combinations, without any assistance whatever fi-om the hand. 1127. 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 fi-om those departments chiefly — leaving the Great Organ for the broad contrasts — the left side appears the most proper one whereon to place their Draw- THE EXTERIOR ARRANGEMENT OF TIIP: ORGAN. 207 Stops. As the Bass juirt of the Music can he continueil liy tlic I'eclals, the left liaiid can, with a Httle contriving, be lor a moment spared fur effecting the necessary changes in tlie combinations, without in the least degree disturbing the pi'ogress or completeness of the Music. 1128. The I'edal 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 weU as in Solo-playing. 1129. If there is a large Pedal Organ, it will be advisable to have some con- trivance 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 Com- position Pedal, or, by placing all the louder Stops on a second Sound-board, and in- troducing a valve into the second Wind-trunk — as is ordinarily done in small iMiglish Organs which have only " Pedal Pipes" by way of Bass — they can then be silenced by shutting off the vnnd. 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 neai" to the Great Pedal Coupler, that both may be changed together. 1130. 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 Heed Stops should be placed above, and the Flue Stops below. 1131. 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 IG 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 grada- tion. And the same with the Reeds. Tlie 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 ascertained from a perusal of the list of its contents arranged in the simple manner there given. 1132. 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 mamier. 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. 1133. In small Oi-gans of two Manuals, the Great and Swell-Stops are gene- rally arranged so as to form each a separate row ; one on the right, the other on the left. An ivory plate inserted above each row, bearing the name of the Clavier to 268 CHAPTER XXXVI. whicli 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 indivi- dual 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 l)older and more legible type. 1134. If the Draw-Stops are intended to be placed in double rows, it will be fomid 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-Stiips. In that case, the Swell-Stops should occupy the upper position, and the Choir the lower. This ar- rangement also presents an analogy with the situation of the respective Manuals. 1135. 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 be- coming 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 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 advant- ageous in making the point of separation more distinct. 113G. 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 sometimes 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 distinc- tion ; as ivory for those of one department, mother-o'-pearl for a second, porcelain for a third, tortois-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 patchey appearance. The best plan is to have the names of one department on each side printed in black, and the other in red. This has a very light and handsome ef- fect, 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 en- graved 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 rght 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. 1137. The head of each Stop-handle is usually turned out, and a plate of ivory or Some other bright material inserted, bearing the requisite inscription. 1138. The inscrijitions should be engraved boldly and legibly. For this reason, TIIK EXTElllOIl AKRANdK.'MENT OV THE OIKJAN. 269 italics, witli long flourishing tails to the g's, &(■. should he avoided, as not hcing so easily decii)]u'red. Capital letters are the most appro] iriate ; and those of the I'^gyp- tian, (lennan, old English, or modern Englisli character are availahle according to taste. Old English text for tlie names has a handsome appearance, and is particu- larly appropriate for Church Organs. It is lietter 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. 1139. 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 ])rohably 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 all ; namely, to assist and !), and 159 years, respectively, that with care they will last another century at least. The com- TIIK INTERIOR AHHANdK.MENTS dl' THE OIUJAN. 287 |iiir;ilivo (luniliility <>1' iiu'tal (.■oiupomuls, (if various kinds, \vas vvcil illustrated in an Organ vvliicli passed not long since into the hands of an Organ- huiider. 1'he Organ hud 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. 1207. 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 1045 ; and that in the Cathedral at Lucerne, in Switzerland, in the year 1651. 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. 1208. Moreover, the writer put the question distinctly to a German Organ- builder, how long he considered an Organ ought to last ; aud 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 four hundred 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 Liege, further supports it. 1200. 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, however, is said to have materially assisted in imparting to the tone that peculiar richness, purity, and healthy clear- ness for which many old instruments are so remarkable ; and which some builders hold were not so strikingly among the original attributes of those instruments. That these opinions are well founded, the writer can testify, from what he observed in Organs of different ages abroad. In new Organs that had Pipe-work of sub- stantial metal composed of equal parts of Tin and Lead, and the Pipes of which were well blown, the tone was firm, massive, and clear, but generally with a shght tendency to a piercing character. In other Organs, a few years old, voiced by the same hand, the latter characteristic no longer remained, but was giving place to the peculiar mellowness that all detect in the " old tone." 1210. But if time 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, at the very period when the mellowing hand of time ought to be bringing the instrument to perfection, the Pipe-work will have seen its best days, and be becoming useless at the very time that it ought to be enhancing in value. 1211. While, in some instances, the 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. ^V^len, on the 288 CHAPTER XXX VII. 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, in- cluding the Jirst 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 Cornet, 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. 1212. Wood Pipe-work is introduced to a greater proportionate extent in modern than it was in old Organs, as it eifects 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 intro- duction 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 notes the one material is discontinued and the other commenced. The price of the 1213. We have now arrived at the last, but by no means the least important question for consideration ; namely, the price 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. 121-1. From what has been explained in the preceding sections, it must be obvious that there is a durable, complete, but costly way of building an Organ ; and an unsubstantial, incomplete, and cheap 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. 1215. 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 also rearing specimens of his art to which he might point with pride, as well as his suc- cessors for generations after him. But this second condition must obviously depend on the means placed at his disposal. 1216. 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 with- out extending it to the length of a pamphlet, place his charge at, say, £lOOO. He may, however, have good reasort to know that that figure will ensure him the loss of THE INTERIOR ARRANGEMENTS OF THK ORGAN. 289 the " order ;" accordingly, without altering one of the written conditions of his con- tract, or foreifoing 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 £yoO. 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 temjMrary credit on its builder ? A few years pass, and the Organ itself probably solves these problems. And as though to reduce its existence to the shortest span, the crowded Organ has perhaps been devoted 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 dis- turbed. 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. 1217. 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. 1218. An Organ with, say, fifty Stops will cost either about £lOOO 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 pro- portion 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 amphtude 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 form of expression more closely, the Great Organ should be a " 16 -feet JManual." Then all the Manuals — 'by which is meant the Organs as well as the Kei/s — should be of equal, that is CC, range : and the Pedal moreover should, as a minimum pi'o- portion, have at least one-third as many Stops as the Great Manual. 1219. 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 pre-formed expectations. He sees clearly that a plan for an instrument on the genuine German principle will u 290 CHAPTER XXXVII. 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." 1220. 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 proposed 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 two ; 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 some- times enumerated as " Stops." Then the important distinction between " standard size" and " size of tone" is overlooked ; and the two portions of the Stopped Dia- pason, which together form in reality but one Stop of 8-feet t07ie, in consequence bear the aspect of two Stops of 8 feet. The Bourdon, also, if divided, appears as two Stops of IG 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 dimensionsf . The one Sesqui-altera of V ranks, again, which is to be found in all the most important Organs of Germany, as well as in 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 de- partment 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 to be sure at the same time it effects a saving of nearly i^lOO in the cost of that department alone, in the instance of a design for a large Swell, and * As a matter of fact, it should 1)C mentioned that three of the modern Organs that are the most free from half and incompkte Stops, arc those in the Church of St. Mary at Hill ; St. Walhurgh's Catholic Church, Preston ; and at the Panopticon ; all hy 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 (see page 245, sec. 1031) 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 16-feot IManual, in the strict scn.se of the term, must be classed those at the Panopticon, hy Hill ; and at Buxton Road and Highficld Chapels, Hud- dersficld, by Ilobson and Walker. TIIK INTERIOR ARRANGEMENTS OK THE OR(iAN. 291 must therefore be resorted to as one means of keeping down tlie jiricc of tlie instru- ment. The Swell Manual indeed perhaps runs " throughout," though that is of little value without its proper Pipes. Numerous small and inexpensive Stops, again, find admission, which assist in making up the required number at no great outlay ; while many large and costly ones are necessarily excluded, to bring the instrument within the narrow bounds prescribed by the stipulated terms. In this manner the admirable rule which lies at the very foundation of the German system 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 in- complete Stops, as well as the shghting of lafge and more important ones, is per- force 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 — i. e. handles — may be pro- vided, 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 ac- cording 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, par- ticularly 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 instru- ments, as well as in the selection and vai'iety of the Stops ; but in regard to the com- pleteness of the compass of the Stops, and the excellence of the metal used in their conformation, great "progress" might still be made by go'imj hack 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 1000 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 £l000 ; and Green, for the Organ at Greenwich Hospital (26 Stops), £l000, 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 CC 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 com- pleteness, so far as they went, goodness of material, excellence of finish, beauty of tone, and durability of old instruments made under such favorable auspices. 1221. For the Organ in the Church of St. Vincent de Paul (40 sounding Stops), at Paris, Cavaille received £2000 ; and for that at the Madelaine (-18 sound- ing Stops), £2500. The above matters relating to the price, excellence, and com- pleteness of an Organ, have been entered into thus fully and unreservedly in this u 2 292 CHAPTER XXXVII. 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 estimates ; 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. CHAPTER XXXVIII. PLANS FOR ORGANS OF VARIOUS SIZKS. 1222. 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 suc- cessive steps an instrument is gradually developed from a small Chapel Organ into a large Cathedral Organ, without any of the primary laws of the science ; as, for instance, that relating to the standard compass of the Manuals 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 an English Organ. As, however, nearly every Organ-builder and Organist has his predilection in favour of certain Stops, and' as each would consequently arrange them somewhat differently in a scale intended to display them in the order of their relative importance ; many of the Stops suggested in the following Specifications, particularly the members of the Flute-work, would probably be required to be cancelled in favour of other Stops, to accommodate the Specifications to particular tastes. I. specification for a small organ of VIII sounding stops, I MANUAL, AND PEDAL. Manual, 7 Stops. 1 — Open Diapason, the Bass octave of wood 8 feet. 2 — Stopped Diapason 8 feet tone. 3 — Dulciana to Tenor c, grooved into Stopped Diapason below 8 feet. Pedal, 1 Stop. 8 — Stopped Bass .... 16 feet tone. 4 — Principal 4 feet. 5— Stopped Flute, to Te- nor c 4 feet tone. 6— Twelfth 2 1 feet. 7 — Fifteenth 2 feet. Accesssory Stops, Movements, &c. 1 — Coupler, Manual to Pedal. 2, 3, 4 — Three Composition Pedals. Manual range, CC to g' in altissimo, 56 notes. Pedal range, CCC to Tenor f, 30 notes. 294 CHAPTER XXXVIII. 1223. If more power than the above Stops are calculated to produce should be required, without increasing the number of the Stops, or adding much to the cost of the instrument, this might be obtained by altering the Specification after the fol- lowing manner. Second Specification for a small Organ of 8 sounding Stops, 1 Manual, and Pedal. Manual, 7 Stops. 4 — Principal 4 feet. 5— Wald Flute, to Tenor c. 4 feet. G— Fifteenth 2 feet. 7 — Full Mixture, II ranks. 1^ foot. 1 — Open Diapason, the Bass octave of wood 8 feet. 2 — ClarabeUa Treble, with Stopped Bass 8 feet. 3 — Gamba to Tenor c, grooved into Open Diapason below .... 8 feet. Pedal, 1 Stop. 8 — Stopped Bass .... 16 feet tone. Accessory Stops, Movements, &c. 1 — Coupler, Manual to Pedal. 2, 3. 4 — Three Composition Pedals. Manual range, CC to g in altissimo, .50 notes. Pedal range, CCC to Tenor f, 80 notes. 1224. The ClarabeUa and Gamba would augment the Unison tone, and the Wald Flute the octave pitch, while the little II rank Mixture, consisting of a 19th and 22nd in the Bass, and a 12th and 15th from Middle ci upwards, would brighten the Bass and add more clearness to the Treble. With regard to the custom of grooving one Stop into a second one in the Bass, it might be imagined that the " two winds" would cause the corresponding Pipes to " overblow." Where, however, the Pipes are in the first instance well blown, and the sound-board grooves are large enough to hold an ample supply of wind for all the Pipes fed therefrom, this is not the case ; as may be illustrated at the Panopticon, where a key may be held dovm on, say the Swell, and then the corresponding key on the side Manual, acting on a second pallet, be lowered, without any difference being perceptible in the intonation of the Pipes. Neither does any such defect appear in the grooved Stops of the well-winded Organs of the Continent. II. SPECIFICATION FOR AN ORGAN WITH XIII SOUNDING STOPS, II MANUALS, AND PEDAL. Great Organ, 8 Stops. 1 — Open Diapason 8 feet. 2 — Gamba or Dulciana to Tenor c 8 feet. 3 — Stopped Diapason .... 8 feet tone. 4 — Principal 4 feet. 6 — Stopped Flute 4 feet tone. G— Twelfth 2 1 feet. 7— Fifteenth 2 feet. 8 — Mixture . .Ill ranks. PLANS FOK OKGANS OF VARIOUS SIZKS. 295 Swell Organ, 4 Stops. 9 — Open Diapason ....... 8 feet. 10 — Stopped Diapiison .... 8 feet tone. 11 — Priiicii)iil 4 feet. 12— Iliiutboy 8 feet. Pedal Organ, 1 Stop. 13 — -Open Bass 16 feet. | Octave Bass, by means of coupler . . 8 feet. Accessory Stops, Movements, &c. 1 — Coupler, Swell to Great. 2 — Coupler, Great to Pedal. 3 — Octave Pedal, already named. 4, 6, 6 — Three Composition Pedals. Compass. Great — CC to g'' in altissimo, 5G notes. Swell — Tenor c to g-'' in altissimo,44 notes. Pedal — CCC to Tenor f, 30 notes, with extra octave of Pipes to complete the " Octave-Bass" compass. 1225. The Octave-Bass Coupler has frequently been introduced by Robson into his Organs, and has been found of great service in increasing the efficacy of a small Pedal Organ. More concerning this further on. It should be mentioned that the Pedal Bass has now become really a " IG-feet Pedal," as the Germans term it. 1226. A difficulty that always 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 hmited depai'tments of that kind to possess. In the instance of the second Manual or Choir Organ of the in- struments 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 //tera/ length) ; Principal, 4-feet, and so on; but now that the Swell invariably takes the precedence of the Choir Organ, and an Open Diapason, 8-feet, and at least one Reed Stop of the same size are required for even the smallest specimens of that division of an Organ, the case is very different. 1227. 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, con- taining the following six Stops — 1 — Bourdon 16 feet tone. 2 — Open Diapason 8 feet. 3 — Stopped Diapason .... 8 feet tone. 4 — Principal 4 feet. 5 — Cornet, II ra:iks ... 2 ? and 2 feet. 6 — Hautboy 8 feet. First, press down the Tenor c key, then draw the Bourdon, when a sound like that from a CC 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 Cornet like a 2-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 CC Pipes of the following six Choir Stops — 1 — Stopped Diapason .... 8 feet tone. 2 — Principal 4 feet. 3 — Flute 4 feet tone. 4— Fifteenth 2 feet. 5 — Mixture 2 -ranks. 6 — Clarinet 8 feet tone. 296 CHAPTER XXXVni. 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. 1228. To overcome this difficulty, the Bass octave of the Stopped Diapason and Principal in the Great Organ have sometimes been " borrowed ;" that is to say, they have been made to act on the corresponding o(!tave of the Swell Manual, without the remaining Great Organ Stops sounding. Something analogous to this in principle used to be effected by Harris, who, in some of his Organs, borrowed the two lowest octaves of his " 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 Diapason Bass and Principal, of which it is usually composed, can be scaled 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. 1229. 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 CC, 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. Lastly, the Reed could be mitred down without any detriment to its tone, but rather the con- trary, and so be reduced to the 4-feet height ; or, if free Reeds were to be used, a 4-feet tube would be all that would be required. In this way the 8-feet octave of Manual tones could be secured to the Swell without increasing the height of the Swell-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 dimi- PLANS FOR OaOANS OF VARIOUS SIZES. 297 nished with the rest of the Swell, which power of course cannot be secured by any of the other plans. Robson has made a few Swells in this way, which have shown the plan to be a most successful one. 1 230. A mistake sometimes finds its way to the labels of the Pedal Couplers, which it is worth wliilc 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 tiuit tlie former is coupled to the latter, which is the case ; but with the I'edal Coupler the names frequently get reversed, and, although the me- chanism attaches the Great Organ to the Pedal, yet the label announces that it unites the " Pedal to Great." III. SPECIFICATION FOR AN ORGAN WITH XVI SOUNDING STOPS, II MANUALS, AND PEDAL. Great Organ, D Stops. 1 — Bourdon 10 feet tone. 2 — Open Diapason .... 8 feet. 3 — Dulciana to Tenor c. 8 feet. 4 — Stopped Diapason . . 8 feet tone. 5 — Principal 4 feet. Swell Organ, 5 Stops 6 — Flute 4 feet tone, 7— Twelfth 2f feet. 8— Fifteenth 2 feet. 9 — Clear Mixture, IV ranks 1^ foot. 10 — Open Diapason .... 8 feet tone 11 — Stopped Diapason . . 8 feet. 1 2 — Principal 4 feet. Pedal Organ, 2 Stops 1 5 — Open Bass 16 feet. 1 G — Stopped Bass 16 feet tone 13— Cornet, II ranks ... 2| and 2 feet. 14— Hautboy 8 feet. a — Octave Bass . J borrowed hy y Q feet, b — Flute Bass. . y "coupler,'^ / ^ ^^'^^ '^o"^- Accessory Stops, Movements, &c. Compass. 1 — Swell to Great. Great — CC to g' in altissimo, 56 notes. 2— Great to Pedal. Swell — Tenor c to g-' in altissimo, 44 notes. 8— Pedal Octave. I Pedal— CCC to Tenor f, 36 notes. 4, 5, 6, 7, 8 — Five double-action Composition Pedals, to act on the Stops of the Great Organ in the following manner. The first, to draw out the Dulciana, and reduce the full Organ to the same ; The second, to draw out the Diapasons, and reduce the full Organ to the same ; The third, to draw out to the Fifteenth, and reduce full Organ to the same ; The fourth, to draw out the full ('rgan ; and The fifth, to compound a Choir Organ, by drawing out the Stopped Diapason, Dulciana, Principal, and Flute, and reducing the full Organ to the same. 1231. 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 suggestion) in the Organ built by Walker, for Trinity Church, Vauxhall Bridge, in 298 CHAPTEB XXXVIII. 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 lefl, 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. 1232. In many small English Organs, a Bourdon of IG-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. Neither is it in keeping with the theory on which is based the true method of establishing and developing the relative characters of tone of the different Manuals. According to that theory, if one Manual Organ is to be superior to the others in either of the three following particulars, namely, strength of tone, number of Stops, or in regard to the standard size or the size of tone of its largest Stops, that department should be the " Great" Organ ; which, in fact, is so designated on those very accounts. It is not advisable, then, to place a Bourdon in the Swell, and yet no Stop of 16-feet pitch in the Great Organ ; for, in that case, the tone of the former would be invested with greater gravity and fulness of tone than the latter. 1233. The addition to the Swell Specification is a Cornet of II ranks. A Stop of this kind, sounding a Twelfth and Fifteenth, was a favorite Stop with Nichols, the Organ-builder, who frequently introduced it into his small Swells with excellent effect. 1234. Two independent Pedal Stops are included in the Specification last given. Both those Stops are proposed to be of 16-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 unattainable in an Organ of the size to which our Specification has at present attained. Where the Pedal Stops are few in number, it is a common custom with some English Organ-builders to introduce an Octave Pedal Coupler. This improves the general effect very con- siderably: for example, by uniting the 8-feet Pipes of, say, the IG-feet Pedal Stops just suggested, to the 16-feet Pedal key, and so on the octave throughout the Pedal compass, the two Stops are made to answer the purpose of four to a great extent. The drawbacks to their doing so quite effectually consists in there being no means for drawing the 8-feet range of one or both Stops with the 16-feet of the other — combinations that would frequently be advantageous. 1235. In an Organ lately built by the Messrs. Robson, for Newfoundland, a plan was tried, for the first time, which removed this objection. It was as follows — The CCC and CC grooves were placed side by side ; the CCC sharp and CC 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 was then provided PLANS FOR ORGANS OP VARIOUS SIZES. 299 with two lowering arms, one communicating with the CCC pallet, the other ope- rating on a second pallet in the CC groove. On the table were twice the usual num- ber of sliders, six instead of three ; that is to say, in addition to those for the three actual Stops, the same number was introduced for the borrowed octaves, and those for the l()-feet Stop and the borrowed octave were in each case placed side by side. The CCC and CC Pipes also stood side by side on the sound-board, to save convey- ancing or grooving ; and all the other Pipes were arranged in the same manner. By these means the independence of the 8-feet range was so completely established that it was scarcely possible to discover that there were less than twice as many actual Stops as really existed. The mechanism necessary to accomplish all this, liovvever, involved a considerable outlay. IV. SPECIFICATION FOR AN ORGAN WITH XX SOUNDING STOPS, II MANUALS, AND PEDAL. Great Organ, 10 Stops. 1 — Bourdon 16 feet tone. 2 — Open Diapason .... 8 feet. 2 — Dulciana to Tenor c . 8 feet. 4 — Stopped Diapason. . . 8 feet tone. 5 — Principal 4 feet. 6 — Stopped Flute 4 feet tone. 7— Tu-elfth 2f feet. 8— Fifteenth 2 feet. 9 — Clear Mixture, IV ranks 1 j foot. 10 — Trumpet 8 feet. Swell Organ, 8 Stops. 11 — Bourdon 16 feet tone. 12 — Open Diapason .... 8 feet. 13 — Stopped Diapason. . 8 feet tone. 14 — Principal 4 feet. 15 — Mixture, IV ranks, . 2| feet. 16— Hautboy 8 feet. 17 — Horn 8 feet. 18 — Clarion 4 feet. Pedal Organ, 2 Stops. 19 — Open Bass 16 feet. 1 a — Octave Bass fborrowcd-i 8 feet. 20 — Stopped Bass 16 feet tone. | b — Bass Flute las before,/ 3 fggj. ^^jjg^ Accessory Stops, Movements, &c. 1 — Coupler Swell to Great. 2 — Coupler Great to Pedal. 3— Pedal Octave. 4, 5, 6, 7, 8 — Composition Pedals as before. Compass. Great — CC to g^ in altissimo, 56 notes. Swell — Tenor c to g^ in altissimo, 56 notes. Pedal— CCC to Tenor f, 30 notes, with extra octave of Organ, to complete the octave range. Composition for Swell Mixture. Tenor c to treble f^ 12 — 15 — 19 — 22. Treble f-'JI to b^ in alt. . . . 8 — 12 — 16 — 19. c3 in alt. to the top 1 — 8 — 12 — 15. 1236. In Germany, a satisfactory Specification for a 10-Stop Great Oro-an al- ways includes one Flue Stop of 16-feet tone, three or four of 8-feet, two of°4-feet 300 CHAPTER XXXVIII. 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. 1237. 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 some- times made in England. The continental rule is, that when there is but one Stop of 16-feet pitch on a Manual, that should be a Covered Stop (see Specifications Nos. 8, 24, 25, 30, 34, 36, 86, 37, 38, 44, &c. in Appendix) ; and to this rule very few exceptions, indeed, exist (see, however, Nos. 6, 7, 25, and 104, in Appendix). A Bourdon, or kindred Stop, is first introduced, because it is more prompt in its speech than a Double Open Diapason ; because it thickens the Organ-tone so admirably, without rendering the sub-octave sound so weighty and sonorous as to conftise it with the unison pitch in soft combinations ; and because it is the less expensive Stop, and also requires less standing and speaking room. For these several reasons, its adop- tion has been recommended above. Sometimes a Quintaton, 16 feet (Fifth-sounding Covered Stop, 16 feet size of tone) is found proposed, as in Foreign Specifications, Nos. 44, 45, 46, 47, &c. 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 fi-om 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 1238. 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. 1239. It will be observed that the composition suggested for the Swell Chorus Stop is identical with the Sharp Mixture, in the upper octave and a half of its com- pass. This has been proposed for the following reason : the Swell Compound-stop may almost be said to be never used without the Reeds, and consequently only at such times when there is a great body of 8 and 4 feet tone to support it. Moreover, when a ]\Iixture is enclosed in a box, the tone of its acute Pipes does not then stand out so prominently ; but, on the contrary, when used in conjunction with the other Stops, including a Bourdon, which is now generally and very properly included in every 7 or 8 Stop Swell, simply imparts a bell-like and playful ring to the whole. The Great Organ Mixtures are frequently required to be used "without Reeds;" and, in fact, it is one of the tests of their goodness, that they should be capable of being employed in that way with perfectly good effect. But as the unison tone of the Flue-work of a Great Organ to the above Specification would be scarcely strong enough to cope with a full-toned Sharp Mixture, one consisting of a composition more nearly allied to that of the Treble of certain excellent old Compound Stops has been suggested instead. The old builders were sometimes very successful in this matter of obtaining great boldness and power fi-om their Mixtures without the use of very small Pipes in the Treble. The modern builders are generally more successful than the old, save Byfield, in obtaining a fine and powerful, yet rich, smooth, and equal quality of tone from their Reeds, of which class of Stops four are included in the fbre- guing Specification. PLANS FOR OKQANS 01'' VARIOUS SIZES. 301 1240. What has been said in respect to the Sharp Mixture composition for tlie Swell, applies also to the introduction of the 4-feet Reed into that department. The Clarion imparts a silvery character to the general effect of the Swell that is most charming ; and not only so, but the Stop is there constantly available for accompani- mental purposes, as well as for solo playing. V. SPECIFICATION FOR AN ORGAN OF XXVIII SOUNDING STOPS, III MANUALS, AND PEDAL. Great Organ, 10 Stops. 1 — Bourdon , IG feet tone. 2 — Open Diapason 8 feet. 3 — SpitzflOte, or Gamba, 8 feet. 4 — Stopped Diapason, Metal Treble 8 feet. 6 — Principal 4 feet. G — Stopped Flute, wood . 4 feet tone. 7— Twelfth 2f feet. 8— Fifteenth 2 feet. 9— Sharp Mixture, V ranks 2 feet. 10 — Trumpet 8 feet. Swell Organ, 9 Stops. 11 — Bourdon 16 feet tone. 12 — Open Diapason 8 feet. 13 — Stopped Diapason . . 8 feet tone. 14 — Principal 4 feet. 15— Fifteenth 2 feet. IG— Mixture, 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 — Stopped Diapason — wood 8 feet tone. 22 — Principal 4 feet. 23 — Stopped Flute, metal, 4 feet tone. 24 — Clarionet, to Tenor c, 8 feet. Pedal Organ, 4 Stops. 25 — Open Bass 16 feet. 26 — Stopped Bass 16 feet tone. Accessory Stops, Movements, &c. 1 — Swell to Great. 2 — Great to Pedal. 3— Choir to Pedal. 27 — Principal Bass 8 feet. 28 — Posaune, wooden tubes, 16 feet. Compass. Great — CC to g' in altissimo, 6G notes. Swell — Tenor c tog3inaltissimo,44notes. Choir — CC to g in altissimo, 56 notes. Pedal CCC 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 draw out full Organ without Reed, and draw in Trumpet. 7, to draw out full Organ. 1241. In the above fifth Specification, the third Manual (Choir Organ) appears in these plans for the first time, the utility of which department can scai'cely be over- estimated. The Great Organ has the same number of Stops as before, but the Dul- ciana is transferred from that department to the Choir Organ, to which latter division it more correctly belongs, and a Spitzflote or Gamba proposed in its stead. 302 CHAPTEE XXXVIII. 1242. Three distinct Stops have, at various times, been made in England under the one name Gamba. There is the cylindrical Gamba, that is to say, of " Prin- cipal" shape, though not of Principal scale : the Bell Gamba, invented by Hill ; and the Cone Gamba, i. e. without the bell, as introduced by Hill in his Stepney and Pan- opticon Organs. The two former are distinctly of a reedy tone ; while the latter has more of the Diapason character about its sound, and is frequently called, in Ger- many, Spitzjl'ule (Spire-flute, from its tapering outline). Two names are inserted in the place for the third Stop in the foregoing Great Organ Specification, to intimate that either a kind of " second Open Diapason," or a Stop of greater contrasting tone to that of the governing Diapason, might there be appropriately introduced, the name SpitzflOte being intended to refer to the smoother-toned Stop, and that of Gamba to the others of more cutting intonation. A Gamba, v^^hen of strong pungent tone, is of great utility, both for leading voices, and for part-playing, after the manner of a string quartett. Moreover, when added to the Diapasons, it produces an effect in some respects resembling that arising from the coupling on of the Unison Swell Reeds, with the advantage that the Swell is left entirely independent of the Great Organ, and can be prepared for any subsequent effect that may be necessary. The custom, so general in England, of coupling the Swell with Reeds to the Great Diapasons, is an inter- esting instance of the means by which Organists have compounded a particular kind of Organ-tone which they felt to be at times advantageous for purposes of accompani- ment, but for the production of which no special Stops were introduced into the English Organ until within the last few years. When the above combination is prepared, the Reeds impart a certain crispness and decidedness to the tone, which is precisely the effect produced by a strong-toned Gamba. 1243. The effect of a second Open Diapason would of course be to increase the quantity of smooth unison-tone. Most English Organs of the size represented in the preceding Specification, would 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, Frei- burg, and Tours, offer exceptions to the rule (see Foreign Specifications, Nos. 2, 16, and 110, which, however, are all much larger instruments). It might therefore be supposed that the foreign Organs do not contain any Stop corresponding 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 fi-om which the length and scale of the whole series of Harmonic corroborating Stops are calcu- lated, thus constitutes 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 according to the character of tone it is desired the " second Open" shall produce. 1244. 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 character 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 PLANS FOU OUGANS OF VARIOUS SIZES. 308 in its form to distinguisli it to the Organ -builder ; something special in its tone to distinguish it to the auditor ; and sometiiing distinct in its name to distinguisli it to the Organist. Thus, in some German Organs, we find a " second Open," .lightly conical in form, producing a rather lighter tone than the first, of a slightly fiutey quality, and bearing the inscription " Spit Hie U/cct." In others, we llnd the sec nid 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 larger I Trompette basse ^ 18- 19- -Clairon . -Vox Humaine tone. 20 — Bourdon 8 feet 21 — Viol di Gamba .... 8 feet. 22— Prestant 4 feet. 23— Flute 4 feet. 24 — Flute traverse .... 4 feet. 26— Nazard 3 feet. 20— Doublette 2 feet. 27— Flute Champ 2 feet. 35 — Bourdon 8 feet tone. 36— Prestant 4 feet. 37— Flute 4 feet. 38— Nazard 3 feet. 39— Doublette 2 feet. Choir Organ, 15 Stops. -Tierce . -Fourniture. -Cornett. 28- 29- 30- 31 — Trompette . . . 32 — Hautbois. . . 33 — Vox Angelica. 34 — Bassoon Echo, 10 Stops. 40— Tierce 41 — Fourniture. 42 — Cornett. 43 — Trompette . . . . 44 — Vox Humaine 3 feet. 2 feet. 16 feet. 8 feet. 4 feet. 8 feet. 1 ^ feet. 8 feet. 8 feet. 8 feet. 8 feet. 1| feet. 8 feet. 8 feet. Pedal, 45— Prestant 10 feet. 46 — Quintaton 16 feet 47— Flute 8 feet. 48 -Prestant 4 feet. Manuals, CC to f^ in alt. tone. 7 Stops. 49— Bombarde. 16 feet. 50— Trompette 8 feet. 51 — Clairon 4 feet. Compass. Pedals, CCC to tenor c. z 838 APPENDIX. 23. 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, 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 1| foot. n foot. 11 — Quint 1 2 — Fourniture. 13 — Cymballes. 14 — Cornet. 15 — Cornet, lowest rank, Bordun 16 feet. 1 6 — Bombarde 16 feet. 17 — Trompet 8 feet. 18 — Clarin Bass 4 feet. Choir, 12 Stops. 19 — Bordun 16 feet tone. 20 — Bordun 8 feet tone. 21 — Flute 8 feet. 22 — Prestant ,4 feet. 23 — Flute 4 feet. 24— Nazard 2 f feet. 25 — Octave 2 feet. 26— Tierce If foot. 27 — Larigot Ig- foot. 28 — Fourniture. 29 — Cornet. 30 — Hautbois 8 feet. Echo, 7 Stops. 31 — Prestant 8 feet. 32 — Bourdon 8 feet tone. 83 — Octave 4 feet. 34 — Flute 4 feet. 35— Doublette 2 feet. 36 — Fourniture. 37 — Tronipete 8 feet. Pedal, 10 Stops. 38— Montre ^ IG feet. 39 — Bourdon 16 feet tone. 40 — Flute 8 feet. 41 — Bourdon 8 feet tone. 42 — Quinte 5^ feet. 43— Flute 4 feet. 44 — Quarte 2 feet. 45 — Buzain 32 feet. 46 — Bombarde 16 feet. 47 — Trompete 8 feet. 24. Liege. The Organ in the Church of St. Martin at Liege, built by Clerinex, at a cost of £lOOO, has 8 Manuals and Pedal, and 36 Sounding Stops, of which the following is a hst : Great, 14 Stops. 1 — Bourdon 16 feet 2 — Principal 8 feet. 8 — Bourdon 8 teet 4 — Gamba 8 feet. 5 — Flute Travers 8 feet. 6 — Prestant 4 feet. 7 — Flute pointue 4 feet. tone. tone. 8 — Super Octave 2 feet. !) — Sesquialtera, III ranks 3 feet. 10 — Fourniture, IV ranks 11 — Cornett, IV ranks. 12 — Trompet 8 feet. 13 — Clarion 4 feet. 14 — Cromhorne 8 feet. AN ACCOUNT OK rOREKlN ORCIANS. 339 Choir, If) — Salciond n feet. 1() — Bourdon f! feet tone. 17 — rn'shint 4 feet. 10— Old Mute 4 feet. 19 — Super octave 2 feet. Echo, 24 — Bourdon 8 feet tone. 25— I'restant 4 feet. 20— Flageolet. Pedal, 30 — Montre, metal 16 feet. 31 — Flute, wood open .. . IC feet. 32 — Soubasse 16 feet tone. » Stops. 20 — Sesquialtera. 21 — Cornet. 22 — Trompete B feet. 23— Hautbois )! feet. 0 Stops. 27 — Super octave 2 feet. 28 — Cornet. • 29 — Trompete il feet. G Stops. 83 — Montre 8 feet. 34— Bombarde* IG feet. 35— Bombarde 8 feet. 25. Cologne. The present Organ in the Cathedral of Cologne is composed partly of an older instrument, said to have been about 300 years old at the time of its reconstruction. Maas, the late Organ-builder at Cologne, repaired and considerably added to it about ten years since ; more 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, 1 1 Stops. 1 — Principal, tin, in front, 16 feet. 2 — Octave 8 feet. 3— Viol di Gamba , 8 feet. 4— Hohlflote 8 feet. 5 — Super-octave 4 feet. 0— Flautin 2 feet. 7 — Rauschwerk . V ranks, 2|- feet. 8 — Cymbal ... IV ranks. 9 — Sesquialtera, II ranks, 2# feet. 10 — Posaune 16 feet. 11 — Trompete 8 feet. Choir, 11 Stops. 1 2 — Principal 8 feet. 13 — Rohrflote 8 feet tone. fVioladi Gamba, discant" 14 (Violoncello bass . 15 — Queerflote, discant 16— Rohrflote 1 7 — Super-octave .... 8 feet. 8 feet. 4 feet tone. 2 feet. 18 — Cornet . . IV^ ranks. [Bourdon, discant , .") ^^^^ (Contrafagot, bass . . J 20 — Clairon 8 feet. 21 — Krumhorn 8 feet tone. 2 2— Glockenspiel. (Hohlflote, discant (Hohlflote, bass . . 24 — Queerflote, discant 25— Prestant 26— Hohlflote Echo, 9 Stops. 8 feet. -Super- octave . 8 feet. 4 feet. 4 feet. 2 feet. 28— Super-flote 2 feet. 29— Quint-flote 1^ foot. 30— Cymbal. „, fClarinett, discant..) o r ^ ^ •'1 "im • n. 1. r 8 leet tone. (.Clarmett, bass .... J * The CCC Pipe, 12 inches in diameter. 310 APPKNDIX. Pedal, 9 Stops. 32 — Contra Violun 1G feet. 37 — Posaune 1(5 feet. 33 — Subbass 10 feet tone. Si! — Trompete 8 feet. 34 — Violon 8 feet. I 30 — Clairon 4 feet. 35 — Octave Subbass .... 8 feet tone.' 40 — Clarinett 2 feet. 3G — Super octave 4 feet. | Compass. Manuals, CC to f^ in alt ... . 54 notes. Pedal, CCC to tenor c . . . . 25 notes. 26. Cologne. The Organ in the Minorets Church is said to be no less than 400 years old. tone is exceedingly good ; and it has 33 Stops, of which the following is a list : Great, 15 Stops. Its 8 feet. 1 — Bourdon IG feet tone. 2 — Prestant 8 feet. g < Gamba, discant . . f Gamba, bass . . . „ 4 — Violoncello 8 feet. 5 — Hollpfeife 8 feet. G — Octave 4 feet. 7— Flote 4 feet. 8— Wald-flote 4 feet. 9 — Salicena, oder Quint 10 — Super-octave 2 feet. 11— Quint 12— Mixture, III and IV ranks. ^ Trompet, discant , . ( Trompet, bass .... 14 — Clairon H foot. 8 feet. 4 feet. 15 — Vox Humana 8 feet tone. Choir, 12 Stops. 1 G— Hollpfeife 8 feet. 17 — Flaut Traverse .... 8 feet. 18 — Prestant 4 feet. 1 9 — Flaut douce 4 feet. 20 — Vox Angelica 4 feet. 21 — Quint flaut 2| feet tone. 22 — Octave 23 — Cymbal, III ranks. 24 — Carillon, II ranks. 25 — Hautbois 26— Clarinet 27 — Vox Humana 2 feet. 8 feet. 8 feet tone. 8 feet tone. Pedal, 6 Stops. 28 — Principal, in front . . 16 feet. 29 — Octave-bass 8 feet. 30 — Super-octave 4 feet. 31 — Posaune IG feet. 32 — Trompete 8 feet. 33 — Clairon 4 feet. Accessory Stops. 1— Choir to Great. | 2— Great to Pedal. Compass. Manuals, CC to d^ in alt, no top c' sharp, 50 notes. Pedal, CCC to EE, 17 notes. 27. 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 Stojts, 3 Manuals, and a Pedal of G Stops. AN ACCOUNT OK FORKKiN OIKIANS. S41 Great, 1 — Principal 1 (I feet. 2— Prostant 8 feet. 3 — Gaiulia 8 feet. 4 — Hounlon 8 feet tone. 6— Octave 4 feet. (i— Quint 2 1 feet. Choir, 12— Prestant. 8 feet. 13 — Gamba 8 feet. 14— Hollpfrif 8 feet. 15 — Travers-flote 8 feet. 1 (5- Octave 4 feet. 17— Flote 4 feet. Echo, 6 Stops. 11 Stops. 7 — Supenictave 2 feet. 8 — IMixtnre, IV ranl- 0 feet. ^ 1 ronipete, bass . . . . ^ 1 1 — Clairon 4 feet. 11 Stops. 18 — Flautino 4 feet. 19 — Superoctave 2 feet. 20 — Carillon, II ranks. 21 — Cornet . .V ranks. 22 — Clarinet 8 feet tone. 23 — Gemshorn 8 feet. 24 — Hollpteife 8 feet. 25 — Prestant 4 feet. 26— Flote 4 feet. 27 — Hautbois 8 feet. 28 — Vox Humana 8 feet tone. Pedal, 6 Stops. 1— Subbass IG feet. 2— Octave 8 feet. 3 — Violone 8 feet. 4 — Posaune 16 feet. 5 — Tronipete 8 feet. 6 — Clairon 4 feet. Accessory Stops, Movements, &c. 1 — Choir to Great. 2— Echo to Choir. Manuals, CC to f^ in alt, 54 notes. 3 — Great to Pedal. 4 — Tremulant to Choir. Compass. Pedal, CCC to FF, li octave, 18 notes. 28. Cologne. The Church of St. Maria de Capitol, at Cologne, contains an imposing-toned Organ, erected by Ludwig Konig, of Cologne, in 1767. In the year 1839 a Cornett and Flautino were added, and the Organ raised to its present pitch by Engelbert Maas, of Cologne. It has now 40 Stops; 3 Manuals, and Pedal of 10 Stops. The following is the disposition : Great, 12 Stops. 1 — Principal 10 feet. 2 — Octave 8 feet. 3 — Viola di Gamba , 4- 5- 8 feet. -Hollpfeif 8 feet. -Octa' 4 feet. 6— Flaut 4 feet. 7— Quint 2f feet. 8 — Mixture, IV ranks . . 2 feet. 9 — Cymbel, III ranks. . 1 foot. 10 — Cornett, IV ranks. 11 — Tronipete 8 feet. 12 — Clairon 4 feet. Choir, 12 Stops. 13 — Prestant 8 feet. 1 4 — ^Viola di Gamba .... 8 feet. 15— Hollpfeif 8 feet. 1 6 — Flaut travers discant . 8 feet. 17 — Octave 4 feet. 18— Flaut 4 feet. 19 — Superoctave 2 feet. 20 — Flautino 2 feet. 21 — Quint Flaut 1 J foot. 22 — Carillon, II ranks . . 4 feet. 23 — Vox Humana 8 feet tone. Clarinett, discant Hautbois, bass . . 24 8 feet. 3-12 APPENDIX. Echo, 0 Stops. 25— Hollpfeife 8 feet. 20 — Gemshorn 4 feet. 27 — Flaut. 4 feet tone. 28 — Super-octave 2 feet. 29 — Hautbois, discant . . 8 feet. ^ Vox Humana, discant ) „ r , . 30 ^ TT I r 8 feet tone. I Vox Humana, bass. . ) 1 — Bourdon 10 feet. 2 — Viola di Ganiba 8 feet. 3 — Prestant 8 feet. 4 — Gemshorn 8 feet. 5 — Quinte 5^ feet. Pedal, 10 Stops. 6 — Octave 4 feet. 7 — Posaune 10 feet. 8 — Trompete 8 feet. 9 — Clairon 4 feet. 10 — Clarino . 2 feet. 1 — Great to Pedal. Accessory Stops, Movements, &c. I 2 — Tremulant Echo. | 3 — Tremulant Positif Compass. Manuals, CC to f^ in alt, 54 notes. | Pedal, CCC to Gamut A, 22 notes. 29. 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 that size, of being entirely without Pedal Stops. The following is a list of the contents of the above-named instrument : Great, 12 Stops. 1 — Prestant 10 feet. 2 — Principal 8 feet. 8 — Viol di Gamba .... 8 feet. 4 — -Gedact 8 feet tone 5 — Octava , . . 4 feet. 0 — Flaut douce 4 feet. 7 — Super-octave 2 feet. 8 — Sesquialtera, III ranks, 21 feet. 9 — Mix'tur. . . . IV ranks, 2 feet. 1 0 — Posaune 10 feet. 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. 1 0 — Flaut douce 4 feet. 1 7 — Octava 2 feet. 18— Quint- Flaut 1^ foot. 19 — Carillon, II ranks. 20 — Clarinett, discant . . 8 feet tone. 21 — Vox Humana 8 feet tone. 30. 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 0 Stops. The following is a list of its contents : Great, 11 Stops. 1 — Bourdon 16 feet tone. 2 — -Princijial 8 feet. 3 — Bourdon 8 feet tone. 4 — Gamba 8 feet. 5 — Octave , 4 feet. 0— Flote 4 feet. 7— Quinte 2| feet. 8 — Octave 2 feet. 9 — Mixtur, IV ranks. 10 — Cornet. 11 — Trompet 8 feet. AN ACCODNT OV FoUEKiN OllOANS. 843 Choir, It Stops. 12 — Prestant « feet. 1 ;5 — Boiinloii 8 feet tone. 14 — Salicioiml f! feet. 15 — Ferntlote 4 feet. Pedal, 20— Subbass 16 feet. 21 — Violoncello 8 feet. 22 — Octave-bass 8 feet. 10— Flaiit 4 feet. 17— Octave 2 feet. 18 — 01)oe 8 feet. 19 — Basset Horn 8 feet. Stops. 23 — Posaune 16 feet. 24 — Trompet 8 feet. 25 — Clairon 4 feet. 31. Bonn. There is a fine old Organ in the Cathedral at Bonn, containing 30 Sounding Stops, among which is a particularly fine IG-feet Posaune on the Pedal, of wood. The instrument has 2 I\Ianuals 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 — Salcional 8 feet. 6 — Octave 4 feet. 7 — Quint 3 feet. 8 — Super octave 2 feet. 9 — Octavine 1 foot. 10 — Mixture. 11 — Trompete 8 feet. 12 — Clarion 4 feet. Choir, 11 Stops. 14- 16- 8 feet tone. 19- 8 feet. 20- — Mixture. 4 feet. 21- 4 feet. 22- 4 feet tone. 23- . . 8 feet. 3 feet. Pedal, 6 Stops. 24 — Subhasse 10 feet tone. 25 — Principal 8 feet. 26 — Violoncello 8 feet. 27 — Posaune 16 feet. 28 — Posaune 8 feet. 29 — Posaune 4 feet. 32. Bonn. The Organ in the Protestant Church at Bonn, hy Weil, is an excellent instru- ment. It has 1 9 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. 6 — Octave 4 feet. Choir, 7 Stops. 1 — Flote 8 feet. 2 — HoUflote 8 feet. 3 — Harmonica 8 feet. 4 — Principal 4 feet. Pedal, 3 Stops. 1 — Principal. . 10 feet. | 2 — Sub-bass. . 16 feet tone. | 3 — Octave , . 8 feet. 6— Flote 4 feet. 7 — Salcional 4 teet. 8 — Super octave 2 feet. 9 — Trompete 8 feet. 5— Rohrtlote ........ 4 feet. 6 — Super octave 2 feet. 7 — Krumhorn 8 feet. 344 APPENDIX. 33. COBLENTZ. The Organ in the Church of Castor, at Coblentz, has 39 Stops, distributed among 3 Manuals and Pedal, as follow : Great, IC Stops. 1 — Gross-gedact IG feet tone. 2 — Principal 8 feet. 3 — Viol di Gamba .... 8 feet. 4— Holpfeif 8 feet. 5 — Quintadena 8 feet tone. 6 — Coppel 8 feet. 7 — Octave 4 feet. 8 — Salicional 4 feet. 9 — Fleut 4 feet. 10— Quint 2| feet. 11 — Super-octave 2 feet. 1 2 — Vox angelica 2 feet. 13— Terz If foot. 14— Mixtur 1 foot. 15 — Cornet 8 feet. 16^^^°""P^*' N feet. f Trompet, bass Choir, 9 Stops- 1 7 — Bourdon , 8 feet tone. 18 — Flaut Ravena 8 feet. 19 — Principal 4 feet. 20— Flaut 4 feet. 21— Quint 2| feet. 22— Octave 2 feet. 23 — Mixtur. 24 — Krumhorn 8 feet tone. 25 — Vox Humana 8 feet tone. Echo, 7 Stops. 26 — Bourdon 8 feet tone. 30— Octave 2 feet. 27— Flaut 4 feet. 28 — Salicional 4 feet. 29— Quint 2 f feet. 31 — Trompet 8 feet. 32 — Vox Humana 8 feet tone. Pedal, 7 Stops. 33 — Violon-bass 16 feet. 34 — Sub-bass 16 feet tone. 35 — Principal -bass .... 8 feet. 36 — Octave-bass 4 feet. 37 — Posaune-bass 16 feet. 38 — Clairon-bass 4 feet. 39 — Cornet-bass 2 feet. Accessory Stops, Movements, &c. 1 — Choir to Great. | 2 — Great to Pedal. | 3 — Tremulant Echo. Compass. Manuals, CC to d^ in alt, 51 notes. I Pedal, CCC to Gamut G, 20 notes. 34. Strasbourg. Strasbourg has long been famous for its Bell-founders, 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 projects from the Triforium about 50 feet above the pave- ment of the Cathedral. • The following are the particulars of the instrument : AN ACCOUNT OK rOHKHlN OIUIANS. 346 Great, i;? Slops. 1 — Bourdon 1 G feet tone. 2 — Montro, tin « feet. a — BoiirtliMi » feet tone. 4 — I'restmil 4 feet. 6— Niizard 2f feet. 0 — DoLiblette 2 feet. 7— Tierce If feet. n — Fourniture. 9 — Cymbal. 10 — Cornett, V ranks. J ^ ^ Trompette, discant ^ Trompctte, basso . 12 — Troinj>ette i Clairon, discant. . Clairon, basse . . . 14- Choir; -Montre, tin 8 feet. 1 5 — Bourdon 8 feet tone. IG — Prestant 4 feet. 17— Piute 4 feet. 18— Nazard 2| feet. 1 0— Doublette 2 feet. 26 — Montre, tin 8 feet. 26— Gamba 8 feet. 27 — Bourdon 8 feet tone. 28 — Salicional 8 feet. 29 — Prestant 4 feet. 30 — Flute 4 feet. 28- 24 11 Stops. 20— Tierce 21 — Larigot 22 — Fourniture. Cymbal. t Cromhorn, discant . I Cromhorn, basse . . Echo, 11 Stops. 31 — Flute magique . 32— Doublette 38 — Hautbois 34 — Vox Huniaine . Trompet, discant Bassoon, basse . 35 8 feet. 8 feet. 4 feet. 1? foot. l | foot. 8 feet. 4 feet. 2 feet. 8 feet. 8 feet. ^ 8 feet. Pedal, 7 Stops. 3 G— Montre, tin 16 feet. 37 — Bourdon 10 feet tone. 38 — Montre 8 feet. 39 — Prestant 4 feet. 40 — Bombarde 16 feet. 41 — Trompette 8 feet. 42 — Clairon 4 feet. Accessory Stops, Movements, &c. Tremulant to Great. | Tremulant to Echo. The Echo and Choir Manuals couple to the Great by being drawTi out a little. Compass. Manuals, CC to c' in alt, 49 notes. | Pedal, CCC to tenor c, 26 notes. 35. 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. 1 — Bourdon, stopped metal to tenor c, then wood, 1 6 feet tone. 2 — Montre 8 feet. 3 — Bourdon, metal , . . . 8 feet tone. 4 — Salicional 8 fept. 5 — Prestant 4 feet. 6— Flute 4 feet. 7 — Nazard 2t feet. 8 — Doublette 9 — Fourniture, IV ranks. 10 — Cornett. ... V ranks. ^ Trompette, discant. . } 11 ^ Trompette, basse , Clairon, discant Clairon, basse . . 13 — Vox Humaine , 12 2 feet. 8 feet. 4 feet. 8 feet. APPENDIX. Choir, 8 Stops. 8 feet tone. 14 — Bourdon, metal . . 15 — Qiiintatena 8 feet. IG — Prestaut 4 feet. 17 — Cordedain 4 feet. 18— Flute 19— Nazard. . 20 — Doublette 21 — Cromorne Echo, 8 Stops. 22— Montre 8 feet. 23 — Viola de Ganiba, ... 8 feet. 24 — Bourdon, metal .... 8 feet tone. 25 — Salicional 8 feet tone. 2G — Flute 4 feet. Pedal, 30 — Principal, wood . . .10 feet. 3 J— Octave 8 feet. 82 — Quint 6 feet. 33 — Prestant 4 feet. 27 — Cordedain, a kind of flaut traverse, of metal 28 — Trompette 29 — Bassoon Stops. 34 — Bombarde, wood . 35 — Trompette, metal . , 3R — Clairon, metal .... 4 feet. 3 feet. 2 feet. 8 feet. 4 feet. 8 feet. 8 feet. IG feet. 8 feet. 4 feet. Compass. Manuals, CC to c^ in alt, 49 notes. | Pedal, CCC to tenor c, 25 notes. The Echo and Choir Manuals move and couple to Great. 36. 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 espe- cially 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 in feet tone. 2 — Montre 8 feet. 3 — Bourdon 8 feet tone. 4 — Quintaton 8 feet. 5 — Prestant 4 feet. G — Flute 4 feet tone. 7 — Quint 2f feet. 8 — Doublette 2 feet. 9— Tierce l| foot. 10 — Fourniture, III ranks, 1 foot 1 1 — Cymbal . . Ill ranks, 2 feet. 1 2 — Cornet .... V ranks. 3 Trompete, discant ( Trompete, basse . . Clairon, discant . . I Clairon, basse 8 feet. 4 feet. Choir, 10 Stops. 15 — Bourdon 8 feet tone. IG — Salicional 8 feet. 17 — Prestant 4 feet. 18 — Flute 4 feet tone. 19 — Jeu celeste 4 feet. 20— Doublette 2 feet. 21 — Larigo 1^ foot. 22 — Hautbois, discant ... 8 feet. 23 — Cromorne ........ 8 feet. 24 — Cor de basset 8 feet. Echo, 13 Stops. 25 — Bourdon IG feet tone. 20— Montre 8 feet. 27 — Bourdon 8 feet tone. 28 — Viol di Gamba .... 8 feet. 29 — Prestant 4 feet. 30— Flute 4 feet tone. 31— Doublette 2 feet. 32— Sifflute 1 foot. 33 — Fourniture, III ranks. 34 — Cornet. . . . IV ranks. 35 — Trompete 8 feet. 36 — Bassoon 8 feet. 37 — Voix Humana .... 8 feet. AN ACCOUNT OP FOEEIGN ORGANS. 347 38 — Principal, wood .... 10 feet. 3i) — IJounlou (opeu wood) Hi feet. 40— Octave f! feet. 41 — Violoncello « feet. 42 — Prestaut 4 feet. 1, 0 Stops. 43 — Pleinjeu, II ranks. 44 — Boinbarde, metal ... 1 (! feet. 45 — Trompete, metal ... 8 feet. 40 — Clairon . . metal ... 4 feet. Friburo in Brisgatj. 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 1.520 ; that in the Choir, which is about the same size, was built in 1811. The nave Organ has 24 Stops, 2 Manuals, and Pedal, of which the following are the particulars : Great, 10 Stops. 1 — Bourdon 10 feet tone. 2 — Princijial 8 feet. 3 — Bourdon 8 feet tone. 4 — Octav 4 feet. 5 — Floete 4 feet tone. 2 1 feet. 6 — Nazard 7 — Super-octav 2 feet, 8 — Mixtur, III ranks. 9 — Cymbal, III ranks. 10 — Trompete 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. 10— Flote 4 feet. 17 — Waldflote 2 feet. 1 8 — Sesquialtra, II ranks 2f feet. 19 — Cromhorn 8 feet tone. 20 — Vox Humana. ... 8 feet tone. Pedal, 4 Stops. 21 — Montre 10 feet. 22 — Bourdon IG feet tone. 23— Octav 8 feet 24— Posaune, to FFF . . 10 feet. Compass. Manual, CC, short octave, up to a* in alt. | Pedal, CCC to CC, one octave complete. 38. Friburg in Brisgau. The Organ 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 10 feet tone. 2 — Principal 8 feet. 3— Hohlflote 8 feet. 4 — Bourdon 8 feet tone. 5 — Octav 4 feet. 0— Flote 4 feet. 7 — Fugara 4 feet. 8 — Quint 2f feet. 9 — Super-octave 2 feet. 10— Waldflote 2 feet. 11 — Cymbal, III ranks. 12— Mixtur, II ranks. 13 — Cornet, V ranks. 14 — Trompete 8 feet. 348 APPENDIX. Choir, 10 Stops. 15 — Principal 8 feet. 1 (j — Bourdon 8 feet tone. 1 7 — Gamba ... 8 feet. 18 — Salicional 8 feet. 19 — Octav 4 feet. 20 — Gemshorn 4 feet. 21— Flote 4 feet. 22 — Rohrflote 4 feet tone. 23 — Superoctav 2 feet. 24— Trompete 8 feet. Pedal, 8 Stops. 25 — Montre 10 feet. 26 — Bourdon 10 feet tone. 27 — Quintaton K! feet tone. 28 — Principal 8 feet. Compass. Manuals, CC to f^ in alt, 54 notes. Pedal, CCC to Gamut G, 1 1 octave. 29 — Bourdon 8 feet tone. 30 — Mixtur, III ranks. 31 — Posaune 10 feet. 32 — Trompete 8 feet. Coupler. Choir to Great. 39. Frankfort. The Organ in the Cathedral at Frankfort was built in the early part of the seventeenth century, by Meyer ; who also repaired the Cathedral Organ at Ulm, in 1630. The tone of the full Organ is particularly mellow, resonant, and ringing ; and there is good weight and fullness of tone on the Pedal. It contains 34 Stops, of which the following is a list : Great Organ, 14 Stops. 1 — Gross Gedackt (Bour- don) 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 Flote 4 feet. 8 — Gemshorn 4 feet. 9— Hohlflote 4 feet. 10 — Quint 2| feet. 11 — Octave 2 feet. 12 — Mixture, V ranks. 13 — Cornet, V ranks. 14 — Trompete. ....... 8 feet. Choir Organ, 12 Stops. 15 — Principal 16 — Flute Major. . . . 1 7 — Octave 18 — Flote Minor 19 — Salicional-octave , 20 — Spitzflote , 8 feet. 8 feet. 4 feet. 4 feet. 4 feet. 4 feet. 21— Quint 2| feet, 22— Octave 2 feet 23 — Sesquialtera, II rks. 2| feet. 24— Nazard IJ foot, 2.5 — Vox Humana. . ... 8 feet 26 — Krumhorn 8 feet Pedal Organ, 8 Stops. 27 — Subbass, metal. . . . 28 — Principal Bass, wood, 29 — Principal 30 — Violone 16 feet. 16 feet. 8 feet. 8 feet. 31— Mixtur, III ranks. 32 — Posaune 16 foet. 33 — Trompete 8 feet. 34 — Clarin , 4 feet. Compass. Manuals, CC to in alt, 4 octaves. | Pedal CCC to CC, 1 octave. AN AC(;OUNT OF I'OREION ORGANS. 349 40. Frankfoet. The very large and fine new Organ in St. Paul's Church, Frankfort, was Iniilt by Walker, of Ludwigsburg. It contains 74 Stops, 3 Manuals, and 2 I'edals, and 12 Bellows 14 feet long by 5| broad. The Draw-stops are placed over as well as at the sides of the Manuals. The quality and varied tones of the numerous J G, ii, 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. . KJ feet. 3 — Ganiba major.. .. 10 feet. 4 — Tibia major 1(5 feet. 5 — Octave 8 feet. C — ^Viola di Gamba 8 feet. 7 — Gemshorn 8 feet. 8 — Jubal Flote, 2 mouths 8 feet. 9— Quint 6^ feet. 10— Octave 4 feet. 11— Hohlpfeife 4 feet. 12 — Fugara 4 feet. 13 — Gemshorn-terz . ... 3j feet. 14 — Quinte 2| feet. 15 — Superoctave, II ranks 2 feet. 16— Waldflote 2 feet. 17 — Terz-discant 1| foot. 18 — Klein-octave 1 foot. 19— Mixtur, IV ranks. 20 — Scharf, V ranks. 21 — Cornet, V ranks. 22 — Tuba 1(3 feet. 23 — Trompet 8 feet. Choir, 15 Stops. 24— Bordun IG feet tone. 25 — Principal, in front. . 8 feet. 26 — Salicional 8 feet. 27— Dolce 8 feet' 28 — Gedact 8 feet tone. 29 — Quintaton 8 feet tone. 30 — (iuintHote 31 — Octave 4 feet. 5^ feet tone. 32 — Flauto Traverse 4 feet. 33 — Rohrflote 4 feet tone. 34 — Gemshornquint. ... 2f feet. 35 — Octave 2 feet. 36 — Mixtur, V ranks , . 2 feet. 37 — Posaune 8 feet. 58 — Vox Humana. 8 feet. Echo, 14 Stops. 39 — Quintaton 16 feet tone. 40 — Principal 8 feet. 41 — Harmonica 8 feet. 42— Bifaro 8 feet. 43— Hohlflote 8 feet. 44 — Gedact, two mouths, 8 feet tone. 45 — Spitztlote. 4 feet. First Pedal 53 — Contra-bass, open . . 82 feet. 54 — Subbass, open.. 32 feet. 55 — Principal-bass, in front 16 feet. 56 — Octav-bass 16 feet. 57_Violon 16 feet. 58 — Quint 10| feet. 59 — Octave 8 feet. 60 — Violoncello 8 feet. 4G — Dolcissimo 4 feet. 47 — Flute d'amour .... 4 feet. 48 — Gedact 4 feet tone. 49— Nazard 2^ feet. 50 — Flautino 2 feet. 51 — Hautbois 8 feet. 52 — Physharmonica. ... 8 feet. 15 Stops. 61— Terz 6| feet. 62— Quint 5i feet. 63— Octave 4 feet. 64 — Posaune 16 feet. 65 — Trompete 8 feet. 66 — Clarino 4 feet. 67 — Cornettino 2 feet. Second Pedal, 7 Stops. 68 — Subbass 16 feet tone. 69 — Violon d'amour. , . . IG feet. 70 — Principal 8 feet. 71— Flote 8 feet. 72— Flote 4 feet. 73 — Waldflote 2 feet. 74— Fagotto 16 feet. 350 APPENDIX. Accessory Stops, Movements, &c. 4 — Choir to second Pedal 5 — Second to first I'edal. 6,7,8,9,1 0— Five Wind-trunk Valves. Compass. Manuals, CC to in alt, 5i keys. | Pedal, CCC to tenor d, 27 keys. 1 — Choir to Great. 2 — Echo to Choir. 3 — Great to first Pedal. 4 1 . FULD A. The Organ in the Towm Church at Fulda has 48 Sounding Stops, 3 Manuals, and Pedal of 9 Stops. The following is its disposition : 1 — Principal, tin, the 16 feet octave in front 2 — Bourdon, wood. . . . 3 — Principal, tin in front 4 — Bourdon, wood .... 5 — Hohlflote, wood. . . . 6 — Quint, wood bass, tin treble 7 — Gamba Quint 8 — Octave, tin 9 — Hohliiote, wood. . . . 10 — Quint, tin Great, 15 Stops. Large Scale and full intonation. 11— Octave, II ranks, tin 2 feet & 1ft. Ifi feet. 12— Mixtur, IV ranks, 16 feet tone. c, e, g, c 2 feet. 8 feet. 13 — Cymbal, III ranks, 8 feet tone. g- c, g li foot. 8 feet. 14 — Cornet, III ranks,the first and second 5g- feet. ranks, wood stop- 5 3" feet. ped, c, g, c . . . . 8 feet tone. 4 feet. 15 — Trompete, tin, with 4 feet. free reeds 8 feet. 2f feet. Choir, 12 Stops. Smaller Scale and clear intonation. 1 6 — 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. 1 9 — Still-gedact, wood . . 8 feet tone. 20- 21- -Quintaton, tin. -Octave, tin . . . 8 feet tone 4 feet. 22 — Flote, wood 4 feet. 23 — Klein Gedact, tin . 24— Waldtlote, tin . . , 25 — Quint, tin 2f feet. 26 — Octave, II ranks, tin, 2 feet & 1 foot. 27 — Mixtur, IV ranks, tin, c, e, g, e . . . 4 feet tone. 4 feet. 2 feet. Echo, 12 Stops. Smallest Scale and delicate intonation. 28 — Quintaton, the bass octave of wood, the remainderof tin. . 16 feet tone. 29— Geigen Principal, tin, in front 8 feet. 30 — Salicional 8 feet. 31 — Gedact, wood .... 8 feet tone. 32 — Flote travers, wood . 8 feet. 33- 4 feet. 34- — Spitzflote, tin 4 feet. 35- — Flote travers. wood . 4 feet. 36- —Flageolet, tin , 2 feet. 37- 1 foot. 38- —Mixtur, III ranks. tin, c, g, c 2 feet. 39- « feet. AN ACCOUNT OF FOREHIN ORGANS. 351 IVdal, !» Stops. Largest Scak' iiml f'ulk'st intonation. 40 — Untersatz, wood . . . ;?2 feet tone. 41 — Principal-bass, wood 10 feet. 42 — Violon, wood K! feet. 43 — Sub-bass, wood. ... K? feet tone. 44 — Traversen-bass,wood 1 G feet. 45 — Octavcn -bass, wood . 8 feet. 40 — Violoncello, wood . . 8 feet. 47 — Traversen-bass . ... ii feet. 48 — Posaune, wooden tubes 10 feet. Accessory Stops, Movements, &c. 1 — Coupler Choir to Great. 2 — Coupler Echo to Great. 8— Coupler Great to Pedal. 4 — Coupler Choir to Pedal. 5 — Tremulant. 0, 7, 8, 9 — Four double-action com- position Pedals, one to each manual. Compass. Manuals, CC to f ^ in alt, 54 notes. Pedal, CCC to tenor d, 27 notes. 42. 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 : 1 — Bourdon to fiddle g . 32 feet tone. 2 — Princi[.al ; bass and tenor octaves of wood ; from middle c^ upwards, of tin 10 feet. 3 — Bourdon 10 feet tone. 4 — Octave ; bass octave of wood; from te- nor c upwards, of tin 8 feet. 5 — ^Gamba 8 feet. Great, 15 Stop G— 7— 9 10 11 — ' 12 13— 14 16—' HohWote 8 feet. Octave 4 feet. Hohlfiote 4 feet. Gedact 4 feet tone. Quint 2 1 feet. Octave 2 and 1. Mixtur, V ranks . . 2 feet. Cymbal, III ranks . 2 feet. Cornet, III ranks. Trompet 8 feet. Choir, 11 Stops. 16 — LeibHch Gedact. ... 10 feet tone. 17 — Geigen Principal ; bass octave of wood . . 8 feet. 18 — Salicional 8 feet. 1 9 — Flauto Traverso ... 8 feet. 20 — Harmonica 8 feet. 21 — Leibhch Gedact ... 8 feet tone. 22 — Octave 4 feet. 28 — Flaut douce 4 feet. 24— Quinte 2f feet. 25— Octave 2 feet. 20 — Scharf, III ranks . . 2 feet. Pedal, 8 Stops. 27 — Principalbass 16 feet. 28 — Violonbass 10 feet. 29 — Subbass 16 feet tone. 30 — Octavebass 8 feet. 81 — Violoncello 8 feet. 32 — Gedactbass 8 feet tone. 83 — Posaune 82 feet. 34 — Posaune 16 feet. 48. Gotha. The Organ in the Church of St. INIargaret, at Gotha, was also built by Schulze It contains 26 Stops, distributed as follows ; 352 APPENDIX. Great or Lower 1 — Principal Klfeet. 2 — Bourdon l(i feet tone. 8 — Principal 8 feet. 4 — Ganiba 8 feet. 5_Hohlflote 8 feet. G — Gedact 8 feet tone. 7 — Harmonica 8 feet. Choir or Upper 14 — Leiblich Gedact. ... 10 feet tone. 15 — Geigen Princii)al . . 8 feet. IG — Saliclonal 8 feet. 17 — Leiblich Gedact. ... 8 feet tone. Pedal, 21 — Principal-bass .... 16 feet. 22 — Violon IG feet. 23 — Sub-bass IG feet tone. Manual, 13 Stops. 8 — (^uint, Stopped wood 5J feet. 9— Octave . 4 feet. 10— Flote 4 feet. J Quint 2 1 feet. I Octave 2 feet. 12 — Mixture, V ranks. . 2 feet. 13 — Scharf, III ranks.. 2 feet. Manual, 7 Stops. 1 8 — Flauto Traverso ... 8 feet. 19 — Principal 4 feet. 20 — Flauto Traverso ... 4 feet. 6 Stops. 24 — Octavenbass 8 feet. 25 — Violoncello 8 feet. 26 — Posaune 16 feet. 44. 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, 10 Stops. G — Octave 4 feet. 7 — Quinta 2| feet. 8 — Superoctave 2 feet. 9 — Mixtur, IV ranks . . 2 feet. 1 — Quintaton IG feet tone. 2 — Principal, Eng. tin. . 8 feet. 3 — Gedact 8 feet tone. 4 — Gamba 8 feet. 5 — Hohlflote, of wood. . 8 feet. 10 — Cyaibel, III ranks. . 1 foot. 11 — Flote, to tenor c. . . . 8 feet. 12 — Stillgedact 8 feet tone. 1 r^ _Quintaton 8 feet tone. 14 — Principal, Eng. tin . . 4 feet. Pedal, 19 — Violonbass IG feet. 20— Subbass 16 feet tone. Choir, 8 Stops. 15 — Nachthorn 4 feet. 16— Octave 2 feet. 17 — Sesquialter, II ranks 2f feet. 18— Mixtur, IV ranks . . 1 foot. Stops. 21 — Octavenbass 8 feet. 22 — Posaunenbass IG feet. 1 — Choir to Great. 2 — Great to Pedal. Accessory Stops, &c. 3, 4, 5 — Three Wind-trunk Valves. 4.5. Eltsleben. Tlie Organ in the Church at Eltsleben, in the Princedom of Schwartzburg, was built liy Francis Volkland. It has 2 Manuals and Pedal, and 28 Stops, the names and distribution of which latter are as follow : AN ACOOtINT OF FORKION OROANS. 353 Great, 12 Stops. 1 — Qiiintatnn 16 feet tone. 2 — Principal, Eng. tin . . 0 feet. 3 — Bordun 8 feet tone. 4 — Gamba 8 feet. 5 — Plauto Traverse .... 8 feet. 6 — Octave 4 feet. 7 — Quinta 2| feet. 8 — Superoctave 2 feet. 9 — Sesquialter, II ranks 2f feet. 10 — Mixtur, VI ranks . . 2 feet. 11 — Cymbel, IV ranks. . 1 foot. 1 2 — Trompete 8 feet. Choir, 10 Stops. 13 — Gedact 14 — Quintaton 15 — Principal, Engl, tin. IG — Nachthorn 17— Spitzflote 8 feet tone. 8 feet tone. 4 feet. 4 feet. 4 feet. 1 8— Hohlflote .... 4 feet. 19 — Octave 2 feet. 20 — Sesquialter, II ranks 2|- feet. 21 — Mixture, IV ranks. . Ij foot. 22 — Vox Humana .... 8 feet tone. Pedal, () Stops. 23 — Violon-bass. . 24 — Sub-bass. . . . 25 — Octaven-bass. 16 feet. 16 feet tone. 8 feet. 26 — ^Violon-bass . . . 27 — Hohlfloten-bass , 28 — Posaunen-bass . 8 feet. 4 feet. 16 feet. Accessory Stops, Movements, &e. 1 — Coupler Choir to Great. 2 — Coupler Great to Pedal. 3 — Tremulant to Choir. 4, 5, 6 — Three Wind-trunk-valves to Manuals and Pedal. 7 — Cymbelstern, g, h, d, g. 8 — Cymbelstern, c, e, g, c. 46. Waltershausen. The fine Organ at Waltershausen, in and Pedal, and 50 Sounding- Stops ; the as follow : Great, 1— Bordun 16 feet 2 — Quintaton 16 feet 3 — Praestant, Engl, tin, in front 8 feet. 4 — Bordun 8 feet 6 — Gamba 8 feet. 6 — Gemshorn ........ 8 feet. 7 — Quintaton 8 feet 8 — Unta Maris 8 feet tone, tone. tone. tone, tone. the Dukedom of Gotha, contains Manuals names and distribution of which latter are 17 Stops. 9 — Octave 4 feet. 10 — Rohrflote. . 4 feet tone. 11 — Salcional 4 feet. 12— Quinta 2| feet. 1.3 — Superoctave 2 feet. 14 — Sesquialter, II ranks 2f feet. 15— Mixtur, VIII ranks. 2 feet. 16— Fagott 16 feet. 17 — Trompete 8 feet. Choir, 12 Stops. 18— Spitzflote Major 8 feet. 19 — Nachthorn 8 feet. 20 — Principal, Engl, tin, in front 4 feet. 21 — Quintaton 4 feet tone. 22 — Gemshorn 4 feet. 23— Flauto douce 4 feet. 24 — Gemshorn quinta . . 2f feet. 25 — Nasat 2f feet. 26— Octave 2 feet. 27 — Sesquialter 1| foot. 28— Mixtur, IV ranks . . 2| feet. 29 — Hautbois 8 feet. A A APPENDIX. 30 — Geigen- Principal, Engl, tin, in tront. 31 — Doppel-Flute. . . . 32— HoWtiote. .... , Echo, 7 Stops. 33 — Flauto Traverse .... 8 feet. 8 feet. 84 — Spitzflote 4 feet. 8 feet. 35 — Still-Gedact 4 feet tone. 8 feet. 36— HohlHote 2 feet. Pedal, 14 Stops. 37 — Gross-Untersatz ... 32 feet tone. 38 — Gross- Principal, Engl. tin, in front 10 feet. 89 — Quintaton 16 feet tone. 40 — ^Violon 10 feet. 41 — Untersatz 16 feet 42 — Octaven-Principal . . 8 feet. 43 — Bordun 8 feet tone. tone. 44 — Viola di Gamba 8 feet. 45 — Quinta 5^ feet. 46 — Octave 4 feet. 47— Rohrflote 4 feet 48— Mixtur 2 feet. 49 — Posaune 16 feet. 50 — Trompete 8 feet. tone. Accessory Stops, Movements, &c. 1 — Coupler Choir to Great. 2 — Coupler Echo to Great. 8 — Coupler Great to Pedal. 4 — Tremulant to Choir. 5 — Cymbelstern. 6, 7, 8, 9 — Four Wind-valves. 47. Zeebst. The new Organ in the Church of St. Nicholas, Zerbst, was built by Zuberbier and his partner Geibelin in 1840. It contains 37 Stops, 2 Manuals, and a Pedal of 9 Stops. The details of the instrument are as follow : Great, 15 Stops. 1 — Principal, in front 5 — Viola di Gamba. 6— Hohlflote 7 — Quinta 10 feet. 9- 4 feet 16 feet tone. 10- 4 feet. 8 feet. 11- 21 feet. 8 feet tone. 12- — Quinta decima . . . . 2 feet. 8 feet. 13- —Mixtur, VI ranks. 8 feet. 14- — Cornett, IV ranks. bi feet. 15- 8 feet. 4 feet. Choir, 13 Stops. 16 — Bordun 10 feet tone. 28- 17 — Principal 8 feet. 24- 18 — Gedact -.. 8 feet tone. 25- 19 — Quintaton 8 feet tone. 26- 20 — Flauto traverso. ... 8 feet. 27- 21 — Octave 4 feet. 28— 22 — Salicet 4 feet. Pedal, 9 Stops Flaut douce 4 feet. Quint 21 feet. Superoctave 2 feet. ■Waldflote 2 feet. ■Tertia If foot. ■Mixtur, IV ranks . . 2t feet. 29 — Untersaz 32 feet tone. 30 — Principal, in front . . 16 feet. 31 — Subbass 10 feet tone. 32 — Violone 10 feet. 33 — Octave 8 feet. Accessory Stops, Movements, &c, 84 — Violoncello 8 feet. 35 — Superoctave 4 feet. 86 — Posaune 10 feet. 37 — Trompete 8 feet. 1 — Coupler Great to Pedal. 2, 3, 4 — Three Wind-trunk-valves. Six Bellows, 1 0 feet by 5. AN ACCOUNT OK FOllEION ORGANS. 4«. Langensulza. The new Organ in the Church of St. Boniface, at Langensulza, contains .'U Stops, distributed amoncr - Manuals and Pedal in the following manner : Great, 14 Stops. 1 — Bordun, of wood. ... IG feet 2 — Principal, of Engl, tin 8 feet. 3 — Bordun 8 feet 4 — Gemshorn 8 feet. 6 — ^Viola di Gamba. ... 8 feet. G — Flauto major ...... 8 feet. 7 — Octave 4 feet. tone. tone. 8 — Spitzflote 4 feet. 9— Quiuta 2| feet. 10 — Superoctave 2 feet. 11— Mixtur, VI ranks . . 2 feet. 12— Cymbol, III ranks. . 1 loot. 13 — Cornet, III ranks. 14 — Trompet 8 feet. Choir, 13 Stops. 15 — Quintaton IG feet tone. 1 6 — Principal, of Engl, tin 8 feet. 17 — Gedact, wood 8 feet tone. 1 8 — Flauto Traverso, pear-tree wood .... 8 feet. 1 9 — Kleingedact, metal . . 4 feet tone. 20— Nachthorn 4 feet. Pedal, 2 8 — Gross -Untersatz , wood 32 feet tone. 29 — Principal-bass, wood 16 feet. 30 — Violon-bass, wood . . 16 feet. 2 1 — Flach-flote, pear-tree wood 4 feet. -Octave, metal 2 feet. -Sesquialtera, II ranks 2-i- feet. 2 feet. 1 foot. 22 2.S 24 — Mixture, IV ranks. 26 -Scharf, IV ranks. . 26— Cymbel, III ranks. 27 — Vox Humana . . . Stops. 31 — Sub-bass, wood. . . 82 — Traversen-bass, wood 16 feet. 33 — Octaven-bass, wood . 8 feet. 34 — Posaun-bass, wood . . 16 feet. 2 1001. 8 feet tone. 16 feet tone. Accessory Stops, Movements, &c. 1 — Coupler Choir to Great. 2 — Coupler Great to Pedal. 3 — Coupler Choir to Pedal. 4 — Tremulant to Choir. .5, 6, 7 — Three Wind-trunk-valves. 8 — Cymbelstern . 49. MUHLHATJSEN. The Organ at the Church at IMuhlhausen has 60 Sounding-Stops, 3 Manuals and Pedal. The following is a list of the Stops : Great, 1.5 Stops. 1 — Bordun 16 feet 2 — Surdun 16 feet 3 — Principal. ....... 8 feet. 4— Spitzflote 8 feet. 5 — Salcional 8 feet. 6 — Octave 4 feet. 7— Offeneflote 4 feet. 8— Quint 2| feet. tone. 9 — Supepoctave 2 feet. tone. 10 — Waldhorn 2 feet. 11— Sexte 2t feet. 12 — Sifflote 1 foot. 13— Mixtur, VII & VIII ranks. 14— Mixtur, VI ranks. 15— Zink (reed) 8 feet. Choir, 14 Stops. 16 — Principal 8 feet. 17 — Gedact 8 feet tone. 18 — Quintaton 8 feet tone. 19— Hohlflote 4 feet. 20 — Quintaton 4 feet tone. 21— Querflote 4 feet. 22— Quint 2| feet. 23 — Superoctave 2 feet. 24 — Gemshorn 2 feet. 25 — Tertian 2 feet. 26— Sifflote 1 foot. 27— Mixtur, VI ranks. 28— Dulcian 16 feet. 29 — Krummhorn 8 feet tone. 350 APPENDIX. Echo, 30 — Salcional 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. 3G— Quinte 2f feet. Pedal, 43 — Subhass 32 feet tone. 44 — Principal IG feet. 45 — Sub-bass IG feet tone. 4G — Octave 8 feet. 47— Waldflote 8 feet. 48 — Octave 4 feet. 49 — Quintaton 4 feet tone. 50 — Nachthorn 4 feet. 51 — Superoctave 2 feet. 13 Stops. .37_Waldflote 2 feet. 88— Tertia 2 feet. 30 — Cymlial, IV ranks. 40 — Harfen- regal IG feet. 41 — Hautbois 8 feet. 42 — Trompete 4 feet. 18 Stops. 62 — Super-superoctave. . 1 foot. 53 — Mixtur, X ranks. 54 — Posaune 32 feet. 55 — Posaune 16 feet. 56— Dulcian 16 feet. 57 — Trompete 8 feet. 58 — Krummhorn 8 feet tone. 59 — Schalmei 4 feet tone. 60— Cornet 2 feet. 50. Merseburg. The Cathedral Organ at Merseburg, in Saxony, has 75 Stops, G2 of which are whole ones. It has 4 Manuals and a Pedal of 17 Stops, and G large Bellows. The following is an enumeration of the whole Stops : Great, 14 Stops. 1 — Rohrflote 16 feet tone. 2 — Quintadena IG feet tone. 3 — Principal 8 feet. 4 — Quintadena 8 feet tone. 5 — Quint , . . . . 5g^ feet. 6 — Octave 4 feet. 7 — Flute 4 feet tone. 8 — Octave 2 feet. 9 — Sesquialtera, II ranks 2 1 feet. 10 — Mixture, VI ranks. 11 — Cymbal, III ranks. 12 — Bombarde 16 feet. 13 — Trompette 8 feet. 14 — Chalmey 8 feet tone. Choir, 13 Stops. 16 — Bourdon 16 feet tone. 16 — Principal 8 feet. 17 — Rohrflote 8 feet tone. 18 — Viol di Gamba .... 8 feet. 19 — Stahlspiel 4 feet. 20— Flageolet 4 feet. 21 — Nason 2f feet. 22 — Octave 2 feet. 23— Rohrflote. . , 2 feet tone. 24— Tierce If foot. 25 — Mixture, VI ranks. 26 — Vox Humana .... 8 feet tone. 27 — Chalmey 8 feet tone. Choir in front, 10 Stops. 28 — Quintadena 8 feet tone. 29 — Gedact '. . . 8 feet tone. 30 — Rohrflote 8 feet tone. 31 — Principal 4 feet. 32— Dulciana 4 feet. 33— Flute 4 feet. 34 — Rohrflote 4 feet tone. 35— Quint 2t feet. 36— Terz 2 feet. 37 — Flageolet 2 feet. Echo, 8 Stops. 38 — Bourdon 8 feet tone. 39— Principal 4 feet. 40 — Salicional 4 feet. 41 — Nason 2§ feet. 42— Octave 2 feet. 43— Tierce If foot. 44 — Octave. 1 foot. 45 — Mixture, IV ranks. AN ACCOUNT OP POllEION ORGANS. 357 Pedal, 1 4.') — Suhbass 32 feet tone. 4(i — I'rlucipal KJfeet. 47 — Violone IC feet. 4f! — Suhbiiss 10 feet tone. 49 — rrini'ipal 1! feet. 50 — Violoncello U feet. 51 — Klein Subbass .... 8 feet tone. 52— Quint 5^^ feet. 53 — Octave 4 feet. 7 Stops. 54— Flute 4 feet. 55 — Flageolet 2 feet. 50 — Flute octave 1 foot. 57 — Mixture, VI ranks. 58 — Trombone 32 feet. 50 — Trombone 10 feet. CO — Trompete 8 feet, (il — Cornet 4 feet. The Organ in the Chmxh 40 Stops, distributed between to slope upwards fi"om front to 1 — Bordun to g 32 feet 2 — Principal 16 feet. 3— Bordun 16 feet 4 — Octave 8 feet. 5 — Gedact . . . , 8 feet 6 — Gamba 8 feet. 7— Holilflote 8 feet. 1 5 — Bordun , 16 feet tone. 16 — Principal 8 feet. 1 7 — Gedact . . , , 8 feet tone. 18— Flote 8 feet. 19 — Salicional 8 feet. 51. Halle. of St. Maurice, at Halle, built by Schulze, contains 3 Manuals and Pedal. The Sound-boards are made back, so 'that the Stops stand in terrace form. Great, 14 Stops. tone. tone. tone. -Quinte 53- feet. -Octave 4 feet. -Flote 4 feet. -Quint & Octave. .2|& 2 feet. 2 feet. 8- 9- 10- 11- 12 — Mixtur, V ranks. . 13 — Cornet, III ranks. 1 4 — Trompete 8 feet. Choir, 10 Stops. 20 — Octave 4 21— Hohlflote 4 22— Quinte 2f 23 — Octave 2 24— Scharf, V ranks 2 feet, feet, feet, feet, feet. 25 — Leiblich-Gedact ... 16 26 — Geigen- Principal. . . 8 27 — Leiblich-Gedact ... 8 2 8 — Flauto Traverse 8 33 — Principal Bass .... 16 34 — Subbass 16 35— Violone 16 36 — Octavebass 8 Echo, 8 Stops, feet tone, feet. feet tone, feet. Pedal, 8 Stops 29 — Harmonica 8 feet. 30 — Schweizerflote 8 feet. 31 — Geigen-Principal. . . 4 feet. 32— Gedact 4 feet feet. feet tone. feet. feet. 37 — Gedactbass 8 feet 38 — Violoncello 8 feet. 39 — Posaune 82 feet. 40 — Posaune 16 feet. tone. tone. 52. Loiz. The Organ m the Marien-Kirche at Loiz, built by Johann Frederic Schulze, has 34 Sounding Stops, 2 Manuals, and Pedal. The following is a hst of its contents : Great, 14 Stops. 1 — Bordun to g 32 feet tone. 2 — Bordun 16 feet. 9 — Gedact-flote 4 feet tone. 3 — Principal 8 feet. 4 — Gedact 8 feet tone. 5 — Gamba 8 feet. 6— Hohlflote. . . . 8 feet. 7 — Quinte 5j feet. 8 — Octave 4 feet. 9— Gedact-flote 4 feet 10 — Quinte 2f feet. 11 — Octave 2 feet. 12— Mixture, V ranks . . 2 feet. 13— Scharf, III ranks . . 2 feet. 14 — Trompete 8 feet. 35« APPENDIX. Choir, 12 Stops. 15- — Leiblich-Gedfict . . . 10 feet tone. 21 — . 4 feet. 16- —Geigen- Principal. .. 8 feet. 22 - Fiauto Traverso . . . , 4 feet. 17- — Leihlich-Gedact . . . 8 feet tone. 2.3- , 2| feet. 18- — Salicioiial 8 feet. 24- . 2 feet. 19- — Fiauto Traverso. . , . 8 feet. 2.5- -Scharf, III ranks . . 2 feet. 20- 8 feet. 26- . 8 feet. Pedal, 8 Stops. 27 — Viol one 16 feet. 28 — Sub-bass 16 feet tone. 29 — Gross-Quinte 1 Of feet. 30 — Octaven-bass 8 feet. 31 — Gedact 8 feet tone. 32 — Violoncello 8 feet. 83 — Posaune 32 feet. 34 — Posaune 16 feet. Compass. Manuals, CC to f^ in alt, .54 tones. | Pedal, CCC to Tenor d, 27 tones. 53. Katscher. The Organ in the Catholic Church at Katscher was built by Mi'iller, sen. in 1843. It has 21 Sounding Stops, distributed among 2 Manuals and Pedal in the following manner : Great, 11 Stops. 1 — Bourdon . . . Maple- wood in the Treble, Pine- wood in the Bass. . 16 feet tone. 2 — Principal, | tin, in fi'ont, 8 feet. 8 — SaHcet ... Maple-wood to Tenor e, the re- maining Octave of Pine 8 feet. 4 — Doppelrolu'fiote . . . Oak to middle ci. Pine for the remaining 2 oc- taves 8 feet tone. .5 — Portunalflaut 8 feet. 6 — Principal 4 feet. 7 — Doppelrohrflaut ... of Oak 4 feet tone. 8 — Gemshornquinte, metal, 2| feet. 9 — Super octave, metal... 2 feet. 10 — Mixtur...Probetin, V ranks. 11 — Trompete 8 feet. Choir, 6 Stops. 12 — Principal... in front ... 8 feet. 13 — Salicet...of Probetin in the treble. Pine in the Bass 8 feet. Flaut m aj or ... Oak in the treble. Pine in the Bass 8 feet tone. 14 15 — Salicet 4 feet. 16 — Portunal ... of Maple and Pear-tree woods to tenor c ; the last octave of Pine 4 feet. 1 7— Violini ... 1 4 loth. Probe- tin 2 feet. 18 — ^Violon ... of Pine- Pedal, 4 Stops. 20 — Violon ... of Pine- wood 1 6 feet. 19 — Subbass...of Pine- wood 16 feet tone. 8 feet. wood 21 — Posaune ... Peai'tree- wood 16 feet. Accessory Stops, &c. 1 — ^Wind to Great. 2— Wind to Choir. 3— Wind to Pedal. Compass, &c. Manuals, CC to d' in alt. Pedal, CCC to tenor d. 3 Bellows, 9 feet by 4^. AN ACCOUNT OP FOREION ORGANS. 369 54. Erdmannsdorf. The Organ in the Cliurch at Erdmannsdorf was built by Buckow, in 1840; and has 1 !) Sounding Stops, of which the following is a Hst : Great, 9 Stops. 1 — Bourdon, .wood .... 10 feet tone. 2 — Principal . . of Eng. tin in front 8 feet. 3 — Gemshorn . . 14 loth. tin 8 feet. 4 — Principal octave . Eng. tin in front 4 feet. 5 — Gemshorn . . 14 loth. tin 4 feet. G — Nasard (conical) 12 loth, tin 8 feet. 7 — Super octave . 1 4 loth. tin 2 feet. 8 — Cornctti . 12 loth, tin, of conical pipes . . Ill ranks 2 feet. 9 — Progressio . 14 loth.tin, III and IV ranks . 2 feet. 10 — Salicional. .Eng. tin . 8 feet. 11— Viola di Gamba. .14 loth, tin 8 feet. 12 — Flauto douce . 10 loth. metal, lower octaves of wood 8 feet. 1 3 — Principal . . Eng. tin . . 4 feet. Choir, C Stops. 14 — ^Flaut d'amour • . 10 loth metal 4 feet. 15— Flautino . , 12 loth. Probetin . . conical pipes 2 feet. 1 6 — Slider for a Reed Stop of 8 feet. 1 7 — Violon . . wood 16 feet. 18 — Subbass. .wood .... 10 feet tone 19 — Violoncello, .the up- Pedal, 4 Stops. per notes of Probe- tin 8 feet. 20 — Posaune 10 feet. Accessory Stops, &c. 1 — Coupler, Choir to Great. 2 — Coupler, Great to Pedal. 3, 4, 5 — Three Wind-trunk Valves. Compass. Manuals, CC to f ' in alt. Pedal, CCC to Tenor d. 55. Krumols. TlT,e 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. English tin 8 feet. 4 — Hohlflote. .the upper Si octave in 10 loth, metal, the remain- der of wood .... 8 feet. 5— Octave. .12 loth. Eng. tin 4 feet. 6 — Gemshorn . . 12 loth, English tin 4 feet. 7_Quinte..l2loth.Eng. tin . . 21 feet. 8 — Super octave . . 12 loth. English tm . . 2 feet. 9 — Progressio . . 12 loth. Eng. tin. .Ill, IV, and V ranks .... 2 feet. 10 — Trompete 8 feet. 3(iO APPENDIX. Choir, 8 11 — Viola di Gamba . . 16 lotli. English tin . . 8 feet. 12 — Flaut douce. ,10 loth. metal to tenor c, last octave wood . . 8 feet. 18— Principal . . 14 loth. Eng. tin, in front . 4 feet. 14 — Flut d'amour . . 10 loth, metal ...... 4 feet. 19- 20- -Principal. .wood. -Subbass . .wood. . Pedal, 4 Stops. 16 feet. 1 6 feet tone. 21— Octave. .12 loth, tin, 22 — Posaune Accessory Stops, Movements, &c. 1 — Coupler, Choir to Great. 2 — Coupler, Great to Pedal. 3, 4, 5 — Three Wind-trunk Valves. Stops. 15 — Quinta dulcis 2 f feet. K; — Flautino ..12 loth. Eng. tin 2 feet 17 — Flauto Piccolo ..12 loth. Eng. tin ... . 1 foot. 18— Cornetti . . 12 loth. Eng. tin, III ranks. 8 feet. 16 feet. Compass, &c. Manuals, CC to f ^ in alt. Pedal, CCC to tenor d. Three Bellows, 10 feet long. 56. Halberstadt. The Organ in the Great Church at Halberstadt was built by J. P. Schulze, and is remarkable for having a 3 2 -feet Reed on the Manual. This instrument 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 follow : First Manual, 15 Stops. 1 — Principal 16 feet. 2 — Octave 8 feet. 3 — Gemshorn 8 feet. 4 — Gedact 8 feet tone. 5 — Nasat 5^ feet. 6 — Octave 4 feet. 7 — Gedact 4 feet tone. 8— Quinte 21 feet. 9 — Octave 1 0 — Mixtur . . VI ranks. 11 — Scharf . . . IV ranks. 12 — Cornett . . IV ranks. 13 — Contrafagott 14 — Trompete 15 — Trompete 2 feet. 32 feet. 16 feet. 8 feet. Second Manual, 13 Stops. 1 6 — Gedact 16 feet tone. 17 — Quintaton 16 feet. 18 — Principal 8 feet. 1 9 — Viola di Gamba .... 8 feet. 20 — Hohlflote 8 feet. 21 — Gedact 8 feet tone. 22— Octave 4 feet. 4 feet. 2| feet. 2 feet. 23 — Flute douce . . . 24— Quinte 25 — Octave 26 — Mixtur. , . . V ranks. 27 — Cymbel . .Ill ranks. 28— Hautbois 8 feet. Third Manual, 11 Stops. 29 — Bourdon 16 feet tone. 30 — Principal 8 feet. 31 — Salcional 8 feet. 32 — Gedact 8 feet tone. 33 — Octave 4 feet. 34 — Spitzflote 4 feet. 36— Nasat 36 — Octave 37 — Mixtur . . IV ranks. 38 — Cornett. .Ill ranks. 39 — Vox Humana 2§ feet. 2 feet. 8 feet tone. AN ACCOUNT OF FOUKIUN ORaANS. Fourth Miinu 40 — Lieblich Gedact .... l(i feet tone 41 — Terjiodion 8 feet. 42 — Ihirnioiiica 8 feet. 43 — Flauto traverse .... U feet. Pedal, 18 48 — Untersatz 32 feet tone. 49 — Principal 10 feet. 50 — Violone 1(5 feet. 51 — Subbass 1(! feet tone. 52 — Subbass IG feet. 54 — Octave 8 feet. 55 — Violoncello 8 feet. 66 — Gedact 8 feet tone. x\, 8 Stops. 44 — Lieblich Gedact .... 8 feet tone. 45 — Principal 4 feet. 4(j — Flauto 4 feet. 47 — Physharmonica .... 8 feet. Stops. 57_Tertia Gf feet. 58 — Nasat 5^ feet. 59 — Octave 4 feet. 60 — Mixtur. .VI ranks. 61 — Cornett. . V ranks. 62 — Posaune 32 feet. 63 — Posaune 16 feet. 64 — Trompete 8 feet. 65 — Trompete 4 feet. 57. HiRSCHBERG. The large Organ in Christ Church, Hirschberg, has 62 Sounding Stops, 4 Manuals, Pedal of 16 Stops, and 3844 Pipes. The Stops are disposed in the following manner : First Manual, 16 Stops. 1 — Principal . . f tin . . . . 2 — Quintaton. . metal . . 3 — Principal . . Eng. tin . 4 — Gemshorn . . metal . . 5 — Hohlflote . . v^rood . . 16 feet. 1 6 feet tone. 8 feet. 8 feet. 8 feet. 6 — ^Nasard . . tin 5g- feet. 7 — Super octave . . tin . . 8 — Flute douce, .wood, . 9 — Quinte. .tin 17 — Bourdon, .oak-wood . 18 — Principal, in front . tin 19 — Gedact . . metal . . . . 20 — Quintaton. . metal . . 21 — Octave tin . . 22 — Gemshorn .... tin . . 23 — Quinte tin . . 4 feet. 4 feet. 2| feet. Second Manual, 13 Stops 10 — Vigesima secunda . tin 2 11 — Rauschquinte . II ranks, tin li 12 — Mixtur . .V ranks, tin 2 13— Scharf. .IVranks,tin 1^ 14 — Cymbel .III ranks, tin 1 5 — Tromba. . f tin . . . . 16 — Trompete . f tin . . . . feet. foot. 2 feet. li foot. 1 foot. 16 feet. 8 feet. 16 feet tone. 8 feet. 8 feet tone. 8 feet tone. 4 feet. 4 feet. 24 — Super octave . . tin . . 25 — Terz . tin. . 26— Flageolet tin. . 27 — Mixtur . VI ranks, tin 28 — Cymbel . Ill ranks, tin 29 — Vox Humana. . f tin 2 feet. 1| foot. 1 foot. 2 feet. H foot, 8 feet tone. Third Manual, 10 Stops, 30 — Principal . English tin 8 feet. 31 — Fugara . . pine and maple-wood 8 feet. 32 — Gedact. .oak-wood. . 8 feet tone. 33— Octave 4 feet. 34 — RohrflOte . . metal . . 4 feet tone. 35— Quinte 2f feet. 36 — Super octave 2 feet. 87— Mixtur IV ranks. 38 — Sesquialtera. .II ranks. 39 — Schalomo. .tin 8 feet tone. 40 — Prestant. . . .tin . . . . 41 — Fli'it douce, .wood. . . 42 — Octave . . . .tin ... . 43 — Fliit traversiere . wood Fourth Manual, 7 Stops. 8 feet. 44 — Super octave . .tin . . 2 feet. 45 — Cornet . II ranks .tin li foot. Oboe im descant . wood } r 8 feet. 4 feet. 4 feet. 46 Fagotto im Bass . wood 8 feet. 3G2 APPENDIX, Pedal, 16 Stops. 47 — Untersaz. .wood, ... 32 feet tone. 48 — Principal . English tin 16 feet. 49 — Violon 16 feet. 50 — Quintaton 16 feet tone. 51 — Subbass 16 feet. 52 — Octave . . wood & metal 8 feet. 63 — ^Violoncello B feet. 54 — Quinte metal . 5^ feet. 55 — Super octave . . tin . . 4 feet. 56 — Nachthorn. ... 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 — Trompete .... f tin . 8 feet. 62 — Clarino | tin . 4 feet. Accessory Stops, &c. 1, 2, 3, 4- 5- -Couplers for all 4 Manuals. -Coupler, Great to Pedal. 6 to 12 — Seven Wind-trunk Valves. 1 3 — Tremulant. 58. Naumberg. The Organ in the Church of St. Wenzel, in Naumberg, contains 52 Sounding Stops, 3 Manuals, and a Pedal of 12 Stops ; 3000 Pipes, and 7 large pairs of Bel- lows. The oldest parts of the instrument date as far back as 1613, to which additions were made in 1734 (by Hildebrand, of Leipzig), in 1787, and in 1810. The present contents of the Organ are as follow : 1 — Principal 16 2 — Quintaton 16 3 — Octave 8 4— Spitzflote 8 5 — Gedact 8 6 — Prestant 4 7 — Spitzflote 4 8— Gedact 4 16 — Bourdon 16 17 — Principal 8 18 — Principal undamar . . 8 19— Hellflote 8 20 — Flauto traverso .... 8 21— Clav. iEoline 8 22 — Prestant 4 30 — Tibia major 16 81- — ^Principal 8 32 — Gemshorn 8 33 — Viola di Gamba 8 34 — Fugara 8 35 — Rohrflote 8 41 — Principal 16 42— Violon 16 43— Subbass 16 43 — Octavbass 8 45 — Violon 8 46— Quinte 6 Great, feet. feet tone. feet. feet. feet tone. feet. feet. feet tone. Echo, feet tone, feet, feet, feet, feet, feet, feet. Choir, feet tone, feet, feet, feet, feet. feet tone. Pedal, feet, feet. feet tone, feet, feet, feet. 15 Stops. 9 — Quinte . . 10 — Octave 1 1— Weitpfeife 12 — Mixtur ... .V ranks. 13 — Cornett ... .V ranks. 1 4 — Bombard 1 5 — Trompete 14 Stops. 23 — Gemshorn 24 — Gedact 25 — Quinte 26 — Octave 27— Waldflote 28— Sifflote 29 — Mixtur. .V ranks. 11 Stops. 36 — Quintaton 37 — Prestant 38— Rohrflote 39 — Octave 40 — Mixtur.. V ranks .... 12 Stops. 47 — Octave 48 — Octave 49 — Mixtur. ..V ranks.,.. 60 — Posaune 61 — Posaune 52 — Trompete 3 feet. 2 feet. 2 feet. 16 feet. 8 feet. 4 feet. 4 feet tone. 3 feet. 2 feet. 2 feet. 1 foot. 8 feet tone. 4 feet. 4 feet tone. 2 feet. 3 feet. 4 feet. 2 feet. 31 feet. 32 feet. 16 feet. 8 feet. AN ACCOUNT OK POKKKIN ORGANS. 363 5'.). Tbebniz. The Organ in tlif Catholic Church at Trebniz has 33 Sounding Stops, which are distributed as ibllnws : Great, 1 — Bourdon, wood 1(5 feet tone. 2 — Principal . . Eng. tin, in front ii feet. 3 — Salicet . . ^ tin to tenor F, wood bass .... 8 feet. 4 — Genishorn . metd, ex- cept the bottom oc- tave, whidi is of wood 8 feet. 5 — Quintaton . half tin. . 8 feet tone. G — RohrHOte . metal, ex- cept the 8 feet octave, which is of wood . . 8 feet. Choir, 14 — Principal. .Eng. tin . 8 feet. 15 — Salicet . . ^ tin, the lowest octave of wood 8 feet. IG — PortunalHote . .wood . 8 feet. 17 — Flaut major . .wood . 8 feet tone. 18 — Salicet. .tin 4 feet. 13 Stops. 7 — Gemshornquinte . me- tal bi feet. 8 — Octave . . Eng. tin, in front 4 feet. 1) — DoppelrohrtlOte . ma- ple-wood 4 feet. 10 — Quinte. .metal .... 2f feet. 11 — Super octave, .metal. 2 feet. 12 — Mixtur .V ranks. 13 — Trompete. .3 tin . . . 8 feet. 9 Stops. 19 — Portunal 4 feet. 20 — Gemshornquint . . half tin 3 feet. 21 — Super octave, .metal . 2 feet. 22 — Cymbel. .Ill ranks. Pedal, 11 Stops. 23 — Principal., .wood. 24 — Gamba wood . 25 — Salicet wood. 26 — Subbass . . . .wood. 27 — Quintenbass . wood. 28 — Octavenbass . wood. 1 — Coupler, Choir to Great. 2 — Coupler, Great to Pedal. 29 — Salicet wood. 30 — Doppelflaut . .wood. 31 — Super octave . wood. 32 — Posaune . . . .wood. 33 — Trompete ... | tin. 8 feet. 8 feet tone. 4 feet. IG feet. 8 feet. IG feet. 16 feet. 16 feet. 16 feet tone, lOf feet. 8 feet. Accessory Stops, &c. 3, 4 — Two Wind-trunk Valves. Four Bellows, 9 feet by 44. Compass. Manuals, CC to f ^ in alt. I Pedal, CCC to tenor d. 60. 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, of Treuenbritzen, in 1838. Great, 15 Stops. 1 — Principal, .in front . . 16 feet. 2 — Octave 8 feet. 3— Spitzflote 8 feet. 4 — Gedact 8 feet tone. 5 — Quinte 5 j feet. 6 — Super octave 4 feet. 7 — Rohrflote 4 feet tone. 8 — Leibhchgedact 4 feet tone. 9 — Quinte 2| feet. 10— Super octave 2 feet. 11 — Cornett. . . IV ranks, 6, 4, 31 and 2 feet. 12— Scharf IV ranks, 2, 1|, li, and 1 foot. 13 — Cymbel . . Ill ranks, 1, i, and i foot. 14 — Trompete 16 feet. 15 — Trompete 8 feet. 8G4 APPENDIX. Choir, 18 Stops. 1 6 — Bourdon 16 feet tone. 17 — Principal, .in front . . 8 feet. 1 8 — Viola di Gamba .... 8 feet. 19 — Salicional 8 feet. 20 — Quintaton 8 feet tone. 21 — Lieblichgedact 8 feet tone. 22— Octave 4 feet. 23 — Gemshorn 4 feet. 24 — Nassat 3 feet. 25 — Super octave 2 feet. 2() — Mixtur. . IV ranks, 2, U, l,andi 27— ^oline 16 feet. foot. 28 — Hautbois. .to , 8 feet. Pedal, 14 Stops. 29 — Principal, .in front . . 16 feet. 30 — Violon 16 feet. 31 — Subbass 16 feet tone. 32 — Gross-Nassat 12 feet. 33 — Octave 8 feet. 34 — Gedact 8 feet tone. 35— Tertia 6f feet. 3() — Nasat 6 feet. 37 — Super octave 4 feet. 38 — Compensation Mixtur, V ranks. 39 — Posaune 16 feet. 40 — Dulcian 16 feet, 41 — Trompete 8 feet. 42 — Clarion 4 feet. 1 — Coupler, Choir to Great. 2 — Tremulant. Accessory Stops, &c. 3, 4, 6 — Three Wind-trunk Valves. Six Bellows. 61. Weissenfels. The Organ in the Lock Church at Weissenfels was built by Schulze. It has 19 Stops, 2 Manuals, and Pedal. The following is a list of it3 contents : Great, 10 Stops. 1 — Bourdon 16 feet tone. 6 — Octave 4 feet. 2 — Principal 8 feet. 3 — Viola di Gamba. ... 8 feet. 4— Hohlflote 8 feet. 5 — Gedact 8 feet tone. 7— Quinta 2| feet. 8 — Octave 2 feet. 9— Mixtur . . V ranks . . 2 feet. 10 — Scharf...III ranks. . 2 feet. Choir, 5 Stops. 11 — Lieblich Gedact. ... 16 feet tone. 12 — Salcional 8 feet. 13 — Flauto traverse .... 8 feet. 1 4 — Lieblich Gedact .... 8 feet tone. 1 5 — Principal 4 feet. Pedal, 4 Stops. 18 — Gedact 8 feet tone, 19 — Posaune 16 feet. 16 — Gedact 16 feet tone, 17 — Principal 8 feet. Accessory Stops. 1 — Coupler, Choir to Great. | 2 — Coupler, Great to Pedal, Compass. Manuals, CC to fs in alt. I Pedal, CCC to tenor d. 62. Celle. The Organ in the Ludwigs Church at Celle has 1 6 Stops, 2 Manuals, and Pedal. The following are th(j names of the Stops : AN ACCOUNT OP FOREIGN ORGANS. 366 Great, 7 1 — Bourdon . , metal to iniJdlo ci, the re- nnuning 2 octaves of wood IG feet tone. 2 — Principal . 12 lotli. tin, in front 8 feet. Choir, ' 8 — Salcional 8 feet. 9 — Gedact . metal treble, wood bass 8 feet tone. Pedal, Stops. 3 — Rohrflote . metal treble, wood bass 8 feet tone. 12 — Subbass. .wood 1 6 feet tone. 1 3 — Principal . 1 2 loth.metal 8 feet. 4 — Octave . 4 loth metal . . 4 fetit. 5 — Gemshorn . 4 loth metal 4 feet. G — Octave . 4 loth metal . . 2 feet. 7 — Mixtur. .Ill ranks. Stops. 10 — Rohrflote. 4 loth. metal 4 feet tone. 11 — Waldflote . 4 loth me- tal 2 feet. 4 Stops. 1 4 — Octave . . 4 loth, metal . 4 feet. 15 — Posaune IG feet. G3. 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. 1 — Bourdon 32 feet tone. 2 — Bourdon 16 feet tone 3 — Principal 8 feet. 4 — Gedact 8 feet tone. 5 — Gamba 8 feet. 6— Hohlflote 8 feet. )umt 5i feet. Choir, 1 6 feet tone. 8 feet. 8 feet. 8 — Octave 4 feet. 9— Flote 4 feet. 10— Hohlflote 4 feet. 11— Quint and Octave . . 2f & 2 feet. 12— Mixtur . .V ranks. . 2 feet. 13— Cymbal, III ranks. . 2 feet. 14 — Cornett, III ranks. - 4 feet. 11 Stops. 21 — Geigen Principal. 22 — Flauto Traverse. , 23 — Quint and Octave. 24 — Scharf, III ranks. 25 — ^oline 8 feet 4 feet. 4 feet. 22 & 2 15 — Leiblich Gedact. IG — LeibUch Gedact. 17 — Geigen Principal 1 8 — Saliclonal 8 feet. 19 — Flauto Traverse. ... 8 feet. 20 — Harmonica 8 feet. Pedal, 9 Stops. 26 — Principal-bass 16 feet. 31 — Gedact-bass 8 feet. 27— Sub-bass 16 feet. 28— Violon 16 feet. 29 — Quinten-bass lOf feet. 30 — Octave-bass 8 feet. Compass. Manuals, CC to f^ in alt, 54 notes. | Pedal, CCC to Tenor d, 27 notes feet. 32 — Violoncello 8 feet. 33 — Posaune 32 feet. 34 — Posaune 16 feet. 64. Bremen. The Organ in the Cathedral Church at Bremen was built by Schulze, and con- tains 69 Stops, 16 of which are devoted to the Pedal. It presents the pecuharities 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 tone on the Pedal. The following is the Specification of the above-named Instrument. 3GG APPENDIX. Great, 10 Stops. 1 — Bourdon, toTenorc key 32 feet tone. 2 — Principal 16 feet. 3 — Bourdun 16 feet tone. 4 — Principal 8 feet. 5 — Gedact 8 feet tone. 6 — Gamba 8 feet. 7_Hohlflote 8 feet. 8 — Quint .5^ feet. 9 — Octave 10 — Flote 1 1 — Quint and Octave , 12 — Mixture, V ranks , 13 — Cymbel, III ranks 14 — Cornett, III ranks 1 .5 — Trompet 1 6 — Trompet ........ Choir, 13 Stops. 17 — Bourdon, toTenorc key 32 feet tone. 1 8 — Bourdon 16 feet tone. 19 — Salicional 8 feet. 20 — Gedact 8 feet tone. 21 — Flote 8 feet. 22 — Principal 8 feet. 23 — Octave 4 feet. 24— Flote 25 — Spitzflote 26 — Quint and Octave. 27 — Mixture, V ranks . 28— Scharflf, III ranks . 29 — Phizharmonica . . , Swell, 14 Stops. 30 — Leiblich Gedact , , 31 — Geigen Principal. 32 — Harmonica 33 — Leiblich Gedact . 34 — Terpodion 35 — Gedact-flote . . . 36 — Flauto traverso , 1 6 feet tone. 8 feet. 8 feet. 8 feet tone. 8 feet. 8 feet tone. 8 feet. 37 — Geigen Principal. . . 38 — Flauto traverso . . . 39 — Zart-flote 40 — Quint 41 — Octave 42— Mixture, III ranks. 48— iEoline 4 feet. 4 feet. 2f &2 ft. 2 feet. 2 feet. 4 feet. 16 feet. 8 feet. 4 feet. 4 feet. 2f & 2 ft. 2 feet. 2 feet. 8 feet. 4 feet. 4 feet. 4 feet. 2§ feet. 2 feet. 2 feet. 8 feet. Pedal, 16 Stops. 44 — Principal-bass 32 feet. 45 — Gross -Quint en -bass . . 213^ ft. tone. 46 — Principal-bass 16 feet. 47 — Major-bass 16 feet. 48 — Violon 16 feet. 49 — Sub-bass 16 feet tone. 50 — Quinten-bass 1 0| ft. tone. 51 — Octaven-bass 8 feet. 52 — Gedact-bass 8 feet tone. 53 — Floten-bass 8 feet. 54 — Violoncello 8 feet. 55 — Octave., 4 feet. 56 — Posaune. . . <. 32 feet. 57— Reim 16 feet. 58 — Posaune IG feet. 59 — Trompet 8 feet. 65. Hamburg. The ancient city of Hamburg was long celelirated for the number and excellence of its 32-feet Organs, two of which, however, perished in the great conflagration of 1842. Of the three which remain, that in the present Church of St. Michael is the best knovm, and is also the most modem one. THE 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. Ernst 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 : AN ACCOUNT OF FORKION OltOANS. 367 Great Organ, 18 Stops. wood 1 — Priiu'i|ial, tin 2 — Quint;ulonii, and metal . . 3 — Octave, tin . , . 4 — (Jedact, wood metal 5 — Gamba, tin 6 — Gemshorn, metal . 7 — Quint, tin 8 — Octave, tin 9 — Gemshorn, metal . 10 — Nasat, metal and 1 C feet. 1 0 feet tone. 8 feet. 8 feet tone. 8 feet. 8 feet. 5i feet. 4 feet. 4 feet. 2f feet. 11— Octave, tin 2 feet. 1 2 — Rausclipi'eif, II ranks, tin 21 feet. 13— Mixture VIII ranks, tin 2 feet. li foot. 8 feet. 16 feet. 8 feet. 8 feet. 14 — Scliarf, V ranks, tin. 1 -5 — Cornet, V ranks, tin. IG — Trompete, tin.. .. 1 7 — Trompete, tin . • . 18 — Oboe, from tenor f, tin Choir Organ, 16 Stops. 19 — Rohrflote, wood and metal 20 — Principal, tin . . . . 21 — Principal, to fiddle g . 22 — Rohrflote, metal . . - 23 — FlautoTraverso,wood 24 — Klein Gedact, wood. 25 — Octave, tin 26 — Rohrflote, metal . . . Upper-wor 10 feet tone. 8 feet. 8 feet. 8 feet tone. 8 feet. 8 feet tone. 4 feet. 4 feet tone. 27- -Nasat, tin 2| feet. 28— Octave, tin 2 feet. 29 — Flach-flote, metal. . 2 feet. 80 — Quint, tin li foot. 31 — Rauschpfeif, II ranks. tin 2f feet. 82 — Cymbal, V ranks, tin. 33 — Chalameau, tin. . . . 8 feet. 84 — Trompete, tin ... . 4 feet. 85 — Bourdon, wood and metal 36 — Principal, tin . . . . 37 — Quintadena, wood and metal 38 — Spitzflote, metal . . 39 — Under maris, to fiddle g 40 — Octave, tin 41 — Spitzflote, metal . . . 42 — ^Quint, tin 1 6 feet tone. 8 feet. 8 feet tone. 8 feet. 8 feet. 4 feet. 4 feet. 2| feet. 2 feet. 21 feet. 45- 46- k and Swell on the same Manual, 20 Stops. Upper-work. 43 — Octave, tin . . . . ^ . 44 — Rauschpfeif, 2 ranks, tin Cymbal, V ranks, tin ■Echo cornet, to fid- dle g, V ranks . . 47 — Trompete 8 feet. 48 — Vox humana, tin . . 8 feet 49 — Cremona to tenor f 8 feet 50 — Glockenspiel to tenor f 8 feet, n foot. 8 feet. Swell. 51 — Octave 8 feet. 52— Octave 4 feet. 53 — Cornet, V ranks in II the treble, the bass 54 — Trompete 8 feet. Pedal, 16 Stops. 55 — Principal, tin 32 feet. 56 — Sub-bass, wood. ... 32 feet tone. 67 — Principal, tin 16 feet. 58 — Sub-bass, open, wood 16 feet. 59 — Sub-bass, stopped, wood 10 feet tone. 60 — Violone, wood 16 feet. 61 — Rohr-quint, metal. , 10 f feet tone. 62 — Octave, tin 8 feet. 63 — Gedact, tin 8 feet tone. 64 — Octave, tin 4 feet. 65 — ^Mixture, tin, X ranks. 66 — Posaune, tin 82 feet. 67 — Pasaune, tin 16 feet. 68 — Fagotto 10 feet. 69 — Trompete, tin .... 8 feet. 70 — Clarino, tin 4 feet. 368 APPENDIX. 1 — Tremulant to great Manual. 2 — Cymbalstar. 3 — Wind to Great Organ. Accessory Stops. 4 — Wind to Choir Organ. 5 — Wind to Upper-work. G — Wind to Pedal Organ. The case presents a handsome front, sixty feet in height, and sixty feet in width. The thirty-two feet pipe stands in the centre by itself, in an immense pilaster, the remainder of the thirty-two 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 fi'ee access is obtained by wide staircases with hand-rails. Passage -boards occur in abundance ; 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 8| 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 3 2 -feet Posaune is 16 inches at the bell, and of the 16-feet Posaune, 10 inches. A hght sieve of metal wire, vnth wide meshes, placed over the beE 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 common. This consists of a sliding cylinder, in- troduced to aid the process of tuning, which is drawn up or pressed down according as the pitch of the pipe may require flattening or sharpening. 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 fire- quently the case in English Organs, but all preserve their symmetr}"- of outline. Silberman, the celebrated organ builder, of Dresden, was invited to construct the new St. Michael's Organ, which invitation he accepted ; but, dying shortly after- wards, the execution of the work was entrusted to his principal workman, Hildebrand. This was about the yeai* 1768. T. Mattheson, the celebrated composer and theorist, left, by will, £4000 towards paying for this Organ ; which sum, however, did not nearly equal the amount expended in its fabrication. 66. Hamburg. It is not known by whom the fine-toned Organ in St. Catharine's Church at Hamburg was built; but it is said to be about 400 years old. It contains 54 Sounding Stops, distributed among 4 Manuals and Pedal ; and, like the preceding, has a 3 2 -feet front of Tin. AN AOnoiINT OF FOREKIN OKGANS. 8G9 Great, 1 — Principal 10 feet. 2 — Quiiitadena 1(5 feet tone. ,S — Octave 8 feet. 4— Spitztlote a feet. 5 — Gamba 8 feet. a — Octave 4 feet. Choir, 12 — Bourdon, S top oc- taves only IG feet tone. IS — Principal, 2 Pipes to each key in the treble 8 feet. 14 — Gcdact 8 feet tone. 15 — Quintadena 8 feet. 10 — Octave 4 feet. 1 7— Klein-hohlflote 4 feet. Echo, 25 — Principal 8 feet. 2G— Rohr-flote 8 feet tone. 27 — Gedact 8 feet tone. 28— Octave 4 feet. 29— Plote 4 feet. Swell, 35 — Principal 8 feet. 36— Octave 4 feet. 37 — Quintadena 4 feet tone. 38— Quinte 2f feet. 1 1 Stops. 7 — Rauschpfoife, II rks. 2|and2 feet. 8 — Octave 2 feet. 9 — Mixtur, X ranks. 10 — Trompete ^ . . 10 feet. 11 — Trompete 8 feet. 13 Stops. 18— Nasat 2| feet. 19 — Sesquialtera, II ranks. 20— Sifflote 1 foot. 21 — Scharf, VIII ranks. 22 — Dulcian 10 feet. 23 — Trompete, to tenor c 8 feet. 24 — Hautbois d'amour. . 8 feet. .0 Stops. ,3()_Wald-flote 2 feet. 31 — Scharf, III to V ranks. 32— Trompete 8 feet. 33 — Trompete 4 feet. 34 — Vox humana 8 feet tone. 7 Stops. 39 — Scharf, VII ranks. 40 — Trompete 8 feet. 41 — Oboe 8 feet. Pedal, 13 Stops. 42 — Principal, in fi-ont. . 32 feet. 43 — Principal 10 feet. 44 — Subbass 10 feet tone. 45— Quinte lOf feet. 40 — Octave 8 feet. 47 — Octave 4 feet. 48— Octave 2 feet. 49 — Mixtur III ranks. 50 — Posaune 32 feet. 51 — Posaune 10 feet. 62 — Dulcian 10 feet. 53 — Trompete 8 feet. 54 — Trompete. 4 feet. 1 — Cymbelstern. 2 — Tremulant. 3 — Glockenspiel. Accessory Stops. 4 — Calcant-glock. 5 to 10 — Six Wind-trunk Valves. 07. Hamburg. The fine Organ in the Church of St. Jacobi, at Hamburgh, was built by the Abbe Schnittker, and was completed towards the close of the seventeenth century. It has 60 Sounding Stops, 4 Manuals, and Pedal of 1 4 Stops. The following is the disposition : B B 370 APPENDIX. Great, 1 — Principal 10 feet. 2 — QuintaJena IC feet tone. 3 — Octave 8 feet. 4 — Viola di Gannba. . . 8 feet. 5 — Spitzflote 8 feet. 6 — Octave 4 feet. 7 — Rolirflote 4 feet tone. Choir, 13 — Principal 8 feet. 14 — Bauerpfeife 8 feet. 16 — Quintadena 8 feet tone. 16 — Gedact 8 feet tone. 17 — Octave 4 feet. 18— Blockflote 4 feet. 19— Nasat 2§ feet. 12 Stops. 8— Quinte 2| feet. 9 — Superoctave 2 feet. 1 0— Mixtur, VI and VIII ranks. 11 — Rauschpfeife. 12— Trompete 16 feet. 13 Stops. 20— Octave 2 feet. 21— Sifflote 1 foot. 22 — Sesquialtera, II ranks 2^ feet. 23— Scharf, VI and VIII ranks. 24 — Dulcian 8 feet. 25 — Trompete. 8 feet. Echo, 13 Stops. 26 — Principal 8 feet. 27— Holzflote 8 feet. 28 — Rohrflote 8 feet tone. 29 — Octave 4 feet. 30 — Spitzflote 4 feet. 31— Nasat 2§ feet. 32 — Octave . 2 feet. 33 — Gemshorn 2 feet. 34 — Cymbel, III ranks. 35— Scharf, VI ranks. 30— Trompet 8 feet. 37 — Oboe, to middle c^ . . 8 feet. 38 — Vox humana 8 feet tone. 39 — Principal 8 feet. 40 — Octave 4 feet. 41— Hohlflote 4 feet. 42— Waldflote 2 feet. 43 — Sesquialtera, 2 ranks 2| feet. Swell, 8 Stops. 44— Scharf, VI and VIII ranks. 45^ — Dulcian 8 feet. 46 — Trichter-regal . . 8 feet. Pedal 14 Stops. 47 — Principal, in front. . 32 feet. 48 — Octave 16 feet. 49 — Subbass 10 feet tone. 60 — Octave 8 feet. 51 — Octave 4 feet. 62 — Nachthorn 2 feet. 63— Mixtur, VI and VIII ranks. 64 — Rauschpfeife, II rks. 55 — Posaune 32 feet. 56 — Posaune 16 feet. 57 — Dulcian 16 feet. 58 — Trompete 8 feet. 59 — Trompete 4 feet. 60 — Comet 2 feet. The 4 Manuals can be coupled together. Accessory Stops. 1 to 5 — Five Wind-trunk Valves. 6 — Cymbelstar. ■Glockenspiel. 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 AN ACCOUNT 01'' l''()REIGN OUOANS. 371 resided at a place about 3(5 English miles from Hambiii-g, in the Hanoveriuii terri- tories, in a house that has gone by the name nf " tlu' Orgun-liuildur's box" or Villa ever since. The three fine Instruments just noticed form most interesting objects for exami- nation 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. 68. 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 1G86. The following is a hst of the Stops that were contained in this In- strument. Great, 14 Stops. 1 — Principal 16 feet. 2 — Quintadena 16 feet tone. 8 — Octave 8 feet. 4— Spitzflote 8 feet. 5 — Salcional, wood .... 8 feet. 6 — Viola di Gamba ... 8 feet. 7 — Octave 4 feet. 8— Spitzflote 4 feet. 9 — Rauschpfeife, Illrks. 21 feet. 10 — Superoctave 2 feet. 11— Mixtur,VItoIXrks. 12 — Scharf, III ranks. 13— Trompete 16 feet. 14 — Trompete 8 feet. Echo, 14 Stops. . 1 5 — Quintadena 16 feet tone. 16 — Octave 8 feet. 17 — Quintadena 8 feet tone. 18 — Rohrflote 8 feet tone. 19 — Octave 4 feet. 20 — Rohrflote 4 feet tone. 21— Nasat 2| feet. 22— Flachflote 2 feet. 23— Scharf, IV to VI rks. 24 — Cymbel, III ranks. 25— Trompete 8 feet. 26 — Trompete 4 feet. 27 — Krumhorn 8 feet tone. 28 — Vox humana 8 feet tone. Choir, in front, 13 Stops. 29— Bourdon 16 feet tone. 30 — Prmcipal 8 feet. 31 — Quintadena 8 feet tone. 32 — Gedact 8 feet tone. 33 — Octave 4 feet. 34 — Rohrflote 4 feet tone. 35 — Sesquialtera, II rks. 2| feet. 36— Sifflote 2 feet. 37 — Querflote 2 feet. 38— Scharf, VI to IX rks. 39 — Dulcian 16 feet. 40 — Trompete 8 feet. 41 — Trompete to middle ci 8 feet. B B 2 372 APPENDIX. 42 — Principal 8 feet. 43— Barpleife 8 feet. 44 — Blockflote, wood ... 8 feet. 45 — Principal 4 feet. 46 — Blockflote, wood. ... 4 feet. Brustwerk, 10 Stops. 47 — Rauschpfeif, II rks. 2| feet. 48_Waldriote 2 feet. 49— Nasat 1^ feet. 50— Scharf, IlltoVlrks. 51 — Dulcian 8 feet. Pedal, 16 Stops. 52 — Principal 32 feet. 53— Octave 16 feet. 54 — Quint 10 1 feet. 55 — Octave 8 feet. 56 — Violoncello 8 feet. 57 — Rauschpfeife, III rks 53- feet. 58 — Octave... 4 feet. 59 — Gedact 4 feet tone. CO — Nacht-horn 2 feet. 01— Mixtur, VI toX rks. 02— Posaune 32 feet. 03— Posaune. 10 feet. 04— Dulcian 16 feet. 65 — Trompete 8 feet. 66 — Krumhorn 8 feet tone. 67 — Trompete 4 feet. Accessory Stops. 1 — Cymbelstar. 4 — Riegal. 2 — Glockenspiel. 5 to 1 0 — Six Wind-trunk Valves. 3 — Tremulant. 11 — Coupler, Choir to Pedal. 09. 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 ; but the last two Manuals, which were subsequent additions, were made upwards of 300 years ago, i. e. in 1548, at Hartzogenbuch, in Brabant, and senttltither by sea. The Stops in the above Organ were as follow : Great, 1— Principal 10 feet. 2 — Gedact 10 feet tone. 3— Octave 8 feet. 4 — Rohrflote 8 feet tone. 5 — Viola di Gamba. ... 8 feet. 0 — Quint 6g^ feet. Echo, 12 — Quintadena 16 feet tone. 13 — Principal 8 feet. 14 — Principal 8 feet. 15 — Gedact 8 feet tone. 16 — Octave 4 feet. 17 — Spitzflote 4 feet. 18— Nasat 2| feet. 11 Stops. 7 — Octave 4 feet. 8 — Rauschpfeife, II rks. 21 feet. 9 — Mixtur, IV ranks. 10— Scharf, III ranks. 11 — Trompete 16 feet. 14 Stops. 19 — Sesquialtera, II rks. 2 1 feet. 20 — Mixtur, IV ranks. 21 — Cornet, V ranks. 22 — Trompete 8 feet. 23 — Trompete 8 feet. 24 — Oboe discant 8 feet. 25 — Voxhumana 8 feet tone. Choir, in front, 12 Stops. 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 rks. 2g feet. 2 feet. 1 foot. 32— Flote 33— Sifflote 34 — Scharfe, IV ranks. 35 — Dulcian 16 feet, 36 — Trompete 8 feet, 37 — Trompete, tenor c. . 8 feet, AN ACCOUNT OF FOREIGN OHOANS. Pedal, 38 — Principal .32 feet. 3!) — Untersiitz IG feet. 40 — Octave 8 feet. 41 — Rohr-quint 63- feet tone. 42 — Octave 4 feet. 43— Mixtur, VI ranks. 44 — Rausciipffife, II ranks. 13 Stops. 4;") — Posaune 32 feet. 40 — Posaune H! feet. 47— Dulcian IG feet. 48 — Trompete 8 feet. 49 — Trompete 4 feet. 50 — Cornet 2 feet. 70. LUBECK. The Marion Kirche, in the ancient Town of Liibeck, 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. At what period the west-end organ was first erected is not known ; but the Choir Organ in front, a subsequent addition, was made as far back as the year 15G1, which date is ingeniously recorded among the ornamental carving on the top. The case pre- sents a most noble and magnificent, though not elaborate, facade; and is from 70 to 80 feet in height, 40 in width, and 7 feet in depth. It has the 32-feet metal Pipes in firont, the largest of which is 1 9 inches in diameter. All the front Pipes are of pure Tin, burnished ; and are sUghtly 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. This Instrument has just had a new inside put to it, by J. F. Schulze, of Paul- inzelle, fi-om a Specification dravm up by H. Jimmerthal, the organist to the Church. It is laid out in four stories, the Swell occupying the upper one. The fi^ame-work and Sound-boards are almost entirely of oak ; the Front-boai'ds of the latter being of poUshed mahogany, handsomely inlaid with ebony. Tlie Front-boards are fastened on \vith wooden screws having large six-sided heads, which present the gi-eat 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, therefi-om, with most elegant effect. The Organ contains 82 Sounding- stops, distributed among 4 Manuals and 2 Pedals ; and includes 3 Stops of 32 feet; 17 of IG feet ; and 30 of 8 feet. The following is a detailed account of its contents : Great, 21 Stops. 1 — Bordun, to tenor c . . 32 feet tone. 2— Principal IG feet. 3— Viola Major 16 feet. 4 — Bordun IG feet tone. 5 — Principal 8 feet. 6 — Gemshorn 8 feet. 7 — Hohlflote 8 feet. 8 — Viola di Gamba. ... 8 feet. 9 — Gedackt 8 feet tone. 10 — Quinte 5^^ feet. 11 — Octave 4 feet. 1 2 — Spitzflote 4 feet. 13 — Gambette .4 feet. 14 — Nassat 2| feet. 1.5 — Rausch-quinte, II fach 2|— 2 feet. 1 6— Mixtur, V fach .... 2 feet. . 17— Cymbel, III fach . . 2 feet. 18— Comett, IV fach. 19 — Trompete. ... IG feet. 20— Trompete 8 feet. 21 — Trompete 4 feet. 37-t APPENDIX. Choir, 16 Stops. 22 — Principal 16 feet. 23 — Bordun 1 6 feet tone. 24— Principal 8 feet. 25 — Salicional 8 feet. 26— Spitzflotc 8 feet. 27 — Czakan Flote .... 8 feet. 28 — Gedackt 8 feet tone. 29— Octave 4 feet. 38 — Leiblieh Gedackt . . 16 feet tone. 39 — Geigen Principal. 40 — Terpodion 41 — Leiblieh Gedackt 42 — Flauto Traverso . 43 — Doppel-tlote 44 — Geigen Principal 8 feet. 8 feet. 8 feet tone. 8 feet. 8 feet tone. 4 feet. 30 — Genishorn 4 feet. 31 — RohrHote 4 feet tone. 32— Quinte 2f feet. 38 — 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. 45— Zart-flOte 4 feet. 46 — Flauto Traverso , ... 4 feet. 47— Quinte 2f feet. 48— Wald-flote 2 feet. 49— Mixtur, V fach 2 feet. 50 — Aeoline 8 feet. 51 — Oboe 8 feet. Swell, 10 Stops. 52 — Quintaton 16 feet tone. 53 — Principal 8 feet. 54 — Fugara 8 feet. 65 — Gedackt 8 feet tone. 56 — Harmonika 8 feet. 57 — Principal 4 feet. 58 — Viola d'amore 4 feet. 59— Mixtur, III fach.. 2 feet. 60 — Aeoline 16 feet. Gl — Clarinetto 8 feet tone. 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 lOf feet. 67 — Principal Bass .... 8 feet. 68 — Basso Minore 8 feet. 69 — ^Violoncello 8 feet. 70— Terz 6f feet. 71 — Quinte 5g- feet. 72 — Octave 4 feet. 73 — Cornett, V fach. 74 — Contra Posaune. ... 32 feet. 75 — Posaune 16 feet. 76 — Trompete 8 feet. 77 — Clarine 4 feet. Choir Pedal, 5 Stops. 78 — Subbass 16 feet tone. 79— Doppelflotenbass ... 16 feet tone. 80 — Violoncello 8 feet. 81 — Gedackt 8 feet tone. 82— Fagotto 16 feet. 1— Wind to Great. 2— Wind to Choir. 3— Wind to Echo. 4— Wind to Swell. 5 — Wind to great Pedal Basses. Accessory Stops, &c. 6 — Wind to Pedal Reed- work. 7— Wind to Choir Pedal. 8 — Coupler, Choir to Great. 9 — Coupler, Echo to Great. 10 — Coupler, Great to Pedal. 71. LUBECK. The second Organ in this Church — the " little Organ," as it is called — contains 33 Stops; 3 Manuals and Pedal; has a 16-feet speaking firont, and has the Choir Organ in front. The Specification is as follows : AN ACCOUNT OK FdllEKJN OllUANS. 375 Great, H Stops. Quintaton 1 (i feet tone. rriiicipal » feet. 1 2 3— SpitzH( 4 — Octave 6 — Flote 4 feet. () — liauscli-(iuint, Ilrks. 2'i &, 2 feet. 7 — Mixtur, IV and V ranks. 9- 10- 11- 12- 13- 14- 20- 21- 24- 25- 26- 27- 28- -Principal. . . -Quintadena. -Rohrflote. . -Octave . . . . , -RohrHote . . . -Flote -Gedact . -Gedact . 4 feet. Choir, 11 Stops. 8 feet. 1 5 — Sesquialtera, II ranks. 8 feet tone 2 8 feet tone. 16 — Mixture, IV ranks. 4 feet. 17 — Scharf, V ranks. 4 feet tone. 2 feet. Swell, 4 Stops. 8 feet tone. 22 — Cornet, III ranks. 4 feet tone. and ] I feet. -Principal, in front, . -Gross Quint, Stopped. -Octave -Gedact -Octave Pedal, 16 feet. lOf feet tone. 8 feet. 8 feet tone. 4 feet. 10 Stops. 29 — Octave 2 feet. 30— Mixture, III ranks. 2f feet. 31 — Posaune 16 feet. 32 — Tronipete 8 feet. 33 — Schalmay 4 feet tone. 72. 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. 1 — Principal 16 feet. 2 — Quintaton 16 feet tone. 3 — Octave 8 feet. 4 — Viola di Gamba .... 8 feet. 5 — Octave 4 feet. 6— Flote 4 feet. 7 — Rauschpfeife, II rks. 2f feet. 8 — Mixtur, VIII ranks. 9 — Scharf, VI ranks. Choir, 10 Stops. 10 — Principal 8 feet. 11 — Gedact 8 feet tone. 12 — Quintaton. 8 feet tone. 13 — Barpfeife 8 feet. 14 — Octave 4 feet. 15— Flote., 16 — Sifflote 17 — Mixtur, IV ranks. 1 8 — Schalmey 19— Regal 4 feet. 2 feet. 8 feet tone. 8 feet. Echo, 10 Stops. 20 — Principal 8 feet. 21 — Hohlflote 8 feet. 22 — Zink 8 feet. 23— Principal 4 feet. 24— Flote 4 feet. Swell, 30— Gedact 8 feet tone. 31 — Octave 4 feet. 82 — Quintaton 4 feet tone. 33— Waldflote 2 feet. 25 — Nassat 2§ feet. 26— Waldflote 2 feet. 27 — Cymbel, III ranks. 28 — Trompet 8 feet. 29 — Vox Humana .... 8 feet tone. Stops. 84— Scharf, IV ranks. 35 — Dulcian 16 feet. 36— Regal 8 feet. 376 APPENDIX. Pedal, 9 Stops. 37 — Principal IG feet. 42 — Octave 4 feet. 3a — Subbass IG feet tone. 43— Mixtur, IV ranks. 39— Octave 8 feet. 44 — Posaune 16 feet. 40— Vidloncello 8 feet. 45— Trompet 8 feet. 41 — Gedact 8 feet tone. 73. WiSMAR. Tlie 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 1 — Bourdon to g 32 feet tone. 2 — Principal 16 feet. 3 — Quintaton 16 feet tone. 4 — Octave 8 feet. 5— Hohlflote 8 feet. 6 — Terpodion 8 feet. 7 — Gedact 8 feet tone. 8 — Quinte Sg- feet. 9 — Octave 4 feet. 10 — Gemshorn 4 feet. 11 — Scharf, V ranks. 12 — Cymbel, III ranks. 13 — Cornet, III ranks. 14 — Trompete 16 feet. 15 — Trompete 8 feet. Choir, 13 Stops. 1 6 — Bourdon 16 feet tone. 17 — Principal 8 feet. 18 — Gemshorn 8 feet. 19 — Gamba 8 feet. 20 — Flauto Tra verso 8 feet. 21 — Gedact 8 feet tone. 22— Octave 4 feet. 23— Spitzflote 4 feet. 24— Flote 4 feet. 25 — Quinte & Octave, II ranks, 2f & 2 ft. 2G— Mixtur, IV ranks. . . U foot. 27 — Physarmonica 16 feet. 28 — Trompete 8 feet. Swell, 11 Stops. 29- — Leiblich Gedact . . . . 16 feet tone. 35- 4 feet. 30- 31- — Geigen Principal . . . . 8 feet. . 8 feet. 36- 37- 38- -Waldflote 4 feet. 2 feet. 32- . 8 feet. —Mixtur, III ranks. 33- — Flauto Traverso . . . . 8 feet. 39- 8 feet. 84- — Leiblich Gedact . , . 8 feet tone. Pedal, 17 Stops. 40 — Principal-bass .... 82 feet. 41 — Principal 10 feet. 42 — Quintaton 16 feet tone. 43 — Major-bass 16 feet. 44 — Sub-bass 16 feet tone. 45 — Quinte 10 1 feet tone. 46 — Octaven-bass 8 feet. 47 — Violone 8 feet. 48 — Minor-bass 8 feet. 49 — Gedact-bass 8 feet tone. 60 — Octave 4 feet. 51 — Mixtur, V ranks. 52 — Posaune 32 feet. 53 — Posaune 16 feet. 54 — Bombarde 16 feet. 55 — Trompete 8 feet. 56 — Clarino 4 feet. AN ACCOUNT OP FOREIGN OllOANS. 377 74. Perleberg. The Organ in the Church at Perleberg was built by Tobias Turley and his son John F. Turley, in ItUJl, and has 'Mi Sounding Stops : Great, 14 Stops. 1 — liourdon 2 — Principal . . Eng. tin, in front 3 — Spitzflote . . metal to tenor C, lowest oc- tave wood 4 — Hohlflote . . metal to tenor C, lowest oc- tave wood u . 6 — Rohrflote . . metal . . G — Octave . Prussian tin . 7 — Gemshorn . . metal . . 16 feet tone. 8 feet. 8 feet. 8 feet. 8 feet tone. 4 feet. 4 feet. 4 feet tone. 3 feet. 8 — Lieblich gedact . metal 9 — Quinte . Prussian tin . 10 — Super octave . . Prus- sian tin 2 feet, 1 1 — Scharf . V ranks, Prus- sian tin. . 2, If , If, 1, and I feet. 12— Cymbel . . Ill ranks, Prussian tin ... . I, i, and i foot. 18 — Cornett . . Ill ranks. Eng. tin ... . 2|, 2, and If foot. 14 — Trompete 8 feet. Choir, 12 Stops. 15 — Bourdon, .metal, ex- cept the lowest oc- tave, which is of wood 16 feet tone. 16 — Principal, .in front. . 8 feet. 1 7 — Viola di Gamba . . Eng. tin to tenor C, last octave wood . . 8 feet. 1 8 — Flauto traverso . pear- tree wood 8 feet. 1 9 — Gedact . . metal .... 8 feet tone. 20 — Octave 4 feet. 21— Rohrflote 4 feet tone. 22 — Nassat 2|- feet. 23 — Super octave 2 feet. 24 — Mixtur . . Ill ranks . li, 1, and I feet. 25 — Mdine. .wood . . , . 16 feet. 26 — Hautbois . . treble . . 8 feet. Pedal, 10 Stops. 27 — Untersatz . . wood . . 28 — Principal, .in front. . 29 — Subbass. . . . wood . . 30 — Gross-Nasat. .wood . 31 — Octave .... wood . - 32 feet tone. 16 feet. 16 feet tone. lOf feet. 8 feet. 32 — Gedact bass . wood . . 8 feet tone. 33— Tertia .... wood . . 6f feet. 34 — Super octave . metal . 4 feet. 36 — Posaune 16 feet. 36 — Trompete 8 feet. 75. 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, and Pedal of 9 Stops ; and G pairs of Bellows, 9 feet long by 4^^ broad. The Stops are distributed as follows : Great, 12 Stops. 1 — Bourdon 16 feet tone. 2 — Principal 8 feet. 3 — Rohrflote 8 feet tone. 4 — Viola di Gamba .... 8 feet. 5 — Octave 4 feet. 6 — Spitzflote 4 feet. 7— Quinte 2 1 feet. 8 — Super-octave 2 feet. 9 — Cornett. ... V ranks. 10 — Scharf .... V ranks. 11 — Cymbel . . Ill ranks. 12 — Trompette 8 feet. APPENDIX. Choir, 9 Stops. IS — Salcional <> 8 feet. 14 — Gemshorn 8 feet. 1 5 — Gedact 8 feet tone 16 — Quintaton 8 feet tone 17 — Octave 4 feet- Echo, 10 Stops. 18 — Fugara 4 feet. 19 — Leibhch Flote 4 feet tone. 2 21 — Super-octave 2 feet. 22 — Quintaton Ki feet tone. 23 — Principal 8 feet. 24 — Gedact 8 feet tone. 26 — Octave 4 feet. 2G — Rohrflote 4 feet tone. 27 — Nassard 2| feet. 28 — Super-octave 2 feet, 29— Sifflote Mixture major , Mixture minor . Hautbois discant Fagott Bass . . . 30 81 . 1 foot. IV ranks. 8 feet. Pedal, 9 Stops. 32— Principal, .in front. . 16'feet. 37- 33 — Subbass 16' feet tone. 38- 34— Violon 16 feet. 39- 85 — Gross Nassard lOf feet. 40- 36 — Gemshorn 8 feet. Accessory Stops Bass-flote . . . . Octave , Contra- Posaune 8 feet tone. 4 feet. 32 feet. Posaune 16 feet. 1 — Coupler, Choir to Great. 2 — Coupler, Echo to Great. 3 — Coupler, Great to Pedal. 4, 5, 6, 7 — Four Wind-trunk Valves. 76. Beelin. 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 16 2— Principal 8 8— Rohrflote 8 4 — Viol di Gamba .... 8 5 — Flauto Traverse. ... 8 6 — Octave 4 7— Spitzflote 4 14— Gedact 8 16 — Quintaton 8 16 — Principal 4 17 — Rohrflote 4 18— Nassat 2| 19 — Octave 2 25 — Quintaton 16 26 — Principal 8 27 — Gedact 8 28 — Salcional 8 29— Octave 4 30 — Fugara 4 31— Quinte 2t feet tone, feet. feet tone. feet. feet. feet. feet. 8 — Quinte 9 — Octave = . 10 — Mixture . . IV ranks. 11 — Cornett ... .V ranks. 12 — Scharf . . . .VI ranks. 13— Fagott 2| feet. 2 feet. 16 feet. Echo, 11 Stops. feet tone, feet tone, feet. feet tone. feet. feet. 20— Flageolet 21— Terz 22— Quint 28— Cymbel . . IV ranks. 24 — Vox Humana 2 feet. 1| foot. H foot. Choir, 13 Stops. feet tone, feet. feet tone. feet. feet. feet. feet. 32 — Octave 33— Wald-flote 84— Sifflote 35 — Scharf. . . .V ranks. 36 — Cymbel. .Ill ranks. ^ i Trompette discant . ? I Trompetten-bass . . 5 8 feet tone. 2 feet. 2 feet. 1 foot. 8 feet. AN ACCOUNT OF FOUEION ORGANS. 379 I'edal, 38 — Principal, .in front. . 16 feet. 39 — Violone 16 feet. 40— Octave 8 feet. 41 — Genishorn 8 feet. 42 — Quintc H feet. 43 — Nacht-horn 4 feet. 2 Stops. 44— Quinte 2| feet. 46 — Mixture . VIII ranks. 46 — Posauiie 32 feet. 47 — Posauiie 16 feet. 48 — Tronipete 8 feet. 49— Clarion 4 feet. Kronstadt. Tlie fine Organ in tlie Catiiedral 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 16 feet. 2 — Quintaton 16 feet tone. 3 — Prnicipal 8 feet. 4 — Rohrflote 8 feet tone. 5 — Gemshorn 8 feet. 6 — Viol di Gamba .... 8 feet. 7 — Nassat 5i feet. 8 — Octave 4 feet. Echo, 13 Stops. 9 — Spitzflote 4 feet. 10— Waldflote 4 feet. 11— Quint. 21 feet. 12 — Super octave 2 feet. 13 — Cornett . . V ranks. 14 — Scharf . . V ranks. 15 — Cymbel. . V ranks. 16 — Bourdon 16 feet tone. 17 — Principal 8 feet. 1 8 — Gedact 8 feet tone. 19 — Salcional 8 feet. 20— Hohlfiote 8 feet. 21 — Quintaton 8 feet tone. 22 — Octave 4 feet. Choir, 11 Stops. 23 — Rohrflote 4 feet tone. 24 — Fugara 4 feet. 25 — Nasat 2f feet. 26 — Super-octave . II ranks. 2 feet. 27 — JMixture .... V ranks. 28 — Hautbois 8 feet. 29— Salcional 16 feet. 30 — Principal 8 feet. 31 — Gedact 8 feet tone. 32 — Viol di Gamba .... 8 feet. 33 — Flauto Traverso. ... 8 feet. 34 — Octave 4 feet. 85 — Viol d'amour 4 feet. 36 — Flauto dolce 4 feet. 37 — Gemshorn Quinta . . 2| feet. 38 — Decima Quinta .... 2 feet. 39 — Progressio harmonica, III to V ranks. Reed-work Manual, 7 Stops. 40— Fagott 16 feet. 41 — Trompette 8 feet. 42 — Clarionetto 8 feet. 43 — ^Vox Angehca 8 feet. 44 — Rohrflote 8 feet tone. 45 — Viohno 8 feet. 46 — Principal 4 feet. Nos. 5, 6, & 7, are Lip Stops. 47 — Principal 32 feet. 48 — Untersatz 32 feet tone. 49 — Principal 16 feet. 50 — Subbass 16 feet tone. 51 — Violone 16 feet. 52 — Nassat 10| feet. 53 — Principal 8 feet.' 64 — Bass-Flote 8 feet tone. 65 — Violone ...» 8 feet. Pedal, 17 Stops. 66 — Gemshorn 8 feet. 57 — Quinte 5i feet. 58 — Octave 4 feet. 59— Mixture. .IV ranks. 60 — Contra-Posaune .... 32 feet. 61 — Posaune. 16 feet. 62 — Trompette 8 feet. 63— Cornette 4 feet. 380 APPENDIX. Accessory Stops, Movements, &c. 1, 2, 3 — Three Manual Couplers. 6 to 9 — Five Wind-trunk Valves. 4 — Pedal Coupler. Compass. Manuals, CC to in altissimo, 56 notes. | Pedal, CCC to fiddle g, 32 notes. 78. 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, 1 — Principal 16 feet. 2 — Bourdon 16 feet tone. 3 — Octave 8 feet. 4 — Gemshorn 8 feet. 5 — Gamba 8 feet. 6 — Rohrflote 8 feet tone. 7 — Quinta 5^ feet. 8 — Octave 4 feet. 9 — Gemshorn 4 feet. Choir, 19 — Salicional 8 feet. 20— Flote 8 feet. 21— Rohrflote 8 feet tone. 22— Principal 4 feet. 23— Flote 4 feet. 24 — Gedact 4 feet tone. 18 Stops. 10 — Quinta 11 — Octave 12— Tertia 13 — Mixtur VI ranks. 14 — Cymbal. . Ill ranks. 15 — Cornet V ranks. IG — Fagotto 17 — Trompete 18 — Clairon 12 Stops. I 25 — Nassat 26— Octave . . , 27 — Quinta , 28 — Flageolet ; 29— Mixtur. .IV ranks. 30— Oboe 2f feet. 2 feet. 1# foot. 16 feet. 8 feet. 4 feet. feet, feet, foot, foot. 8 feet. Echo, 1 31 — Quintadon . 16 feet tone. 32 — Principal 8 feet. 33— Spitzflote 8 feet. 34 — Fugara 8 feet. 36 — Quintadon 8 feet tone. 36 — Gedact 8 feet tone. 37— Octave 4 feet. 4 Stops. 38 — Rohrflote 4 feet tone. 39 — Quinta 2| feet. 40 — Octave 2 feet. 41— Mixtur . .V ranks. 42 — Cornet. .Ill ranks. 43 — Physharmonica .... 8 feet tone. 44 — Vox Humana 8 feet tone. Pedal, 14 Stops. 45 — Principal 32 feet. 46— Octave 16 feet. 47 — Violone 16 feet. 48 — Subbass 16 feet tone. 49 — Quinta lOf feet. 50 — Octave 8 feet. 51 — Violoncello 8 feet. 52 — Quinta . : 5i feet. 53 — Octave 4 feet. 54 — Mixtur. .VI ranks. 65 — Posaune 32 feet. 66 — Posaune 16 feet. 67 — Trompete 8 feet. 68 — Clairon 4 feet. 1 — Echo to Great. 2— Choir to Great, 3 — Great to Pedal. Accessory Stops, Movements, &c. 4 — Tremulant Echo. 5, 6, 7 — Three Wind-trunk Valves. Compass. Manuals, CC to e^ in alt. Pedal, CCC to tenor e. AN ACCOUNT OK POUEIUN ORGANS. Dresden. The five principal Ciiurches in the city of Dresden all contain very fine Organs, four of which are by Silbermann, one of the most renowned German Organ-builders of the last century, and whose name (Silverman) very well describes the sparkling and chaste tone of his instruments. In the " Ramble among the Musicians of Germany," a most interesting volume, written by Mr. Edward Holmes, and published in 1828, the author, in describing 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 artful 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 thickness, depth, and independence of the Pedals, here vindicate supremely the poetical ascendancy of the fugue over every other class of musical composition ; and in slow subjects, when the bass rolls in its ponderousness — there is no disputing it — it is like the fiat of the Omnipotent. As a matter of science, it is worthy consideration how far the structure of our Organs might be improved by uniting the sweet Cathedral quality of tone for which those of the Temple, West- minster 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 per- fect specimen of the kind would be the result." Since the above excellent ob- servations on the effect of the Dresden Organs were written, a considerable advance has been made in the art of Organ-building in England. The largest of Silbermann's four Dresden Organs stands in the Royal Catholic Church. 79. Dresden. The fine Organ in the Royal Catholic Church is esteemed Silbermann's master- piece. 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 1764. It has 48 Stops, distributed in the following manner : Great, IG Stops. 1 — Principal 16 feet. 2 — Bourdon 16 feet tone. 3 — Principal 8 feet. 4 — Viola di Gamba .... 8 feet. 6 — Rohrflote 8 feet tone. 6 — Octave 4 feet. 7— Spitzflote 4 feet. 8— Quinta 2| feet. 9 — Octave 2 feet. 10— Tertia If foot. 11 — Mixtur . . IV ranks. 12— Cymbel. .Ill ranks. 13 — Cornet .... V ranks. 14— Fagott 16 feet. 15 — Trompete 8 feet. 16— Clarin 4 feet. Echo, 14 Stops. 17 — Quintaton 16 feet tone. 18 — Principal 8 feet. 1 9 — Gedact 8 feet tone. 20 — Quintaton 8 feet tone. 21 — Unda Maris 8 feet tone. 22— Octava 4 feet. 23 — Rohrflote 4 feet tone. 24 — Nassat 2| feet. 25 — Octave 2 feet. 26 — Tertia If foot. 27— Flageolet 1 foot. 28— Mixtur. .IV ranks. 29— Echo . . . V ranks. 30 — Vox humana 8 feet tone. 382 APPENDIX. Choir, 10 Stops. 31 — Gedact 8 feet tone. 32 — Principal 4 feet. 33 — Rohrflote 4 feet tone. 34— Nassat 2| feet. 35— Octave 2 feet. 8G — Quinta 1^ foot. 37— Sifflote 1 foot. 38 — Mixtur III ranks. 39 — Sesquialtera . II ranks. 40 — Chalmeaux 8 feet tone. Pedal, 8 Stops. 41 — Untersatz .... ... 32 feet tone. 42 — Principal 10 feet. 43 — Octav Bass 8 feet. 44 — Octava 4 feet. 4.5— Mixtur, .VI ranks. 4G — Pausan 16 feet. 47 — Trompete 8 feet. 48— Clarin 4 feet. 1 — Echo to Great. 2 — Great to Pedal. Accessory Stops, &c. 3 — Tremulant Echo. 4 — Tremulant Great. Compass. Manuals, CC to d^ in alt. I Pedal, CCC to tenor c. 80. 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, distri- buted among 2 Manuals and Pedal, in the followuig manner : Great, 1 — Bordun IG feet tone. 2 — Principal 8 feet. 3 — Spitzflote 8 feet. 4 — Rohrtlote 8 feet tone. 5 — Octave 4 feet. 6 — Gemshorn 4 feet. 7— Quinte 2f feet. Choir, 1 5 — Quintaton 16 feet tone. 16 — Principal 8 feet. 1 7 — Gedact 8 feet tone. 1 8 — Quintaton 8 feet tone. 1 9 — Unda Maris 8 feet tone. 20 — Octave 4 feet. 21 — Rohrflote 4 feet tone. Pedal, 28 — Principal-bass . . . . 16 feet. 29 — Sub-bass 16 feet tone. 30 — Violone 8 feet. 14 Stops. 8 — Octave 9— Tertia 10— Mixtur, IV ranks. 11 — Cymbal, III ranks. 12 — Comett, IV ranks. 18 — Trompete , 14— Clarin 2 feet. 2 feet. 8 feet. 4 feet. 13 Stops. 22— Nassat 2f feet. 23— Octave 2 feet. 24— Quinte H feet. 25— Siflaote 1 foot. 26— Mixtur, III ranks. 27 — Vox humana 8 feet tone. 5 Stops. 31 — Pausan 16 feet. 32— Trompete 8 feet. 81. 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 3 2 -feet tone. The distribution of the Stops is as follows : AN ACCOUNT OF I'OIIKIGN ORGANS. S83 Great, 14 Stops. 1 — Principal IGf'eet. 2_0etave B feet. 3 — Viola di Gamba « feet. 4 — llolirflote « feet tone. 5 — Octave 4 feet. 6 — Spitztlote 4 feet. 7— Quinta 2| feet. 8 — Octava 2 feet. !) — Tertia 1| foot. 10 — Mixture, IV ranks. 11 — Cymbal, III ranks. 12 — Cornet, V ranks. 1,3 — Fagott l(i feet. 14 — Trompete 8 feet. Echo, 11 Stops. 15 — Quintadena IC feet tone. 16 — Principal 8 feet. 1 7 — Gedact 8 feet tone. 18 — Quintaton 8 feet tone. 19 — Octava 4 feet. 20 — Rohrflote. ....... 4 feet tone. 21 — Nassat 2| feet. 22— Octava 2 feet. 23— Tertia If foot. 24 — Mixtur, IV ranks. 25 — ^Vox Humana 8 feet tone. Choir, 10 Stops. 26 — Gedact 8 feet tone. 27 — Principal 4 feet 28 — Rohrflote 4 feet tone. 29— Nassat 2§ feet. 30 — Octava 2 feet. 31 — Gemshorn 2 feet. 32— Quinta U foot. 33 — Sifflote 1 foot. 34— Mixtur, III ranks. 3 5 — Chalmeaux 8 feet tone. Pedal, 8 Stops. 36 — Untersatz 32 feet tone. 37 — Principal -bass 16 feet. 38 — Octave-bass 8 feet. 39 — Octave 4 feet. 40 — Mixtur, VI ranks. 41 — Pausan 16 feet. 42 — Trompete 8 feet. 43— Clarin 4 feet. 1 — Tremulant. 2 — Schvvebung. 3 — Bass Veutil. Neben-Register. 4 — Coppel. 5 — Klingel. 82. 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 16 feet tone. 2 — Quintaton 16 feet tone. 3 — Principal. ........ 8 feet. 4 — Spitzflote 8 feet. 5 — Rohrflote 8 feet tone. 6 — Octave 4 feet. 7 — Gemshorn 4 feet. 8— Quint 2 1 feet. 9 — Octave 2 feet. 10— Terz If foot. 11— Mixtur, V ranks. 12— Cymbel, III ranks. 13 — Cornet, V ranks. , , i Ti-ompet discant ? „ /. , ^^^Trompet-bass l'' ^ 15 Clarin 4 feet. 384 APPENDIX. Choir, 12 Stops. 1 6 — Quintaton 16 feet tone. 17 — Principal 8 feet. 18 — Gedact 8 feet tone. 19 — Quintaton 8 feet tone. 20 — Unda Maris 8 feet tone. 21 — Octave 4 feet. 22 — Rohrflote. ...... 4 feet tone. 28 — Nasat 2| feet. 24— Octave 2 feet. 25 — Super-octave 1 foot. 20— Mixtur, III ranks. 27 — Vox Humana 8 feet tone. Pedal, 6 Stops. 28 — Principal 16 feet. 29 — Bourdon 10 feet tone. 30 — Sub-bass 10 feet. 31 — Cornet, VIII ranks. o2 — 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, CC to d ^ in alt. Pedal, CCC to tenor c. 83. 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 50 Sounding Stops, 3 Manuals, and Pedal of 32 feet. The following is a hst of its contents : Great, 16 Stops, 1 — Principal 16 feet. 2 — Bourdon 16 feet tone. 3 — Gross Octave 8 feet. 4 — Gamba 8 feet. 5 — Gemshorn 8 feet. 6 — Rohrflote 8 feet tone. 7 — Octave 4 feet. 8 — Gemshorn 4 feet. 9— Quinte 2| feet. 10 — Octave 2 feet. 11— Terz 1| foot. 12— Mixtur, VI ranks. 13 — Cymbel, V ranks. 14 — Cornet, ..V ranks. 15 — Fagotto 16 feet. 10 — Trompete 8 feet. Chour, 10 Stops. 17 — Leiblich Gedact. ... 8 feet tone. 18 — Rohrflote 8 feet tone. 19 — Principal 4 feet. 20 — Rohrflote 4 feet tone. 21 — Nasat 2f feet. 22— Octave 2 feet. 23 — Quinta U foot. 24— Sifflote 1 foot. 26 — Mixtur, IV ranks. 26 — Krum-horn 8 feet tone. Echo, 14 Stops. 27 — Quintaton 16 feet tone. 28 — Principal 8 feet. 29 — Schwiegel 8 feet. 30 — Gedact 8 feet tone. 31 — Quintaton 8 feet tone. 32 — Octave 4 feet. 33 — Rohrflote 4 feet tone. 34— Quinta 2 f feet. 35 — Octave 2 feet. 36 — Flageolet 1 foot. 37 — Mixtur, V ranks. 38— Cymbel, IV ranks. 39 — Cornet, V ranks. 40 — Vox Humana 8 feet tone. AN ACCOUNT ill'' KOKKIGN ORdANS. ;i(ir) Pedal, 1 () Stops. 41 — Gross Principal Bass 32 feet. 42 — Principal Bass 1(5 feet. 43 — Violonc Bass K! feet. 44 — Pub-bass Ifi feet tone. 45 — Gedact Quint Buss. .lOy feet tone. 4(5 — Principal l^ass 8 feet. 47 — Quintaton Bass 8 feet tone. 48 — Violon Piass 8 feet. 49— Koppel 8 feet. 50 — Quiiita Bass 5.^ feet. 51 — Octave Bass ...... 4 feet. 62 — Octave Bass 2 feet. 63 — Mixtur Bass, VI ranks. 54 — Posaune Bass IG feet. 55 — Trompete Bass .... 8 feet. 50 — ClarinBass 4 feet. Accessory Stops, &c. 1 — Coupler, Great to Pedal. 2 — Coupler, Echo to Great. 3 — Tremulant Echo. 4, 5, 0, Three Trunk-valves. Manuals, CC to d-' in alt. Compass. Pedal, CCC to Tenor d. 84. 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 fol- lowing is a list 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 da Gamba. .tin 8 feet. 4 — Rohi-flote tin 8 feet tone. 5 — Octave .tin 4 feet. 6— Quinte tin 2| feet. 7 — Superoctave tin 2 feet. 8 — Tierce IJ foot. 9 — Furniture. .IV ranks Eng. tin. 10 — Cymbalo . .Ill ranks 11 — Cornet ... .V ranks 1 2 — Trompete . . Eng. tin 13 — Clairon. . . . Eng. tin Eng. tin. Eng. tin. 8 Teet. 4 feet. Choir, 13 Stops. 14 — Quintaton . .Eng. tin 16 feet tone. 15 — Principal . . - Eng. tin 8 feet. 16 — Bourdon, metal treble, wood bass 8 feet tone. 1 7 — Octave .... Eng. tin 4 feet. 18— Flute Eng. tin 4 feet. 19 — Nazard metal 2 f feet. 20 — Super-octave Eng. tin 2 feet. 21 — Tierce . . . .Eng. tin, 1| foot. 22 — Fourniture, III ranks Eng. tin. 23 — Cyml)ale . .Ill ranks Eng. tin. 24 — Echo Cornet, V ranks metal. 25 — Cromorne. . - Eng. tin 8 feet tone. 26 — Voix Humaine, Eng. tin 8 feet tone. Echo, 9 Stops. 27 — Bourdon metal 8 feet tone. 28 — Principal.. .Eng. tin 4 feet. 29 — Rohrflote. . . Eng. tin 4 feet tone. 30 — Nasard metal 2f feet. 31 — Octave Eng. tin 2 feet. 32 — Tierce metal If foot. 33 — Quinte Eng.^tin l^Joot. 84— Sifflet Eng. tin I'foot. 83 — Fourniture, III ranks, Eng. tin. C G 386 APPENDIX. Pedal, 10 Stops. 3G — Untersat/, .... wood 32 feet tone. 37 — Principal bass. .Eng. tin 16 feet. 38 — Sous -bass wood 16 feet tone. 39 — Octave. . . - . • wood 16 feet. 40 — Octave-bass tin 8 feet. 41 — Super-octave. . . .tin 4 feet. 42 — Fourniture, VI ranks, tin. 43 — Bonibarde tin 16 feet. 44 — Trompet tin 8 feet. 45 — Clairon tin 4 feet. Accessory Stops, &c. Coupler, Great to Pedal. Wind-trunk Valves. Two Tremulants. Six Bellows. 85. Pbague. 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. 1 — Principal 16 feet. 2 — Gross-gedackt IG feet tone. 3 — Octave 8 feet. 4 — Gedackt 8 feet tone. 6 — Octave 4 feet. 6— Offenflote 4 feet. 7 — Quinte 2 f feet. 8 — Super-octave 2 feet. 9— Spitzflote 2 feet. 10— Sexte 2 1 feet. 11 — Quinte U foot. 12— Kuzial-flote 1 foot. 13 — Mixtur, . .X ranks. 14 — Cymbel, IV ranks. Echo, 12 Stops. 1 — Quintaton 16 feet tone. 2 — Surdun 16 feet tone. 3 — Principal 8 feet. 4 — Gemshorn 8 feet. 5 — Hohlflote 8 feet. 6 — Octave 4 feet. 7 — Nachthorn 4 feet. 8 — Super-octave 2 feet. 9 — Rauschpfeife. Ill ranks. 2f feet. 10 — Koppel. .quint .... li foot. 11 — Mixtur — VI ranks. 12 — Krummhorn 8 feet tone. Inside Choir, 9 Stops. 1 — Gedact 8 feet tone. 2 — Gedact 4 feet tone. 3 — Quintaton 4 feet tone. 4 — Octave 2 feet. 5 — Quinte l^- foot. 1 foot. 6 — Sedecima 7 — Cymbel, III ranks. 8 — Jungfernregal 10 feet. 9 — Regal 8 feet. Front Choir, 18 Stops. 1 — Principal 16 feet. 2 — Sahcional 16 feet. 3 — Principal 8 feet. 4 — Rohrflote 8 feet tone. 5 — Quintaton 8 feet tone. 6 — Octave 4 feet. 7 — Blockflote 4 feet. 8 — Querflote 4 feet. 9— Quint 2 1 feet. 10 — Super-octave 2 feet. 11 — Gemshorn. ..... 2 feet. 12 — Waldtlote 2 feet. 13 — Sexte If foot. 14— Sifflote 1 foot. 1.5 — Mixtur. .V ranks. 16 — Cornett.III ranks. 1 7 — Dulcian . . of wood . . 16 feet. 18 — Trompete 8 feet. AN ACCOUNT OK FOREIGN OllOANS. 387 Pedal, 18 Stops. 1 — Principal 32 feet. 2 — Octave Ki foot. 3 — Principal 10 teet. 4 — Salicional IG feet. 6 — Octave !? feet. G — Gross-Quinte 5y feet. 7 — Super-octave 4 feet. 8 — Nachthorn 4 feet. 9— Spitzfiote 2 feet. 10— Koppel 2 feet. 11 — Bauerflote 1 foot. C (^uinte Ill ranks. J Super-octave. . . .II ranks. " \ Tertian II ranks. ' Koppel Ill ranks. l.'J — Mixtur VIII ranks. 14 — Posaune .'52 feet. 1 5 — Posaune 16 feet. 16 — Dulcian 16 feet. 17 — Trompete 8 feet. 18 — Schalmei 4 feet. 86. GOERLITZ. The Organ in the Church of St. Peter and St. Paul, at Goerlitz, 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, 1708. 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 pohshed Tin, the largest of which is the FFFF 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, 16 Stops. 1 — Principal .. in front . . 16 feet. 2 — Octave Principal .... 8 feet. 8 — Viol di Gamba .... 8 feet. 4 — Quintadena 8 feet tone. 5 — Gedact 8 feet tone. 6 — Flote Quinte 5^ feet. 7 — Super-octave 4 feet. 8 — Salicional 4 feet. 2f feet. 9 — Quinte 10 — Sedecima 2 feet. 11 — Quinte H foot. 12 — Mixtur .... V ranks. 13 — Rauschpfeif .III ranks. 14— Bombard 16 feet. 15 — Trompete 8 feet. 16 — Vox humana 8 feet tone. Echo, 8 Stops. 1 7 — Gedact 8 feet tone. 18 — Principal 4 feet. 19 — Octave 2 feet. 20 — Flageolet 2 feet. 21 — Nason H foot. 22 — Sedecima 1 foot. 23— Mixtur. .Ill ranks. 24 — Hautbois 8 feet. Choir, 12 Stops. 25 — Quintadena . cypress- wood . . 16 feet tone. 26 — Principal 8 feet. 27 — Unda maris . cypress- wood 8 feet tone. 28 — Octave 4 feet. 29 — Flote 4 feet tone. 30 — Quinte 2| feet. 31 — Sedecima 2 feet. 32 — Flageolet 2 feet. 83 — Super-sedecima .... 1 foot. 34 — Cornet . . V ranks. 85 — Mixtur . . II ranks. 36— Cymbel. .II ranks. 388 APPENDIX. Pedal, 1 i)7 — Gross Principal, .tin. 32 feet. 38 — Violon-bass 10 feet. 39 — Bourdon IG feet tone. 40— Tubaltlote 8 feet. 41 — Quintadena 8 feet tone. 42— Quinte 5^ feet. 43 — Super-octave 4 feet. 44 — Virgin royal 4 feet. 46— Tubalflote 4 feet. 46— Tubalflote 2 feet. 9 Stops. 47— Rustic 2 feet. 48 — Mixtur . .V ranks. 49 — Scharf . . II ranks. 50 — Cymbel . II ranks. 51 — Posaune IG feet. 62— Fagott 16 feet. 58 — Trompete 8 feet. 64 — Chalmey-bass .... 8 feet tone. 55 — Corno 8 feet. Compass of Pedals . . 2 Octaves, from CCC to Tenor c. 87. GOERLITZ. The Organ in St. Mary's Church, at Goerlitz, has 16 Sounding Stops, and was built by Buckow, in 1838. Great, 8 Stops. . 16 feet tone. 1 — Bourdon, .wood . 2 — Principal . . 14 loth. Eng. tin . . in front . 8 feet. 3 — Flauto grave . wood . 8 feet. 4 — Principal- octave. .14 loth. English tin . . in front 4 feet. 6 — Gemshorn quint. .12 loth. English tin . . 2 1 feet. 6- — Super-octave . 12 loth. 2 feet. 7- —Mixtur . 12 loth. Eng. tin . . IV ranks .... 2 feet. 8- — Cornetti to fiddle G. . 8 feet. 9- —Slider for a Trom- 8 feet. Choir, 4 Stops. 12 — Dolciano. .wood .... 8 feet. 1 3 — Flut d'amour . wood . 4 feet tone. 10 — Viola di Gamba. . 12 loth. Eng. tin ... . 8 feet. 1 1 — Flut douce . .wood . . 8 feet tone Pedal, 3 Stops. 14 — Violon. .pine- wood. . 16 feet. IG — Posaune IG feet. 15 — Violoncello . pine -wood 8 feet. Accessory Stops. 1 — Coupler, Choir to Great. | 2 — Coupler, Great to Pedal. 88. LiEGNlTZ. The Organ in the Church of St. Peter and St. Paul, at Liegnitz, was erected by Buckow, in the year 1839. It has 3 Manuals and Pedal, and 42 Sounding Stops, the names and distribution of which are as follow : Great, 13 Stops. 9 — Quint, .metal 2 f feet. 10 — Super-octave . metal . 2 feet. 11 — Flautino. .metal. ... 2 feet. 12 — Progressio. . Ill, IV, and V ranks .... 2 feet. 13 — Cornet. .Ill ranks. . 5i, 4, and 3i feet. 1- — Bourdon . .wood .... 16 feet tone. 2- —Principal. .| tin 8 feet. 3- —Gemshorn, .tin . . . . 8 feet. 4- —Viola d'amour . . tin . 8 feet. 5- 8 feet. 6- — Flaut douce, .wood. . 8 feet. 7- —Octave . . tin 4 feet. 8- —Flauto dolce. .metal . 4 feet. AN ACCOUNT OP FOREIGN OUQANS. 389 14 — Quintiiton . . tin ; tlie great octave of" wood . 1 fi 1 f") — Salicioiial . I Eng. tin . 8 1 0 — Pyrainid-flote . wood . 8 17 — Prestant . i Eng. tin . 4 22— Prestant. .| tin « 2;l — Viola di ( nnnba . i tin. 8 24 — Flaut aniabile . metal, the bass octave of wood 8 2 5 — Principal . . i Eng. tin. 4 31 — Pi'incipal . . polished tin, in front 16 32— Violon oak IG 33 — Prestant . . oak. ... 10 34 — Sub- bass . . oak 16 35 — Principal 8 36 — Violoncello . .wood. . 8 1 — Coupler, Choir to Great. 2 — Coupler, Echo to Great. Choir, 8 Stops. 18 — Piffaro. .i Eng. tin. . 1!) — Flautino. .i Eng. tin . 20 — Cornet . . Ill ranks. feet tone feet, feet, feet. Eng. tin 4 feet. 2 feet. and 1| foot. 21— Oboe 8 feet. Echo, 9 Stops, feet. 26 — Flauto amoroso . metal 4 feet, feet. 27 — Spitzflote. .quint, tin . 2 1 feet. 28 — Octave tin. 2 feet. 29— Flauto Piccolo , . tin . 1 foot. 30— Mixtur. .Ill ranks . . 1^ foot. feet, feet. Pedal, 12 feet, feet, feet. feet tone feet, feet. Accessory Stops. 37 — Bass-flote . . wood . . 8 feet tone. 38 — Quint . tin and wood . 6g- feet. 39 — Super-octave 4 feet. 40 — Octave 2 feet. 41 — Posaune 16 feet. 42 — Trompete 8 feet. Stops. 3 — Coupler, Great to Pedal. 4, 5, 6, 7 — Four Wind-trunk Valves. 89. Beeslau. 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 the third in one of the small Chapels. The Great Organ has GO 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. 9 — Super-octave . metal . 4 feet. 10 — Rohrflote . . metal . . 4 feet tone. 1 1 — Gemshorn . . metal . . 4 feet. 12 — Quinta .... metal » . 2|- feet. 13 — Sedecima . metal.. 2 feet. 14 — Scharf. .metal, IV ranks. 1 .5 — Mixtur . metaLVII ranks. 1- — Principal . in fi-ont, tin . IG feet. 2- — Qumtaton . . metal. . 1 6 feet tone. 3- —Octave, .in front, tin . 8 feet. 4- —Gemshorn . - metal. . 8 feet. 5- — Salicet . . . . metal . . 8 feet. 6- — Quintaton . . metal . . 8 feet tone. 7- —Flaut major . wood . . 8 feet. 8- — Quinta . . . . metal . . 5i feet. tm , 8 feet. 17 — Bourdon. maple- wood. 16 feet tone. 18 — Principal .... tin. . 8 feet. 19 — Salicet tin. , 8 feet. 20 — Flaut allemande. • . . metal 8 feet. 21 — Doppel Rohrflote. . . . maple 8 feet tone. 22— Octave tin . . 4 feet. 23 — Salicet tin . . 4 feet. 4 feet. 16 — Trompete Echo, 14 Stops. 24 — Spitzflote . . metal 25— — Doppel Rohrflote. . . . maple 4 feet tone. 26 — Nassat .... metal . . 2|- feet. 27 — Super-octave, .metal. 2 feet. 28— Cymbel . metal . Ill ranks. 29 — Mixtur .metal. VI ranks. 30 — Clarinett . . tin 8 feet tone. 390 APPENDIX. Choir, 12 Stops. 31 — Principal . in front, tin. 8 feet. 32 — Gamba metal.. « feet. 33 — Flaut traverse 8 feet. 3i — Quintaton 8 feet tone. 35 — Flaut douce 8 feet. 30 — Flaut major 8 feet. 37 — Octave .... metal - . 4 feet. 38 — Flaut minor . wood. . 4 feet. 39 — Quinta .... metal. . 2f feeti 40 — Super octave . metal . 2 feet. 41 — Mixtur . metal . IV ranks. 42 — Obois . . metal 8 feet. Pedal, 18 Stops. 48- -Principal.oftintoFFFF 51- — Gemshorn . . metal . . 8 feet. sharp, 23 feet, and in 62- —Violoncello . . wood . . 8 feet. front ; the lower Pipes 58- — Doppelflote . of oak . . 8 feet tone. 32 feet. 64- —Quinta . . . . metal . . 5^ feet. 44- —Octave .... metal . . 16 feet. 56- — Sedecima . . metal . . 4 feet. 45- — Violon .... wood . . IG feet. 56- — Nachthorn . .of oak . . 4 feet. 4G- —Gamba .... wood . . IG feet. 57- — Posaun . . . . wood . . 32 feet. 47- — Subbass .... of oak . . 1 G feet tone. 58- — Posaun . . . . wood . . 16 feet. 48- —Quintaton . .of oak . . IG feet tone. 69- — Fagott . . . . wood . . 16 feet. 49- — Gemshornquint . metal . 10| feet. 60- — Trompete . . tin . . 8 feet. 60- —Principal . . . . tin . . 8 feet. 1 — Echo to Great. 2 — Choir to Great. 3 — Great to Pedal. 4 — Wind-valve to Great. 5 — Wind-valve to Choir. Manuals, CC to P in alt. Accessory Stops, &c. 6 — Wind-valve to Echo. 7 — Wind-valve to great Pedal Sound- board. 8 — Wind-valve to Pedal Reed-work and 32 feet Principal. Compass. Pedal, CCC to Tenor c. 90. Breslau. The Choir Organ : Manual, 9 Stops. 1 — Principal 8 feet. 2 — Gamba 8 feet. 3 — Flaut allemande .... 8 feet. 4 — Flaut major 8 feet tone. 6 — Octave 4 feet. 6 — Doppel Rohrflote .... 4 feet tone. 7 — Nasat quint 2| feet. 8 — Super octave 2 feet. 9 — Mixtur. .IV ranks. Pedal, 8 Stops. 10 — Subbass 16 feet tone. 11 — Octaven bass ...... 8 feet. Compass. Manual, CC to f ^ in alt. Pedal, CCC to tenor c. 12 — Super octave 4 feet. Coupler, Manual to Pedal. 90 — a. 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. 6 — Flaut allemande .... 4 feet. 6— Quint 2| feet. 7 — Super octave 2 feet. 8— Mixtur. .Ill ranks. AN ACCOUNT OK KllRKION ORGANS. 391 Breslau. The old part of the large Organ in the Church of St. Mary Magdalen, at Breslaii, is the work of Joh. R6der, of Berlin, who constructed it in 172.'i ; to whose work additions were made by Engler, in 1821. The Organ has now 55 Sounding Stops, 3 Manuals, and Pedal of 16 Stops; 3416 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 KJ feet. 2 — Quintaton. . metal . . IG feet tone. 3 — Principal . . metal . - 8 feet. 4 — Salicet .... tin . . 8 feet. 5 — Flaut allemande ma- jor., wood 8 feet tone. 6 — Quintaton . . metal. . 8 feet tone. metal . metal . metal . 4 feet. 4 feet tone. 2| feet. 2 feet. 1 foot. 15 — Principal .. of tin, in front 8 feet. 16 — Gemshorn . .metal. 1 7 — Salicet to tenor f . tin 1 8 — Flaut major . . wood 1 9 — Octava .... metal . 20 — Doppel Spitzflote . wood 21 — Fugara . . . metal. 7 — Octave . 8 — Rohrflote 9 — Quintc 10 — Super octave . metal . 1 1 — Scharf ... IV ranks 12 — Mixtur . VIII ranks 1^ foot. 13 — Rauschquint.il ranks 2# feet. 14 — Trompete . . metal. . 8 feet. Echo, 13 Stops. 22 — Quinte .... metal. . 2| feet. 23 — Super octave . metal . 2 feet. 24— Waldflote . . . metal . 2 feet. 25 — Mixtur . .VI ranks . metal 1 3- foot. 2G — Cymbel. .Ill ranks , metal 1 i foot. 8 feet. 8 feet. 8 feet tone. 4 feet. 27 — Vox humana . wood . 8 feet tone. 28- Principal . . of tin, in front 8 feet. 29 — Salicet . . to fiddle g . wood 8 feet. 30 — Flaut allemande . . . metal , . 8 feet. 31 — Flaut amabile. .wood 32 — Octave .... metal. . 4 feet. 4 feet. Choir, 12 Stops. 33 — Spitzflote . . metal. . 34 — Doppelflaut. .wood. . 35 — Quint .... metal. . 36 — Super octave, .metal 8 feet. 4 feet. 37 — Cymbel. . II ranks. 38— Mixtur. .IV ranks. 39 — Oboe metal. . 4 feet. 4 feet tone. 2§ feet. 2 feet. 1| foot. 1 foot. 8 feet. Pedal, 16 Stops. 40 — Principal 32 feet. 41 — Octave 42 — Violon . 43 — Salicet . 44 — Subbass metal . . . wood . . . wood . . . wood . 16 feet. 16 feet. 16 feet. 1 6 feet tone 8 feet. 8 feet. 45 — Octavenbass . wood . 46 — Violoncello. . wood . 47 — Doppelflotenbass . . . wood 8 feet tone. 1 — Choir to Great. 2 — Echo to Great. 3 — Wind-valve to Great. 4 — Wind- valve to Choir. 5 — Wind- valve to Echo 48 — Flautenbass . .wood . 8 feet. 49 — Quinte metal . 5j feet. 50 — Super octave . metal . 4 feet. 51 — Mixtur . .V ranks . . metal 4 feet. 52 — Posaune .... wood. . 32 feet. 53 — Posaune .... wood. . 16 feet. 54 — Fagott .... metal . 16 feet. 55 — Trompete . . . tin . . . 8 feet. Accessory Stops, &c. 6 — Wind-valve to Pedal Flue-work. 7 — Wind-valve to Pedal Reed-work. 8 — Glockenspiel to Great. 9 — Glockenspiel to Pedal. 392 APPENDIX. Compass. Manuals, CC to in alt, without CC sharp. Pedal, CCC to tenor d, without CCC sharp. 92. Brkslau. The large Organ in St. Elisabeth's Church, Breslau, was built by Michael Engler, in 1750, and has since been enlarged (1830) by MuUer. It has 54 Sounding 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, IG Stops. 1 — Salicet tin. . 2 — Quintaton .... tin . . 8 — Bourdon .... wood . . 4 — Principal .... tin . . 6 — Gemshorn .... tin . . 6 — Salicet , tin . . 7 — Flaut major . . wood 8 — Octave tin. . 9 — Nachthorn IG feet. IG feet tone. 16 feet tone. 8 feet. 8 feet. 8 feet. 8 feet tone. 4 feet. 4 feet. 10— Quinte 2i feet. 11 — Super octave. ..... 2 feet. 12 — Cymbel. .Ill ranks. 13 — Mixtur . . VI ranks. 14— Muset-bass IG feet. 1 6 — Trompete . . metal . . 8 feet. 16 — Vox humana . . tin. . (labial) 8 feet. Echo, 14 Stops. 17 — Bourdon . . . .wood. . 1 8 — Principal .... tin . . 19 — Salicet tin . . 20 — Fugara tin . . 21— Flaut amabile .wood 22 — Octave tin . . 23 — Spitzflote . . .wood. . 1 6 feet tone. 8 feet. 8 feet. 8 feet. 8 feet. 4 feet. 4 feet. 4 feet tone, f feet. 24 — Rohrflote . . wood 25 — Quinte .. ..metal 26 — Super octave 2 feet. 27— Terz If foot. 28 — Rauschquinte 2 f feet. 29 — Mixtur. -IV ranks. 30 — Schalmey . . metal 8 feet tone. 31 — Principal 8 feet. 32 — Flaut allemande . tin . 8 feet. 83 — Flaut amabile . wood . 8 feet. 34 — Quintaton . . . .wood . 8 feet tone 35 — Octave tin . 4 feet. Choir, 10 Stops. 3G — Portunal wood . 3 7 — Quinte metal . 38 — Super octave 2 feet. 39— Mixtur— III ranks. 40 — Oboe metal . 8 feet. 4 feet. 2f feet. Pedal, 14 Stops. 1 — Major bass . . wood . 2 — Principal . . of tin, in front 3 — Salicet . . of tin and wood 4 — Violon wood . 5 — Subbass .... wood . 6 — Quintaton. . . . wood . 7 — Principal . tin, in front 1 — Choir to Great. 2 — Echo to Great. 3 — Wind-valve to Great. 4 — Wind-valve to Echo. 32 feet tone. IG feet. 1 G feet. IG feet. 1 6 feet tone. 16 feet tone. 8 feet. 8 — Bassflote .... wood . 8 feet tone. 9 — Gemshornquint .... metal 5| feet. 10 — Super octave . . tin. . 4 feet. 1 1 — Mixtur . metal . V ranks. 12 — Posaune .... wood . 32 feet. 13 — Posaune .... wood . IG feet. 1 4 — Trompete .... tin . . 8 feet. Accessory Stops, &c. 5 — Wind-valve to Choir. 6 — Wind-valve to Pedal Flue-work. 7 — Wind-valve to Pedal Reed-work. AN ACCOUNT OF FOREIGN OKGANS. 393 Compass. Manuals, CC to c' in alt, without CC sharp. Pedal, CCC to tenor e, without CCC sharp. 93. Breslatt. Contents of the small Organ in Choir : Manual, 12 Stops. 1 — Principal, .in front. . 8 feet. 2 — Quintaton 8 feet tone. 3 — Salicet 8 feet. 4 — Flaut major 8 feet. 6 — Principal 4 feet. 6 — Octave 4 feet. 7 — Flauta minor 4 feet. 8— Quinte 2f feet. 9 — Super octave 2 feet. 10 — Cymbel , . II ranks. 11 — Mixture. . IV ranks. 12 — ^Vox Humana 8 feet tone. Pedal, 5 Stops. 1— Violon IG feet. 2 — Subbass 16 feet tone. 3 — Octav bass 8 feet. 4 — Doppelflote 8 feet. .5 — Super octave 4 feet. Compass. Manual, CC to in alt, 4 octaves. I Pedal, CCC to tenor c, 2 octaves. 94. Breslatt. 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 has 14 Stops. The Specifications are as follow: Large Organ. Great, 13 Stops. 1 — Bordun 16 feet tone. 2 — Quintaton 16 feet tone. 3 — Principal, in front . . 8 feet. 4 — Gamba 8 feet. 5 — Flaut-major 8 feet. 6 — Portunal 8 feet. 7 — Octave 4 feet. 8 — Doppelflote 4 feet. 9— Quinta 2|- feet. 10 — Super-octave 2 feet. 11 — Mixture. .V ranks. 12 — Cymbel . II ranks. 13 — Trompete 8 feet. Choir, 10 Stops. 14 — Principal, in front . . 8 feet. 15— Salicet 8 feet. 1 6 — Flaut amabile ..... 8 feet. 17 — Octave 4 feet. 18 — Flaut minor , 4 feet. 19— Quinta 2 1 feet. 20 — Super-octave 2 feet. 21— MixtiA-e. .IV ranks. 22— Cymbel. . .II ranks. 23— Oboe 8 feet. 24— Major 32 feet. 25 — Principal, in fi-ont . . 16 feet. 26 — Violon 16 feet. 27 — Sub-bass 16 feet tone 28 — Major-Quinta lOt feet. 29 — Violin 8 feet. Pedal, 12 Stops. , 30— Doppelflote 8 feet. 31 — Quintaton 8 feet tone. 82 — Super -octave 4 feet. 33 — Posaune 32 feet. 84 — Posaune 16 feet. 35— Trompete 8 feet. 394 APPENDIX. 1 — Clioir to Great. 2— Great to Pedal. 8 — Wind-valve to Great. Accessory Stops, &c. 4 — Wind-valve to Choir. 5 — Wind-valve to Pedal Flue Stops. G — Wind-valve to Pedal Reed Stops. 95. 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. C — Flaut Traverse .... 4 feet. 7 — Quinte 2| feet. 8 — Super-octave 2 feet. 9— Mixture. .IV ranks. 10 — Cymbel . . II ranks. 11— Violon 16 feet. 12 — Sub-bass 16 feet tone Pedal, 4 Stops. 13 — Octave 8 feet. 14 — Super-octave 4 feet. 96. Breslau. The Organ in the Church of St. Vincent at Breslau, has the very unusual pro- portion of half as many Pedal Stops as there are Manual Stops ; that is to say, 1 5 of the former to 30 of the latter. The Specification is as follows : Great, 16 Stops. 1 — Quintaton 16 feet tone. 2 — Principal 8 feet. 3 — Gemshorn 8 feet. 4 — Salcional 8 feet. 5 — Portunal 8 feet. 6 — Flaut 8 feet tone. 7 — Unda maris 8 feet. 8 — Octave 4 feet. 9 — Gemshorn 4 feet. 10 — Octave 11 — Rauschquint-bass. 12— Mixtur. ,VI ranks. 13 — Cymbel . Ill ranks. 14 — Cornet. . IV ranks. 1 5 — Trompete Choir, 15 Stops. 16 — Prastant 8 feet. 17 — Gamba 8 feet. 18 — Fugara 8 feet. 19 — Trinona 8 feet. 20 — Flaut 8 feet 21 — Quintaton 8 feet tone. 22 — Principal 4 feet. 23 — Trinona 4 feet. 24— Flaut 25 — Flaut travers 26 — Octave-bass 27 — Quinte. .Ill ranks. 28 — Mixture . IV ranks. 29 — Cymbel . Ill ranks. 30 — Clarinett Pedal, 15 Stops. 31 — Major 32 feet tone. 32 — Principal 16 feet. 33 — Gamba 16 feet. 34— Violon 16 feet. 35 — Sub-bass 16 feet tone. 3 6 — Quintaton 16 feet tone. 37 — Octave 8 feet. 38 — Gamba 8 feet. 2 feet. 8 feet. 4 feet. 4 feet. 8 feet tone. 89— Violon 8 feet. 40 — Violoncello 8 feet. 41— Flaut 8 feet. 42 — Gemshorn quint. . . . 5^^ feet. 48 — Octave 4 feet. 44 — Posaune 16 feet. 45 — Trompete 8 feet. AN ACCOUNT OF FOREKIN 0IU1AN8. 395 1 — Choir to Great. 2 — Great to Pedal. Accessory Stops, Couplers, &c. 3, 4, 6, Three wind trunk valves. Five Bellows. 97. Breslatt. The Organ in the Church of St. Ethelbert, in Breslau, was built by the elder Miiller, 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 l(j feet tone. 2 — Principal, .in front. . !i feet. 3— Salicet 8 feet. 4 — Gonishorn 8 feet. 5 — Bordun 8 feet tone. 6 — Gemshorn quint. ... 5^ feet. 7 — Octave 4 feet. 8 — Doppel-rohrflote .... 4 feet tone. 9 — Quinte 2| feet. 10 — Super-octave 2 feet. 11 — Mixtur. .V ranks. 12 — Clarinet. 8 feet tone. 13 — Salicet 8 feet. 14 — Flaut major 8 feet. 15 — Portunal 8 feet. IG — Principal 4 feet. Choir, 7 Stops. 1 7 — Portunal 1 8 — Super-octave 19 — CymbeL.II ranks. 4 feet. 2 feet. Pedal, 20 — Principal 16 feet. 21— Gamba IG feet. 22 — Sub-bass IG feet tone. Stops. 23 — Octave 8 feet. 24 — Posaune IG feet. Accessory Stops, &c. 1 — Choir to Great. 2 — Great to Pedal. 3 — Wind-valve to Great. Manuals, CC to d^ in alt. 4 — Wind-valve to Choir. 5 — Wind- valve to Pedal. Compass. I Pedal, CCC to tenor c. 98. — Breslatt. The Organ in the Church of the Eleven Thousand Virgins, at Breslau, was built by Mi'iUer, sen. in 182G ; and has 27 Sounding Stops, 2 Manuals, and Pedal. The following is a list of its contents : Great, 11 Stops. 1 — Bordun . . . . » 1 G feet tone. 2 — Principal 8 feet. 3 — Gamba 8 feet. 4 — Portunal 8 feet. 6 — Doppel-fiote 8 feet. 6 — Octave 4 feet. 7 — Rohrflote 4 feet tone. 8 — Quinta 2| feet. 9 — Super-octave 2 feet 10 — Mixtur. .V ranks. 11 — Clai-inett 8 feet tone. Choir, 9 Stops. 12— Salicet 8 feet. 13 — Quintaton 8 feet tone. 14 — Flaut major 8 feet. 1 5 — Prmcipal 4 feet. 1 6 — Flaut traverse 4 feet. 17 — Nasat quint 2| feet. 18 — Super-octave 2 feet. 19— Mixtur, III ranks. 20 — Vox Humana, labiel . 8 feet. 39G APPENDIX. Pedal, 7 Stops 21— Violon 16 feet. 22 — Gamba 16 feet. 23 — Sub-bass IG feet tone. 24 — Octave 8 feet. 25 — Doppel-flote 8 feet tone. 2G — Octave 4 feet. 27 — Posaune 16 feet. 1 — Choir to Great. 2 — Great to Pedal. 3 — Wind-valve to Great. Accessory Stops, &c. 4 — Wind-valve to Choir. 5 — Wind-valve to Pedal. Compass of Manuals, CC to f ^ in alt. 99. BrESLAUv • ■ 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, 11 Stops. 1 — Principal— in front. . 2 — Salicet. . • 3 — Quintaton 4 — Flaut major 5 — Octave 6 — Gemshorn 8 feet. 8 feet. 8 feet tone. 8 feet. 4 feet. 4 feet. 7 — Flaut minor 4 feet. 8— Quint 21 feet. 9 — Super-octave 2 feet. 10— Mixtur. .IV ranks. 11 — Cymbel . II ranks. Pedal, 8 Stops. 12— Violon 16 feet. 13 — Sub-bass 16 feet tone. 14 — Octaven-bass 8 feet. 15 — Floten-bass 8 feet tone. 16— Quint 5i feet. 17 — Super-octave 4 feet. 18— Mixtur. .Ill ranks. 1 9 — Posaune 16 feet. 100. Breslau. The Organ in the Cemetery Church at Breslau has 12 Stops, as follows: Great, 6 Stops. 1 — Principal 8 feet. 2 — Salicet 8 feet. 3 — Quintaton 8 feet tone. 4 — Flaut-raajor 8 feet. 5 — Octave 4 feet. 6— Spitzflote 4 feet. 7 — Dulcian (Labial) ... 8 feet. 8 — Flaut amabile 8 feet. Choir, 3 Stops. 9 — Doppel-flote 4 feet. Pedal, 3 Stops. 10 — Sub-bass 16 feet tone. 11 — Quintaton 16 feet tone. 12 — Octaven-bass 8 feet. 1 — Great to Pedal. Compass of Manuals, CC to c-* in alt Couplers, &c. Compass of Pedal, CCC to tenor e. AN ACCOUNT OF FOREIGN ORGANS. 897 101. Breslau. The Organ in the Church of St. Mauritius, in Breslau, has 0 Stops, of wiiich the following is a list : Manual, 7 Stops. 1 — Principal 8 feet. 5 — Gemshorn 4 feet. 2 — Hohlflote e feet. 6— Quinte 2f feet. a — Gedact 8 feet tone. 7 — Super octave 2 feet. 4 — Octave 4 feet. Pedal, 2 Stops. 8— Sub-bass IG feet tone. | 9 — Octaven-bass 8 feet. 102. Breslatj. The Organ in the Church of St. Barbara, at Breslau, has 21 Sounding Stops, of which the following is a list : Great, 8 Stops. 1 — Quintaton 16 feet tone. 2 — Principal 8 feet. 8 — Salicet 8 feet. 4 — Flote 8 feet tone. 5 — Octave 4 feet. 6— Quint 2| feet. 7 — Super octave 2 feet. 8 — Mixture. .V ranks. Upper Manual, Choir, 7 Stops. 9_Salicet 8 feet. 10 — Flote 8 feet tone. 11 — Principal 4 feet. 12 — Doppel-flote 4 feet tone. 13— Quinte 21 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 5g- feet. 20 — Gemshorn 4 feet. 21— Fagott IG feet. 103. 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 — Doppelrohrflote .... 4 feet tone. 5 — Quint 2 1 feet. 6 — Super octave 2 feet. Upper Manual, 4 Stops. 7 — Salcional 8 feet. 8 — Gedact. .metal treble 8 feet tone. 9 — Rohrflote metal 4 feet tone. 10 — Waldflote . . . .metal 2 feet. Compass, &c. Manuals, CC to f ^ in alt. Pedals, CCC to tenor e. 3 Bellows, 8 feet by 4. 398 APPENDIX. Pedal, 11 — Violon , , . . . IG feet. 12 — ^Sub-bass 10 feet tone. 4 Stops. 18 — Violon 8 feet. 14 — Principal 4 feet. 104. Cracow. The Organ in the Evangelists Church at Cracow has 15 Stops, of which the following is a list : Great, 9 Stops. 16 feet tone. I G — Hohlflote . . . wood. 1 — Bordun. . . . wood. 2 — Principal .... .tin. . 8 feet. 3 — Gamba tin.. 8 feet. 4 — Flote wood. . 8 feet. 5 — Octave tin . . 4 feet. 7 — Quinte tin. 8 — Super octave. . . tin . 9— Mixtur. .Ill ranks. 4 feet. 2 1 feet. 2 feet. 2 feet. 10 — Salicet 8 feet 11 — Portunal 8 feet, Choir, 3 Stops. 12— Portunal 4 feet. 13— Violon IG feet. 14 — Sub-bass 16 feet tone. Pedal, 3 Stops. 15 — Violon 8 feet. 105. Warsaw. The Organ in the Lutheran Church at Warsaw has 27 Sounding Stops. It was built in 1827-9, by Robert Muller, jun. of Breslau ; and has G Bellows, 10 feet long by 5 in breadth. The following is an enumeration of the Stops : Great, 10 Stops. 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. 6 — Octave tin 4 feet. 7 — Doppel-rohrflote,wood 4 feet tone. 8 — Quint tin 2f feet. 9 — Octave tin 2 feet. 10 — Mixtur, tin. .VI ranks. Choir, 8 Stops. 11 — Salicet tin 12 — Flauto wood 13 — Flaut traverse, .wood 1 4 — Q uintaton tin 8 feet. 8 feet. 8 feet. 8 feet tone. 15 — Principal ...... .tin 4 feet. 16 — Salicet. tin 4 feet 17 — Violini tin 2 feet. 1 8 — Clarinett 8 feet tone. 19 — Major wood 32 feet tone 20 — Violon wood 16 feet. 21 — Gamba wood IG feet. 22 — Sub-bass wood 16 feet tone 23 — Octaven-bass . . .wood 8 feet. Pedal, 9 Stops. 24 — Quint wood 5i feet. 25 — Octave tin 4 feet. 26 — Posaune wood 16 feet. 27 — Trompete wood 8 feet. AN ACCOUNT OF FOREIGN ORGANS. 999 106. Vienna. The Organ in the Cathedral Church of St. Stephen at Vienna is a very old one. It has ■II Stops, distributed among 2 Manuals and Pedal in the following manner : Great, 1 8 Stops. 1 — Major Flute 1(5 feet. 2 — Quintadon 10 feet tone. 3 — Principal 8 feet. 4 — Bourdun 8 feet tone. 6 — Gamba 8 feet. G — Salicional 8 feet. 7 — Octave 4 feet. 8 — SpitzHute 4 feet. 9 — Gamba 4 feet. 10 — Fugara 4 feet. 11 — Nachthorn 4 feet. 12— Quint 2f feet. 13 — Super octave 2 feet. 14— Mixtur . . .VIII ranks. 15 — Sesquialtera IV ranks. 16— Cimbcl. . . .VIII ranks. 17 — Schai'f IV ranks. 18 — •Trompete 8 feet. Choir, 10 Stops. 19 — Coppel 8 feet. 20 — Rohrflote 8 feet tone. 21 — FloteAmabile 8 feet. 22 — Quintaton 8 feet tone. 23 — Principal * • 4 feet. 24— Flote 4 feet. 25 — Dulciana 4 feet. 26— Nazard 2| feet. 27 — Octave 2 feet. 28— Mixtur. .V ranks. Pedal, 13 Stops. 29 — Principal metal 16 feet. 30 — Sub-bass wood 16 feet. 31 — Bourdon 16 feet tone. 32 — Principal metal 8 feet. 33 — Octave wood 8 feet. 34 — Violoncello 8 feet. 85 — Quinte Sg- feet. Accessory Stops, &c. 1 — Choir to Great. 2 — Great to Pedal. 3 — Tremulant. 4, 5, G, Three Wind-trunk Valves. 36— Octave 4 feet. 37 — Mixtur. .VI ranks. 38 — Cornet . .IV ranks. 39 — Bombarde 16 feet. 40 — Posaune..... 16 feet. 41 — Trompete 8 feet. Compass. Manuals, CC to d^ in alt. Pedal, CCC to tenor c. 107. 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 name of which are as follow : Great, 16 Stops. 1 — Bourdon 16 feet tone. 2 — Principal 8 feet. 3 — Piffaro ... 8 feet. 4 — Quintadon 8 feet tone. 5 — Salicional 8 feet. 6 — Octave 4 feet. 7 — Fugara 4 feet. 8 — Spitzflote 4 feet. 9 — Nachthorn 4 feet. 10— Feldflote. 11 — Quint. . . 12 — Tierce If 13— Mixtur II ranks. 14 — Sesquialtera. .Ill ranks. 15 — Cymbel V ranks. 16 — Super octave 1 feet, feet, foot. foot. 400 APPENDIX. Choir, 10 Stops. 17— Coppel 8 feet. 18 — Flote major 8 feet. 19 — Principal 4 feet. 20— Octave 4 feet. 21— Coppel 4 feet. 22 — Flaut minor 4 feet. 23 — Quinte 2| feet. 24 — Octave 2 feet. 25 — Super octave 1 foot. 2G— Mixtur, .II ranks. Echo, 4 Stops. 27— Copel 8 feet. 28 — Principal 4 feet 29— Flote 4 feet. 30— Octave 2 feet. Pedal, 10 Stops. 31 — Principal metal 16 feet. 32 — Sub-bass wood 16 feet. 33 — Bourdon wood 16 feet tone. 34 — Octave metal 8 feet. 35 — Octave wood 8 feet. Accessory Stops. 1 — Choir to Great. 2 — -Echo to Great. 36 — Coppel 8 feet. 37 — Octave 4 feet. 38 — Cornet. .Ill ranks. 39 — Posaune 16 feet. 40 — Trompete 8 feet. Compass. Manuals CC to c^ in alt, short octaves. Pedal, CCC, short, to A. 108. 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. 1 — Principal 8 feet. 2 — Gamba 8 feet. 3— Flote 8 feet. 4 — Octave 4 feet. 6 — Fugara 4 feet. 6— Quint 2f feet. 7 — Super octave 2 feet. 8 — Mixtur. .IV ranks. Hautbois discant. Fagotto bass .... 9 8 feet. 10— Coppel 8 feet. 11 — Principal 4 feet. 12 — Dulciana 4 feet. Choir, 6 Stops. 13 — Octave 2 feet. Super octave 14 — Super octave 1 foot. 15 — ^Vox Humana 8 feet tone. Pedal, 8 Stops. 16 — Bordon. .open ..... 16 feet. 17 — Sub-bass 16 feet tone, 18 — Principal 8 feet. 19— Violoncello 8 feet. Accessory Stops, &c. 1 — Choir to Great. 2 — Tremulant Choir. 20 — Octave 8 feet. 21— Octave 4 feet. 22— Posaune 16 feet. 23 — Trompete 8 feet Compass. Manuals, CC to d^ in alt. Pedal, CCC to A. 4 AN ACCOUNT OP FOREIGN ORGANS. 401 109. Vienna. The Organ in the Church of tlie Minorites at Vienna, which is a very old one, has hitely been renovated hy Deiitsclunann, ot" that city. It has 2 Manuals and Pedal, and 24 Stops, of which the following is a list: Great, 10 Stops. 6 — Nachthorn 4 feet. 1 — Principal 8 feet. 2 — Quintadon 8 feet tone. 3— Waldtlote 8 feet. 4 — Octave 4 feet. 5 — Ilohrflote 4 feet tone. 7— Quint 2f feet. 8 — Su]ier octave 2 feet. 0 — 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. 19 — Coppel IG feet. 20 — Violone IG feet. 21 — Principal 8 feet. Accessory Stops. 1 — ^ Choir to Great. 2 — Great to Pedal. 15— Flote 4 feet. 16 — Octave 2 feet. 17 — Quint li foot. 18 — Super octave 1 foot. Pedal, G Stops. 22 — Octave 8 feet. 23— Quint, 6^ feet. 24 — Cornet. .Ill ranks. Compass. Manuals, CC short to f ^ in alt. Pedal, CCC short to A. 110. Vienna. The Organ in St. Peter's Church is a very old instrument. It has 30 Stops, 3 Manuals, and Pedal of G Stops. There are no Reeds in the Organ, and the Mixtures are harsh; but the IG, 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 — Sahcional 8 feet. 6 — Quintadon. 8 feet tone. 6— Octave 4 feet. 7 — Gemshorn 4 feet. 8 — Nachthorn 4 feet. 9 — Fugara 4 feet. 10— Quint 2| feet. 11 — Octave 2 feet. 12— Mixtur, .VI ranks. Echo, 8 Stops. 13— Coppel 8 feet. 14 — Principal 4 feet. 15_Flote 4 feet. 16_0ctave 2 feet. 17— Flagiolet 2 feet. 18— Quint li foot. 19 — Octave 1 foot. 20— Mixtur. .IV ranks. Choir, 4 Stops. 21— Coppel 8 feet. 22 — Principal 4 feet. 23— Flote 4 feet. 24 — Octave 2 feet. D D 402 APPENDIX. Pedal, 6 Stops. 25— Coppel IG feet. 20 — Sub-bass 16 feet tone. 27 — Principal 8 feet. 28 — Octave 29 — Octave 30 — Cornet. .IV ranks. 8 feet. 4 feet. Compass. Compass of Manuals CC short, to c ^ in alt. | Compass of Pedal, CCC short to A. 111. Freiburg IN Switzerland. In the Cathedral Church of St. Nicholas, at Freiburg, in Switzerland, is a par- ticularly 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. 1— Montre 16 feet. 2 — Bourdon 16 feet tone. 8 — Octave 8 feet. 4 — Principal 8 feet. 5 — Bourdon 8 feet tone. 6 — Gamba 8 feet. 7 — Prestant 4 feet. 8 — Dulciana 4 feet. 9— Doublette 2 feet. 10 — Fourniture . .VI and VII ranks 11 — Cymbale. .Ill ranks 12— Scharf . . VIII ranks 13— PetitCornetlll ranks. 14 — Grand Cornet, a Reed 16 feet. 15 — Trombone 8 feet. 16— Clairon 4 feet. 2 feet. 2 feet. 2 feet. Choir, 14 Stops. 17 — Quintadena 16 feet tone. 18 — Principal 8 feet. 19 — Principal 8 feet. 20— Gamba 8 feet. 21— Flute douce 8 feet. 22— Octave 4 feet. 23— Flute 4 feet. 24 — Flute a chiminee. ... 4 feet tone. 25— Nazard 2 f feet. 26— Doublette 2 feet. 27— Flageolet 1 foot. 28 — Fourniture . .IV and V ranks 2 feet. 29 — Comet .... V ranks 8 feet. 30— Trompete 8 feet. Positif, 12 Stops. 81— Montre 8 feet. 32 — Bourdon 8 feet tone. 33— Viola 8 feet. 34 — Salicional 8 feet. 35 — Prestant. 4 feet. 36— Calcan 4 feet. 37 — Flute bouchee 4 feet. 38 — Dulciana 4 feet. 39— Quint Flute 2|- feet. 40— Flageolet 2 feet. 41 — Cornet. .V ranks. 42 — Cromorne 8 feet tone. Great Pedal, 6 Stops. 43 — Bass- Bourdon , 44 — Sons-bass. . . . 46 — Octave 32 feet tone. 16 feet. 8 feet. 46 — Prestant 4 feet. 47 — Bombarde 16 feet. 48 — Trombone 8 feet. AN ACCOUNT OF FOREIGN ORGANS. 403 Choir IVdul, Stops. 49 — Montro !(> feet. 50 — I'lineipiil 8 feet. 51 — Flute 8 feet. 62— Prestaiit 4 feet. 53 — Trompete 8 feet. 1 — Choir to Great. 2 — Great to Pedal. Accessory Stops, &c. 3 — Tremulant Great. 4 — Tremulant Echo. Compass. Manuals, CC to f 3 in alt. Pedals, CCC to tenor c. This Organ had neither Composition Pedals nor Swell in 185 J ; but both were going to be added, and also a Seraphine appendage. 112. Gersau. The Organ in the Cathedral Church at Gersau, in Switzerland, was made by Moser, the builder of the famous instrument at Freibourg ; and though but a small one in comparison with many in Germany, yet it shows that, even in instruments of inferior size, the foreign builders still preserve inviolate the same magnificent features which characterize their larger ones ; namely, a full and powerful Pedale ; a good foundation of Unisons and Doubles upon the Manuals ; and a brilliant superstructure of Mixtures and Chorus Stops amply sufficient to correspond thereto. The full Organ is therefore, as may be supposed, exceedingly fine. This Organ has SO Sounding Stops, of which the following is a list : Great, 14 Stops. 1 — Principal 16 feet. 2 — Principal 8 feet. 3 — Copel 8 feet. 4 — Gamba-douce 8 feet. 5 — Octave 4 feet. 6 — Dulciana 4 feet. 7_Wald-flote 4 feet. 8— Quint 2 1 feet. 9 — Octave 2 feet. 10 — Mixtur, .IV ranks. . 1^ foot. 11 — Cornet. .Ill ranks. 12— Fagot 16 feet. 13 — -Trompete 8 feet. 14 — Fagot 4 feet. Choir, 8 Stops. 1 5 — Gamba 8 feet. 16 — Rohrflote 8 feet tone. 17— Copel.. 8 feet. 18 — Flaut , 4 feet. 19— Quint 2 1 feet. 20 — Octave 2 feet. 21 — Flageolet 2 feet. 22— Mixtur. - Ill ranks. Pedal, 8 Stops. 28 — Sub-bass 32 feet tone. 24 — Octave-bass 16 feet. 25 — Principal 8 feet. 20— Quint 5i feet. 27— Octave 4 feet. 28— Mixtur. .IV ranks. . 2 1 feet. 29 — Bombarde 16 feet. 80 — Trompete 8 feet. Coupler, Choir to Great. Compass. Manuals, CC to f ^ in alt. | Pedal, CCC to tenor c. D d2 404 APPENDIX. 113. SOLEURE. The Organ in the Cathedral at Soleure, in Switzerland, was made by Bossart de Zug in I7y0, and is remarkable for being without " Double" Stops on the Manuals. It has 3 Manuals and Pedal, and 39 Sounding Stops, of which the following is a list : Great, IG Stops. 1 — Principal 8 feet. 2 — Bom-dun 8 feet tone. 3 — Gamba 8 feet. 4 — Copel 8 feet. 5— Flauta 8 feet. 6 — Octava 4 feet. 7 — Flauttons 4 feet. 8 — Quinta 2| feet. 9 — Super octave 2 feet. 10— Tertia If foot. 11 — Larigot 1^ foot. 12 — Flageolet 1 foot. 1 3 — Sesquialtera. 14— Mixture. 15 — Fourniture. 1(5— Tromba 8 feet. Choir, 8 Stops. 17 — Principal 8 feet. 18 — Copel 8 feet. 19 — Octava 4 feet. 20— Qumta 22 feet. 21 — Super octava. 22 — Mixtur. 23— Cornet. 24 — Vox Humana. 25 — Principal 8 feet. 26 — Copel 8 feet. 27 — Flaut 4 feet. 28 — Nassat 2| feet. Echo, 7 Stops. 29— Mixtur. 30 — Cornet. 31— Fagott, . Pedal, 8 Stops. 32— Sub-bass 16 feet. 33 — Bordon 16 feet tone. 34 — Principal 8 feet. 35 — Quinta 6i feet. Accessory Stops, &c. 1 — Coupler Choir to Great. 2 — Tremulant to Choir. 2 feet. 8 feet tone. 8 feet. 4 feet. 36 — Octava 37 — I\Iixtur. .111 ranks. 3 8 — Bombarde 16 feet. 89— Tromba 8 feet. Compass. Manuals, CC to d^ in alt. Pedal, CCC to gamut A. 114. 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 master-piece of John Geissler, native of Salzbourg. It was commenced and finished in the space of 17 years. The first use made of it dates AN ACCOUNT OF FOUEIGN OUUANS. 405 from 1051, wIkmi the son of tliis famous artist, elected Chaplain of this College, was celebrating his first Mass. The whole work consists of Manuals; of a I'cdal with 2 octaves ; and 282(5 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 1308 French pints of any lii|uor. The Mixtures of this admi- rable 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 4 Organists belonging to foreign princes, and cost about 12,000 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. 1 — Nachthom 16 feet. 2 — Prestant 8 feet. 3— HohWote 8 feet. 4 — Salicional 8 feet. 5 — Genishorn 4 feet. C — Quint-tiote. ....... 2| feet tone. 7 — Nazard 2 1 feet tone. 8— Spitzflote 2 feet. 9 — Quintadena 2 feet tone. 10 — Sesquialtera . V ranks 2| feet. 11 — Trompet 8 feet. 12 — Vox Humana 8 feet. Choir, 11 Stops. 1 — Principal 8 feet. 2— Hohlflote 8 feet. 3— Quint 5i feet. 4 — Octave . 4 feet. 6 — Quint-flote 2f feet tone. C — Terz-flote 1 1 feet tone. 7 — Mixtur. .Ill ranks. 8 — Cimbel..III ranks. 9 — Cornet . . V ranks. 10 — Schahnei 8 feet tone. 1 1 — Hornlein, a small reed 8 feet. 1 2- 3- , . 8 feet. 4- Viola 6- . . 5^ feet. 6- . . 4 feet. Pedal, 1- —Sub-bass . . metal . . . 32 feet. 2- —Bass metal . . . 16 feet. 3- —Principal, .metai . . . 16 feet. 4- — Holz-bass . wood . . . 16 feet. 6- —Bourdon . . wood . . . 16 feet tone. 0- —Octave .... .... . . 8 feet. 7- Echo, 12 Stops. 7 — Gross -terz 3} feet. 8 — Duodecima 2| feet. 9 — Quintadena 2 feet tone. 10— Klein-Terz If foot. 1 1 — Sesquialtera, IV ranks 21 feet. 12 — Mixtur . . .Ill ranks. 8 — Super octave 4 feet. 9 — Mixtur. .V ranks. 10 — Bombarde 16 feet. 11 — Posaune 8 feet. 12 — Fortune 4 feet. 13 — Horn 2 feet. Accessory Stops, &c. 1 — Echo to Great. 2— Clioir to Great. -Great to Pedal. -Echo to Choir. Compass. Manuals, CC to e^ in alt. short octaves. I Pedal, CCC to tenor c, short octaves. 40(5 APPENDIX. 114a. WiNTERTHUR. The Organ in the jirincipal 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 iJ Stops. Among the latter is a very fine 32-feet Sub-Bass, of wood. The following is a list of the Stops in the above-mentioned Organ : Great, 14 Stops. 1 — Principal IG feet. 2 — Bourdon IG feet tone. 3— Octav 8 feet. 4— — Bourdon 8 feet tone. 6 — Viol de Gamba .... 8 feet. 6 — Flote, dopp. lab 8 feet. 7 — Quint Flote 5^ feet tone. 8— Octav 4 feet. 9 — Fugara 4 feet. 10— Quinte 2f feet. 11— Wald Flote 2 feet. 12 — Mixture ... .V ranks. 13 — Cornet .... V ranks. 14 — Trompete 8 feet. Choir, 11 Stops. 1 6 — Bourdon 1 G feet tone. 16 — Principal 8 feet. 17 — Viol de Gamba .... 8 feet. 18 — Bourdon 8 feet tone. 19 — Dolce 8 feet. 20 — Gemshorn 4 feet. 21 — Rohrflote 4 feet tone. 22 — Flauto Traverso 4 feet. 23— Octave 2 feet. 24 — Mixture. .IV ranks. „ , ^ Clarinet Treble . 2 o < ^ ^ I Bassoon Bass Swell, 10 Stops. 26 — Principal 8 feet. 27 — Lieblich Gedact .... 8 feet tone. 28 — Harmonica 8 feet. 29 — Salicional 8 feet. 30 — Liebhch Flote 8 feet tone. 31— Spitz Flote 4 feet. 8 feet. 4 feet. 82 — Flauto d'amore . . 33 — Flautino 2 feet. 34 — Physarmonica . . free reeds 8 feet. 35 — Vox Humana 8 feet tone. Pedal, 9 Stops. 36 — Sub-Bass . 87 — Octav Bass 38— Sub-Bass . 39 — Octav Bass 40— Flote Bass .wood • w'ood. ■ .wood. . • metal, .wood. . 32 feet. IG feet. 1 G feet tone. 8 feet. 8 feet tone. 41 — ^Violoncello 8 feet. 42— Octav 4 feet. 43 — Posaune 16 feet. 44 — Trompete 8 feet. Accessory Stops, Movements, &c. 1 — Coupler, Choir to Great. 2 — Ditto . . Swell to Choir. 3 — Ditto . . Great to Pedal. 4— Ditto . . Choir to Pedal. 6, 6, 7 — Three Wind-trunk Valves. 8 — Tremulant to Swell. 9, 10 — Two Composition Pedals. Compass. Manuals, CC to P in alt, 54 notes. I Pedal, CCC to tenor c, 25 notes. 115. Constance. The Organ in the Cathedral of Constance, in Switzerland, was originally built in the year 1 .5 1 8, 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- AN ACCOUNT OF FOIIEION OliaANS. 407 work. The Organ has 2 Manuals and I'echil, and 27 Sounding-stops, of which the following is a list : Great, 11 1 — Bourdon 10 feet tone. 2 — Principal 8 feet. 3 — Viola di Gamba 8 feet. 4 — Gedact 8 feet tone. 5— Octave 4 feet. G — Flote Gedact 4 feet tone. Stops. 7— Quinte 2f feet. 8 — Super-octave 2 feet. 9— Mixtur . ,VI ranks. . 2 feet. 1 0— Cymbal . . IV ranks . . 1 foot. 1 1 — Dulcian 8 feet. Choir, 8 Stops. 12— Principal 8 feet. 13 — Gemshorn 8 feet. 1 4 — Bourdon 8 feet tone. 15 — Salicional 8 feet. 1 G— Octave 4 feet. 1 7 — Rohrflote 4 feet tone. 18— Quinte 2| feet. 19— Mixtur. .Ill ranks . 2 feet. Pedal, 8 Stops. 20 — Principal -bass IG feet. 21 — Nassat-major 12 feet tone. 22 — Octave-bass 8 feet. 23 — Prestant-bass ...... 4 feet. Accessory Stops. 1 — Choir to Great. 2— Great to Pedal. 24 — Rausch-quint . II ranks. 2| feet. 25 — Mixtur IV ranks. 2 feet. 2G— Posaune 16 feet. 27— Trompet 8 feet. Compass. Manuals, CC to f ' in alt. Pedal, CCC to Gamut G. 11.5 a. Stutgard. The Organ in the Stiftskirche, at Stutgard, was built in the year 1737, by Mar- tin, of Hayengen, partner of the celebrated Organ-builder, Gabler, for the Benedictine Abbey of Zwiefalten. It has been repaired and enlarged by Walker, of Ludwigs- burg, and is a particularly fine instrument. It has 4 Manuals and 2 Pedals, and contains 08 Sounding-stops, of which the following is a list : Great Organ, 16 Stops. 1 — Bourdon 82 feet tone. 2 — Principal 10 feet. 3 — Bourdon 10 feet tone. 4 — Octav 8 feet. 5 — Gamba 8 feet. 6— Viola 8 feet. 7 — Piffara. .II ranks. .8 & 4 feet. 8— Quint 5^ feet. 9— Octav 4 feet. 10 — Dolce 4 feet. 11 — Fugara 4 feet. 12— Octav 2 feet. 13 — Mixtur. .IV ranks. 1 4 — Cornet . . V ranks. 15— Tuba 16 feet. 10 — Trompete 8 feet. Second Manual, 13 Stops. 1 7 — Bourdon 16 feet tone. 18 — Principal 8 feet. 19 — Gedackt 8 feet tone. 20 — Viola 8 feet. 21 — Salicional 8 feet. 22— Piffara 8 feet. 23— Octav 4 feet. 24— Flote 4 feet. 25 — Rohrflote 4 feet tone. 26— Nazard 2f feet. 27— Octav 2 feet. 28 — Mixtur. .II ranks. 29 — Clarinet 8 feet tone. 408 APPENDIX. Choir, or 3rd Organ, 11 Stops. 30 — Salicional 16 feet. 31— Priiiciiial 8 feet. 32— Gedackt 8 feet tone. 33— Viola 8 feet. 84 — Harmonica 8 feet. 36— Flote 8 feet. 36— Octav 37 — Travers Flote 38 — Flageolet 39 — Mixtur. .II ranks. 40 — Physharmonica . . . 4 feet. 4 feet. 2 feet. 8 feet. Echo Organ, 8 Stops. 41 — Principal 8 feet. 42 — Gedackt 8 feet tone. 43— Viola 8 feet. 44— Dolce 8 feet. 45 — Octav 4 feet. 46— Flote 4 feet. 47 — Salicional 4 feet 48 — Super-octav 2 feet. First Pedal, 14 Stops. 49 — Sub-bass . . .wood . . 32 feet. 50 — Principal . . .metal. . 16 feet. 51 — Octav wood . . 16 feet. 52 — Violone. . II ranks. . 16 & 8 feet. 53— Quint 10| feet. 54 — Octav 8 feet. 55 — Quintadon 8 feet tone. 56— Quint 5^ feet. 57 — Octav 4 feet. 58 — Posaune 32 feet. 59 — Posaune 16 feet. 60 — Trompete 8 feet. 61— Clarion 4 feet. 62— Clarion 2 feet. Second Pedal, 7 Stops. 63 — Bourdon 16 feet tone. 64 — ^Violoncello 8 feet. 65 — Bourdon 8 feet tone. 66— Flote 4 feet. 67— Flautino 2 feet. 68— Serpent 16 feet. 69— Basset Horn 8 feet. Accessory Stops. 1— First Pedal to Second Pedal. 2 — First and Second Manual. 3 — First Manual to First Pedal. 4 — Second Manual to Second Pedal. 5 — Second and Third ]\Ianual. 6 — Third and Fourth Manual. Compass. Four Manuals, CC to d^ in alt. Two Pedals, CCC to Tenor d. 116. Weingarten. The Benedictine Monastery at Weingarten, in Upper Suabia, possesses an Organ of great magnitude and power. It was built by Gabelaar, of Ravensbourg, and was finished on the 24th of June, 1750. It has 4 Manuals and 2 Pedals; 04 Stops, among which are 2 of 32 feet, and 8 of 16 feet ; 6066 Pipes ; and an unprecedented num- ber of ranks in the Mixture- work. It is said that Gabelaar "s Organ gave so much satisfaction, that the monks, who were very rich, presented him with 6606 florins above his charge, being an additional florin for each Pipe. There are accounts of this fine Organ in Dom Bedos' Fadeur cVOrgues, accom- panied by an elaborate engraving of it ; in Knecht's Orgehchule, and in Martini's School for the Organ, all of which differ from one another ; and as it is uncertain AN ACCOUNT OF POREIGN ORGANS. 409 whifli account, if eitlier, correctly describes'the Organ in its present slate, tlie original list of Stops is iiere subjoined, as being in such case the most interesting : Great, 12 Stops. 1 — Principal . 2— Octave . . 3— Rohrtiote , 4— Piffliro . . 5 — Octave . . 6— Doublette. IR feet. 8 feet. 8 feet tone. 8 feet. 4 feet. 2 feet. 7— Hohlflote 2 feet. 8— Sesiiuialtera.VIIIrks. 2| feet. 9 — Fourniture . . XX rks. 2 feet. 10— Cymbale. . . VIII rks. 1 foot. 11 — Trompete 8 feet. 12— Carillon. 13 — Bourdon . . . 14— Montre. . . . 1 5 — Salicional . . 10 — Violoncello. . 1 7 — Bourdon . . . . 1 8 — Flute creuse . Choir, 12 Stops. 16 feet tone. 8 feet. 8 feet. 8 feet. 8 feet tone. 8 feet. 19 — Unda-maris 20— Prestant 21— Viola 22— Nasard 23 — Fourniture . XXI rks. 24 — Cymbale .... II rks. 25 — Principal, in front. 26— Violoncello 27 — Quintaton 28 — Flute douce .... 29— Piftaro 30 — Flute Traversiere . Positif, 12 Stops. 8 feet. 8 feet. 8 feet tone. 8 feet. 4 feet. 4 feet. 31 — Flute a chiminee . . , 32— Quer Flute 38— Flageolet , 34 — Cornet, . XII ranks 35 — Hautbois , 36 — Voix Humaine - . . . 8 feet tone. 4 feet. 4 feet. 2 feet. 2 1 feet. 2 feet. 4 feet tone. 4 feet. 2 feet. 2 feet. 8 feet. 8 feet tone. Echo, 12 Stops. 37 — Bourdon. . , 38 — Montre. . . 89 — Violoncello 40 — Quintaton . 41— Flute 42 — Octave — 49 — Contre bass, in front . 60 — Sous bass 51 — Octave bass 62 — ^Violon bass 53 — Bombarde bass . . . . 64 — Fourniture . V ranks 1 G feet tone. 8 feet. 8 feet. 8 feet tone. 8 feet. 4 feet. First Pedal 32 feet. 32 feet tone, 16 feet. 16 feet. 16 feet. 8 feet. 43— Piffaro 4 feet. 44— Hohl-flute 4 feet. 45 — Superoctave 2 feet. 46 — Fourniture . XII rks. 2 feet. 47— Cornet .... IV rks. 1 foot. 48 — Hautbois 8 feet. , 9 Stops. 55 — Scharf 4 feet. 56 — Carillon en cloches . . 4 feet. 67 — Bombarde 16 feet. Timpano. Concon. Cymbales. Second Pedal, 9 Stops. 58 — Quintaton 59 — Superoctave, in front 60 — Violoncello 61 — Flute douce 62 — Flute creuse 63— Cornet . . V ranks . . 1 6 feet tone. 8 feet. 8 feet. 8 feet. 4 feet. 4 feet. 64 — Sesquialtera . . II and III ranks ...... 2| feet. 65 — Tronipet 8 feet. 66 — Fagot 8 feet. Rossignol. Tremblant. 117. Munich. The Organ in the Odeon Concert-Room at Munich is a little gem. It was built in 1861, by Walker, of Ludwigsburg, and contains 20 Stops, distributed among 2 410 APPENDIX. 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. 1 — Bourdon . . . .wood. . 2— Principal . . . .metal . 3 — Gamba wood. . 4 — Rohrflote. . . .metal . 6 — Gedact wood. . 1 G feet tone. 8 feet. 8 feet. 8 feet tone. 8 feet tone. G — Octave metal 7 — Flote wood. 8 — Octave metal 9 — Cornet. .VII ranks 10 — Trompete , Echo, 6 Stops. 11 — Salicional . . .metal. . 12— Flote wood . . 13 — Gedact . . . .wood . . 8 feet. 8 feet. 8 feet tone. 14 — Spitzflote . . .metal. 1.5 — Dolce metal. IG — Phys-armonica ... 4 feet. 4 feet. 2 feet. IG feet tone. 8 feet. 4 feet. 4 feet. 8 feet. Pedal, 4 Stops. 17 — Subbass . wood, open . IG feet. 1 8 — Viol de Gamba . metal . 1 6 feet. Accessory Stops. 1 — Echo to Great. 2— Great to Pedal. 1 9 — Violoncello . . . metal . 8 feet. 20— Fagotto 16 feet. Compass. Manuals, CC to f ' in alt. Pedal, CCC to tenor d. 118. 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 follow- ing manner : Great, 10 Stops. 1 — Principal 8 feet. 2 — Bourdon 8 feet tone. 3 — Gamba 8 feet. 4— Copel 8 feet. 5 — Octave 4 feet. G— Flote 4 feet. 7— Quint 2f feet. 8 — Super-octave 2 feet. 9 — Mixtur, major . Ill ranks. 10 — Mixtur, minor. .II ranks. Choir, 8 Stops. 11 — Copel 8 feet. 12 — Salicional 8 feet. 13 — Allemande 8 feet. 14 — Principal 4 feet. 15 — Octave 4 feet. IG— Flote 4 feet. 17 — Spitzflote 4 feet. 18 — Super-octave 2 feet. Pedal, 8 Stops. 19 — Grossbass 16 feet. 20 — Violone IG feet. 21 — Principal 8 feet. 22— Violoncello 8 feet. Accessory Stops. 1 — Choir to Great. 2 — Great to Pedal. 23— Quint 6 J feet. 24— Octave 4 feet. 25 — Super-octave 2 feet. 26— Mixtur. .V ranks. Compass. Manuals, CC to c' in alt. Pedal, CCC to A. AN ACCOUNT OP I^'OIIKION ORQANS. 411 119. BOTZEN. The Organ in the Parish Church at Botzen, Tyrol, was built by IIcss, and repaired by Carlo Mauracher. It has 2 Manuals and I'edal, and 30 Stops, of which the following is a list : Great, 12 Stops. 1— Coiipel 10 feet. 2— Ganiba 8 feet. 3 — Fiaut amabile .... 8 feet. 4 — Flauto stoppo 8 feet tone. 5 — Quintadena 8 feet tone. 6 — Octave 4 feet. 2f feet. 2 ieet. 7 — Flauto duodecimo 8 — Super- octave .... 9— Mixtur. 10— Cornet. 11 — Trombe 8 feet. 12 — Vox Humana 8 feet tone. Choir, 10 Stops. 13 — Copel 8 feet. 14— Viola 8 feet. 15 — Salicional 8 feet. 16 — Principal 4 feet. 17 — Flauto 4 feet. 18 — Sesquialtera . II rks. 2f feet. 1 0— Flageolet 2 feet. 20— Tibea Silvest 2 feet. 21 — Cymbal If foot. 22— Dulcian 8 feet. Pedal, 23 — Principal-bass 16 feet. 24 — Violon-bass 16 feet. 25 — Sub-bass 16 feet tone. 26 — Principal 8 feet. 8 Stops. 27 — Octave-bass , 28 — Mixtur-bass . 29 — Posaune . . . , 30 — Clairon 8 feet. 4 feet. 8 feet. 4 feet. Manuals, CC to f^ in alt. Compass. Pedal, CCC to FF. 120. St. Peter's, at Rome. So little is generally knowTi in England concerning the Organs of Italy, that it is presumed the following accounts of some of the large Cathedral and celebrated 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 in ques- tion, that the compass most usually adopted by the ItaUan Organ-builders for the Manuals of their instruments is that descending to the CCC or 16-feet key. Occa- sionally this range is met with " complete," as in the Organ at St. Alessandro, at Milan, No. 124; and therefore corresponding almost exactly with the downward compass of the Great Organ Manuals at St. Paul's Cathedral; Westminster Abbey; Christ's Hospital; St. Mary, Redcliffe; &c. The Stops of a Manual of such range are just double the size of the usually quoted lengths ; that is to say, the Principale (Open Diapason) is 1 6 feet actual measurement, and not 8 ; the Ottava (Principal) is 8 feet, and not 4; and so on (see Nos. 124, 127, 128, &c.) ; 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 412 APPENDIX. such an arrangement of the remaining keys, that the Dominant and Tonic notes of F, G, and A, he side by side, as shown in the following scheme : FFF« GG8 BBb ccc FFP DDD GG EEE AA BB CC Sometimes the Italian Manuals descend to FFF, as in the two large Organs at ]\Iilan 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 cor- responding Stops of CC Organs ; thus the Manual and Pedal Diapasons are not simply 8 and IC feet in length, but 12 and 24 feet respectively; see No. 122. In a few instances, CC Manuals are met with ; as in two of the Geneva Organs, Nos. 136 and 137; 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. See Nos. 120, 121, 122, 127, &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. See Nos. 122, 128, 138, &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 2Gth, 29th, and even the 33rd and 3Gth, disposed in a similar manner. See No. 123, &c. 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. In the Church of St. Peter, at Rome, there are four Organs ; all of which, how- ever, are small for so spacious an edifice. The largest one of the number was originally built about 1 60 years since, but has recently been reconstructed and en- larged 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. 1 — Principale doppio, Soprano e Basso.. . Double Diapason, Treble and Bass. 5 Principale Imo Soprano First Open Diapason, Treble. "^l Principale Imo Basso First Open Diapason, Bass. 5 Principale 2ndo Soprano Second Open Diapason, Treble. ^ \ Principale 2ndo Basso Second Open Diapason, Bass. AN ACCOUNT OK FOREKiN ORGANS. 413 4 — Principale 3zo, Soprano 5 — Fliuito TravcfRo, Soprano e Bass. . <> — Fhuito Todosca, Soprano Y I Ottava Soprano I Ottava Basso 8 — Duodocinia 0 — Dccima-ipiinta 10 — ^Ottavini, Basso e Soprano 11 — -Decinia-nona 12 — Vigesima scconda 13 — Vigesima-nona 14 — Ripieno di quattro 15 — Cornetto Soprano, di cinque J g 5 Tromba Soprano ( Trombone Basso Y>j S Corno Ino-lese, Soprano I Fagotto, Basso Principale, Soprano ( Principale, Basso . . 19 — Ottava 20 — Decima-quinta . . . 21 — Ripieur di cinque . 22 — Oboe, Soprano, . . . 2g 3 Tromba, Soprano . I Corno, Basso 24 — Contra-Basso, di 16 26 — Principale, di 10. .. 26 — Principale, di 8 27 — Reinforza a lingue. . Accessory Stops, 1 — Coupler, Swell to Great. 2 — Coupler, Great to Pedal. 3 — Coupler, Swell to Pedal. 4, 5 — Octave and Sub-octave on Great Manual. Third Open Diapason, Treble. (iermun Flute, Treble and Bass. A kind ol' Clarabella. Octave or Principal Treble. Octave or Principal Bass. Twclitii. Fifteenth. Piccolo, Bass and Treble. Nineteenth or Larigot. Twenty-second or Octave Fifteenth. Twenty-ninth or Super-octave Fifteenth. Chorus or Mixture, IV ranks. Cornet, Treble, V ranks. Trumj)et, Treble. Trombone, Bass. Endish Horn, Treble. Bassoon, Bass. 16 feet. 10 feet. 8 feet. 1 6 feet tone. Movements, &c. 6, 7, 8 — Three Composition Pedals. 9 — Drum Pedal. Swell, 6 Stops. .... Open Diapason, Treble. , , . . . Open Diapason, Bass. , . . . . Octave or Principal. Fifteenth. .... Mixture, V ranks. .... Hautboy, Treble. ..... Trumpet, Treble. .... Horn, Bass. Pedal, 4 Stops. .. Open Diapason, wood . . . . .... Diapason .... Principal . .... Free Reed, without tubes . Compass. Manual, CCC, short, to in alt. | Pedal, CCC, short, to Tenor e. 121. 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 1 INIanual and Pedal, and 21 Stops, of which the following is a list : Manual, 17 Stops. 1 — Contra- Bassi, Soprano e Basso. ^ f Principale, Imo Soprano. " I Principale, Basso. 3 — Principale, 2ndo Soprano. 4 — Flauto Traverse, Soprano e Basso. 5 — Flauto Tedesco, Soprano. 414 APPENDIX. g C Ottava, Soprano. Ottava, Basso. 1 — Duodecima. 8 — Decima-Quinta. 9 — Ottavini ne Basso. 10 — Decima Nona. 11 — Vigesima Seconda. 12 — Vigesima Nona. 18 — Contra-Basso . . di IG. 19 — Principale . . . . di 8. 13 — Ripieno di cinque. 14 — Cornetto di quattro, Soprano. 15 — Voce Umana (not a reed). J g 5 Tromba, Soprano. l Trombone, Basso. ^ V Corno Inglese, Soprano. ( Fagotto, Basso. Pedal, 4 Stops. 20— Ottava di 4. 21— Bombarde .... di IG. Accessory Stop . . Drum. The Church of St. John of Lateran, at Rome, has an Organ of 36 Stops. It was first built in 1549, and is the largest instrument in^^e city. 122. Milan Cathedral. In Milan Cathedral there are two Organs, one on each side 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 one Manual and Pedal, and the following Stops: 4 5 6 7 8 9 10 11 Manual, Doppio ne Soprani, di 24 Piedi. (Double Treble.) Contra-Basso, di 24 Piedi. (Double Bass.) t Principale Imo Soprano. ) (Open Treble.) j Principale Imo Basso. ' (Open Bass.) Principale 2ndo Soprano. (Open Treble.) Principale 2ndo Basso. (Open Bass.) C Principale 3zo. Soprano. I (Open Treble.) i Violone- Soprano (Violin.) ^ Violono- Basso (Base.) C Flautone, Soprano. (Met. St. Dn.) ^ Flautone, Basso. , . (Stopped Bass.) — Flauto Tedesca (Clarabella.) i Ottava Imo. Soprano. (Prin. Tre.) ( Ottava Imo. Basso . . (Prin. Bass.) V Ottava 2ndo Soprano. .(Prin. Tre.) f Ottava 2ndo Basso . . (Prin. Bass.) ' — Ottava 3zo Soprano . . .(Prin. Tre.) i Viola-Soprano . . .(Octave Gamba.) Violoncello-Basso . . (Gamba Bass.) 28 Stops. 12 — Flauto Traverse. .(German Flute.) 13 — Duodecimo (12th.) 14 — Decima Quinta, Imo (15th.) 15 — Decima Quinta, 2ndo ..... (15th.) 1 G — Flautino (Piccolo.) ^5 Decima nona, e . • . . > Imo. ^ ' I Vigecima Seconda ... 3 (19 & 22.) Decima nona, e > 2ndo Vigesima Seconda Vigesima sesta, e. , ^^i Vigesima nona. . . . 4 Vigesima Quarto, e '^^ \ Decima Settima. . . 21 3 Trigesima Terza, e I Trigesima sesta s»9 3 Trigesima prima. 9&22.) ^(26&29.) I (24 & 17.) j (33 & 36.) I (31 &3G.) Trigesima sesta. 23 — Ripieno di quatro (Mixture IVrks.) 24 — Ripieno di tre (Mixture III ranks.) 25 — Cornetto- Soprano, a cinque (Cornet V ranks.) 2G — Cornettino-Sop : a quattro (small Cornet IV ranks.) 27 — Corno dolce. Soprano. .(Soft Horn.) 28 — Voce Humana, Sop., .(not a reed.) AN ACCOUNT OP FOREIGN ORGANS. 415 Pedal, 4 Stops. 29— Contra Basso 24 feet. 30 — Basso Protbndo .... 24 feet. 31— Ottava 12 feet. 32— Principalo 12 feet. Accessory Stops, Movements, &c. 1 — Terzo Mano (third-hand, octave Coupler.) 2 — Pedali armonichi (Pedal Coupler.) 3 — Tremblant. 4, 5 — Two Composition Pedals. Compass. Manual, FFP to f 3 in alt, complete. | Pedal, FFF to Tenor c, complete. 123. Milan Cathedral. The Organ on the South side of the Choir has 2 Manuals and 29 Stops, of which the following is a list : 1 — Contra-bassi. ^ J Principale Imo Soprano. I Principale Imo Basso, g S Principale 2ndo Soprano. ( Principale 2ndo Basso. 4 — Flauto Traverso. g 5 Ottava Soprano. I Ottava Bassi. g ^ Ottava Soprano. ( Ottava Bassi. 7 — Flauto in Ottava. 8 — Duodecima. 9 — Quinta decima. Great, 21 Stops. 10 — Decima nona. 11 — Vigesima seconda. 12 — Vigesima sesta. 13 — Vigesima nona. 14 — Vigesima sesta e nona. 15 — Trigesima terza. IG — Trigesima sesta. 17 — Trigesima terza e sesta. Quadragesima, e Quadragesima terza. 19 — Cornetta Primo. 20 — Cornetta Secunda. 21 — ^Voce Umana. 5 Principale Soprani. I Principale Bassi. 23 — Flauto Soprani. Ottava Soprani. Ottava Bassi. 24 Positif, 8 Stops. 25 — Quinta decima. 26 — Decima nona. 27 — Vigesima secunda. 28 — Vigesima sesta. 29 — Vigesima nona. Accessory Stops, Movement, &c. 1 — Bassi armonici ne Pedali. 2 — Terzo Mano. 8 — Sub-octave Coupler. 4 — Piano and Forte movement. Compass. Manuals, FFF to g 3 in altissimo. | Pedal Clavier, FFF to Tenor b. 416 APPENDIX. 124. Milan. The Organ in the Church of St. Alessandro, at Milan, has 49 Stops, 2 Manuals, and a Pedal of 10 Stops. The following is its specification: ■ Great, Principale Soprano Imo. . 32 feet. Principale Basso Imo. ... 32 feet. Principale Sop. e Basso ) no r <■ 2ndo S ■Violone Basso al CC. . . . 32 feet. Principale Soprano Imo. . IG feet. Principale Basso Imo. ... IG feet. Principale Soprano 2ndo . . IG feet. Principale Basso 2ndo ... 1 G feet. Viola Soprano IG feet. Viola Basso IG feet. ■Corno Flauto IG feet. Ottava Soprano Imo. . . . 8 feet. Ottava Basso Imo 8 feet. •Ottava Sop. e Basso 8 feet. Flauto Soprano 8 feet. Flauto Basso 8 feet. 24 Stops. i Violino Soprano ^ Basso Viola 12 — Quinta decima Imo 13 — Quinta decima 2ndo . . . . 14 — Decima nona 1 5 — Ottavino IG — Ripieno di due. 17 — Ripieno di quattro. 18 — Ripieno di tre. 19 — Ripieno di quattro. 20 — Corno Inglese 21— 5 ^"^^^'^ Soprano Tromba Basso 22 S Clarinetto Soprano .... Fagotto Basso 23 — Tromba allemanno Basso 24 — Tromba Armoniche. . . . 8 feet. 8 feet. 4 feet. 4 feet. 3 feet. 2 feet. 32 feet. IG feet. IG feet. 16 feet. 16 feet. 16 feet. 8 feet. 2^ 5 Principale, Soprano I Principale, Basso i Voce flebile. Soprano Imo. I Voce flebile. Basso 2/ — Voce flebile, Sop. 2ndo . . OQ 5 Violetta, Soprano Imo. . . " ( Violoncello Basso 29 — Violetta, Soprano 2ndo . . 30 — Ottava Swell, 15 Stops 16 feet. 16 feet. 16 feet. 16 feet. 16 feet. 16 feet. 16 feet. 16 feet. 8 feet. 31 — Flauto Traverso, Soprano 8 feet. 32 — Viola Basso 8 feet. 33 — Decima quinta 4 feet. 34 — Decima nona 3 feet. 35 — Vigesima seconds 2 feet. 36 — Vigesima sesta e nona. 37 — Clarinetto, Soprano 16 feet. 88 — Fagottone, Basso 32 feet. 39 — Claroone, Basso 8 feet. Pedal, 10 Stops. 40 — Violone profondo 32 feet. 41 — Contrabassi e rinforzi. ... 16 feet. 42 — Violoncello a lingur in la . . 16 feet. 43 — Bassi armonichi e duodecima. 44 — Principali e ottava 8 & 4 feet. 45 — Ripieno a tre 8, 6, & 4 feet. 46— Bombardi 16 feet. 47 — Tromboni 8 feet. 48 — Corni da caccia 4 feet. 49 — Timpani. Accessory Stops, Movements, &c. 1 — Coupler, Swell to Great. 2 — Coupler, Great to Pedal. 3 — Seraphine, or Fisarmonica, on a separate wind. Great, CCC to c* in altissimo, six complete octaves. Swell, CC to in altissimo, five complete octaves. 4 — Thunder Pedal. 5 — Drums. 6, 7, 8, Three Composition Pedals. Compass. Pedal, CCC to Tenor c, two complete octaves. AN ACCOUNT OF FOUKION (lUGANS. 417 125. Milan. The Organ in the Churcli of St. Maria Delia Grazia, at Milan, stands on the north side of the Choir. It contains 1 8 Stops, 1 Manual, and a Pedal Clavier, but no Pedal Stops. The instrument was made by Maroni, of Varasi, in 1832. The following is a list of its contents : Manual, 18 Stops. 1 — Contra Bassi. g ^ Principale Soprano Imo. " f Principale Basso Imo. ^ ^ Principale Soprano 2ndo. I Principale Basso 2ndo. 4 — Flauto Traverso. 6 — Violoncello Basso. Ottava Soprano. Ottava Basso, i — Flauto in ottava. 8 — Flauto in XII, Soprano. 9 — Quinta decima. Manual, FFF to in altissimo. 10 — Decima nona. 11 — Vigesima seconda. 12 — Vigesima sesta e nona. 13 — Trigesima terza e sesta. ^ (Quadragesima e I Quadragesima terza. 1 5 — Cornetta. J y ^ Trombe Soprano. I Tromboni Basso. 17 — Voce Umana, Soprano. 18 — Fagotto Basso. Compass. Pedal Clavier, FFF to Gamut A. 1 — Terzo Mano. 2 — Bassi D'Armonica. Accessory Stops, Movements, &c. 3, 4 — Two Composition Pedals. 126. Milan. The Organ in the Church of St. Raphael, in Milan, was built by Fratelli and Prestinari, in Magenta. It contains IG Sounding Stops, of which the following is a list : J f Principale Soprani I Principale Bassi . . ^ ( Principale Soprani, 2nda, " \ Principale Bassi, 2nda. 3 — Principale, 3zo. 4 — Fluta spiegala. g 3 Ottava Soprani. I Ottave Bassi. g 5 Flauto in 8 ne Soprani. I Flauto in 8 ne Bassi. Manual, IG feet. 16 feet. 15 Stops. 7 — Duodecima. ' ' 8 — Quinta decima. ^ Decima nona, e. I Vegesima seconda. 10 — Vigesima sesta e nona. 11 — Trigesima terza e sesta. 12 — Cornetto a tre voce. 13 — Trombe de ottava soprano ne Basso. 14 — Voce Umana. 15 — Fagotto Bassi. Pedal, 1 Stop. Contra Bassi, ed Ottava. Accessory Stops, Movements, &c. 1 — Movemento che raddopia I'armonica. 1 3, 4 — Two Composition Pedals. 2 — Bassi armonica ne Pedali. | Compass. Manual, CCC short, to a* in altissimo. | Pedal, CCC short, to Tenor c. E E 418 APPENDIX. 127. CoMO. There are two Organs in the Cathedral at Como. The oldest was built in 159G, 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 : 1 — Principale Soprano . . 2 — Principale Soprano e Basso g I Principale Soprano, 1 mo. ( Principale Basso, Imo. ^ I Principale Soprano, 2ndo, Great Organ, 20 32 feet. 11 Principale Basso, 2ndo. 5 — Principale Soprano, 3zo 6 — Flauto So[irano 7 — Viola, Basso profonda . ^ { Ottava Soprano, Imo . I Ottava Basso, Imo . . . 9 — Ottava Soprano e Basso 10 — Flauto in ottava. So- prano e Basso .... 2j I Principale Soprano • . I Principale Basso .... 22 — Principale Soprano . . 23 — Flauto allemanno, Sop. Violino Soprano .... Violone Basso Ottava Soprano .... Ottava Basso Flauto in ottava, Sop. . ^ Flauto Basso 27 — Quinta-decima 32 feet. 16 feet. 1 6 feet. 16 feet. 16 feet. 16 feet. 16 feet. 16 feet. 8 feet. 8 feet. 8 feet. 8 feet. 12 13- 14- 15- 16- 17- 18 19 20- 24 25 26 Choir Organ, 17 16 feet. 16 feet. 16 feet. 1 6 feet. 16 feet. 16 feet. 8 feet. 8 feet. 8 feet. 8 feet. 4 feet. 29- 80- 31- 32- 33- 34- 35 36- 37- Stops. -Duodecima 6 feet. Quinta decima Soprano 4 feet. Quinta decima Basso. . 4 feet. -Ottavius Soprano .... 4 feet. -Decima nona 3 feet. -Vigesinia seconda ... 2 feet. -Ripieno di quattro. -Ripieno di quattro. Tromba Soprano .... 16 feet. Tromba Basso 16 feet. . Trombe di caccia So- > prano 16 feet. Fagotto Basso 16 feet. -Voce Umana, Soprano . 1 6 feet. Stops. -Flagioletta Soprano . . 4 feet. -Decima nona 8 feet. -Vigesima seconda .... 2 feet. -Vigesima sesta e nona. -Trigesima terza e sesta. -Cornetto Soprano, di cinque. -Corno Inglese Soprano . 32 feet. Oboe Soprano 16 feet. Violoncello Basso (a Reed) 1 6 feet. Voce Umana, Soprano. 16 feet. Tromba armcniche, Basso 8 feet. 38 39- 40— Principale Soprano Principale Basso . . Flauto in ottava . Ripieno di cinque. Swell Organ, 7 Stops. 16 feet. 41 — Corno dolce, Soprano . 82 feet. 16 feet. 42 — Corno Bassetto, Soprano 32 feet. 8 feet. 43 — Voce Umana, Soprano . 16 feet. 44 — Fagottone. Basso .... 16 feet. Pedal Organ, 4 Stops. 47 — Bombardone 16 feet. 48 — Tromboni 8 feet. 45 — Contra Bassi con rin- forzi 32 & 16 feet 46 — Contra Bassi dolci . . (stopped) 16 feet. Accessory Stops, Movements, &c- 1 — Coupler, Choir to Great. 2 — Coupler, Swell to Great. 3 — Coupler, Great to Pedal. Manuals, CCC short, to P in alt. 4, 5 — Octave and Double Couplers. 6, 7, 8 — Three Composition Pedals. 9 — Drums. Compass. Pedal, CCC short, to Tenor d. AN ACCOUNT OF FORKION OUOANS 419 128. COMO. The Organ in the Church of the Santissimo Crocifisso, at Como, was built by the brothers Serassi, of Bergamo. It has 2 Manuals, a Pedal of B Stops, and 39 Stops, of which latter the following is a list : 3—1 4^ 5 — 6— 7— 8 9 10 11 — 12 Principale Soprano . . Principale Basso .... Principale Soprano , . Como dolce Principale Soprano, Imo. Principale Basso, Imo. Principale Soprano, 2ndo. Principale Soprano, 3zo. Flauto Traverse Soprano Violone Basso Ottava Soprano e Basso Ottava Soprano .... Viola Basso Flauto ottava. Soprano Flauto ottava, Basso. . Great, 32 feet. 32 feet. 32 feet. 32 feet. 16 feet. IG feet. IG feet. 1 G feet. 1 6 feet. 16 feet. 8 feet. 8 feet. 8 feet. 8 feet. 8 feet. 14. 24 Stops. 13 — Duodecima ^ Quinta Dcciina, Soprano Quinta Decinia, Basso . 16— Decima nona 16 — Vigesima Seconda . . . 17 — Ripieno di quattro. 18 — Ripieno di quattro. 1 9 — Cornetto di cinque. 20 — Como Inglese, Soprano 21 — Tromba Soprano — . 22 — Fagotti Basso 23 — VoceUmana, Soprano . 24 — Clarone, Basso ^ . ^ Principale Soprano Swell Organ, 8 Stops. 16 feet. Principale Basso .... 16 feet. 26 — CornaMusa 16 feet. ^_ C Ottava Soprano .... 8 feet. ( Ottava Basso 8 feet. G feet. 4 feet. 4 feet. 3 feet. 2 feet. 32 feet. 1 6 feet. IG feet. 16 feet. 8 feet. 8 feet. 28 — Flauto in ottava . . . 29 — Decima quinta e nona. 30 — Ripieno di tre. 31 — Comettino di tre. Soprano. 32— Serpentine Bass, al CC. „32 feet. Pedal Organ, 8 Stops. 33 — Contra-bassi, al sol.. (GGG) 32 feet. 84 — Contra-bassi con rin- forzi 16 feet. 35 — Ottava 8 feet. 36 — Ripieno, di cinque. 37 — Bombardi 16 feet. 38 — Tromboni 8 feet. 39— Trombe 4 feet. Accessory Stops, Jlovements, &c. 1 — Coupler, Swell to Great. 2 — Coupler, Great to Pedal. 3 — Coupler, Swell to Pedal. 4 — Octave Coupler. 5 — Sub-octave Coupler. 6 — Timpani. 7— Bells. 8— Thunder. 9, 10 — Two Composition Pedals. Compass. Manuals, CCC short, to fs in alt. | Pedal, CCC short, to Tenor c. 129. Florence. The Organ at the Church of the Badia, at Florence, is about 200 years old. E E 2 420 APPENDIX. It has only one Manual, and no Pedal Stops ; yet it is very effective, though so small. The following is a list of its Stops : Manual, 8 Stops. 1 — Principale. 2 — Flauto (remarkably good). 3— Ottava. 4 — Decima quinta. cima nona, e resima seconda. 5 Deci IVige 6 — Cornetto. ^ 5 Tromba Soprano ' I Tromba Basso. 8 — Fis-armonica or Seraphine, on separate wind. Accessory Stops, ]\Iovements, &c. 5- Bells. 1, 2 — Octave and Sub-octave Couplers. 3, 4 — Two Composition Pedals. Compass. Manual, CCC short, to c3 in alt. I Pedal Qavier, CCC short, to DD. 130. Florence. The Organ in the Church of St. ]\Iarco, at Florence, is, like the one last men- tioned, a most effective instrument, though small. It has but one Manual, and no separate Pedal Stops. The following is a Hst of its contents : Manual, 9 Stops. G — Cornetto. 1^ ^ Tromba, Soprano, ( Tromba, Basso. 8 — Voce Umana. 9 — Fis-armonica, on separate wind. J C Principale, Soprano. I Principale, Basso. 2 — Flauto, Soprano e Basso. ' 3 — Ottava. 4 — Decima quinta. g ^ Decima nona, e I Vigesima second. Accessory Stops, Movements, &c. 1, 2 — Octave and Sub-octave Couplers. | 3, 4, 5 — Three Composition Pedals. Compass. Manual, CCC short, to g3 in altissimo. | Pedal Clavier, CCC short, to FF. 131. Florence. The Organ in the Church of St. Gtetano, at Florence, has 3 Manuals, embracing 33 Stops, and a very good Contra-basso on the Pedal. The following is a Ust of the Stops : Great, 14 Stops. 8 — Vigesima seconda ... 1 foot. 9 — Ripieno di tre. 10 — Cornetto di tre. 11 — Cornettino di tre. J ^ ( Tromba, Soprano ... 8 feet. Tromba, Basso 8 feet. 13 — Voce Umana 8 feet. 14 — Clarone 4 feet. Principale, Soprano. . 8 feet. Principale, Basso . . . 8 feet. 2- 4 feet. 3- 4 feet. 4- 3 feet. 6- -Decima quinta .... 2 feet. 6- -Flautino, Soprano e 2 feet. t — 1* foot. AN ACCOUNT OF POREION ORGANS. 421 1 5 — Corno dolce, Soprano jg ^ I'riiu'ipule, Soiirauo. . ^ Priiiciiuile, Basso . . . 17 — Voce Angelica 1 {? — Flautone (metal) . . . 10— OtUiva 20— Flauto 20 — Principale 27— Ottava . . 28— Flauto . . . 29 — Nasardo . . Choir, IG feet. 8 feet. 8 feet. 8 feet. 8 feet. 4 feet. 4 feet. Echo, 8 feet. 4 feet. 4 feet. 3 feet. 11 Stops. 21 — Flaiitino 2 feet. 22 — Corno I nglese, Soprano IG feet. 23 — Troniba, Basso e So- prano 8 feet. 24 — Oboe, Soprano 8 feet. 25 — Voce Uniana, Soi)rano 8 feet. 8 Stops. 30 — Decima quinta ... 31 — Ripieno di quattro. 32 — Cornettino di tre. 33 — Tromba 2 feet. 8 feet. Pedal, 1 Stop. 34 — Rinforza de Contra-bassi (wood, open) Accessory Stops, Movements, &c. IG feet. 1 — Coupler, Choir to Great. 2 — Coupler, Echo to Great. 3 — Great Octave Coupler. Manuals, CC short, to in alt. 4 — Great Sub-octave Coupler. 5 — Great to Pedal. 6, 7, 8 — Three Composition Pedals. Compass. Pedal, CCC 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 was lately rebuilt by Ducie, of Florence, and contains some remarkably fine Reeds, and a very effective IG-feet Principale on the Pedal. The Santa Croce Organ is very similar to the last in general effect, but appears to be rather a smaller instrument. the list 132. Genoa. The Organ in the Church of Santa Maria des Vignes, at Genoa, was built by Brothers Serassi, of Bergamo. It has 28 Stops, of which the following is a J f Soprano Doppio. I Contra-basso. 2 f Principale Imo Soprano. \ Principale Imo Basso, g ( Pruicipale 2ndo Soprano. ( Principale 2ndo Basso. 4 — Flauto Tedesco. 5 — Flauto Francese, Soprano. Q I Ottava, Soprano. I Ottava, Basso. 7 — ^Traverso ottava. 8 — ^Viola Basso. 9 — Duodecima. 10 — Decima Quinta Imo. 11 — Decima Quinta 2ndo. 12 — Ottavini. Manual, 25 Stops. 13 — Decima nona. 14 — Vigesima seconda. 15 — Vigesima sesta. 16 — Vigesima nona. 17 — Flagioletti ne Bassi. 18 — ^Trigesima sesta. 19 — Ripieno di quattro. 20 — Ripieno di tre. 21 — Cornetto di cinque. 22 — Cornetto di tre. C Tromba, Soprano. I Trombone, Basso. 24 — Cor Anglais, Soprano. 25 — Fagotti, Basso. 26 — ^Timpani. 27— Bells. 23 422 APPENDIX. Pedal, 1 Stop. 28 — Rinforzo de Contra-bassi (open wood) . . 16 feet. 1 — Octave Coupler. 2 — Sub-octave Coupler. Accessory Stops, Movements, &c. 3 to 8 — Six Composition Pedals. Compass. Manual, CCC short, to c* in altissimo. | Pedal, CCC short, to Tenor c. 133. Genoa. The Organ in the Church of S. Ambrogio, at Genoa, was built about 200 yet since, by Hermann, the Jesuit ; and has lately been enlarged by Giuliani, Piedmontese builder. Great, 23 Stops. 1 1 — Duodecima. 12— Ottavini. 13 — Decima nona. 14 — ^Vigesima seconda. 15 — Vigesinia nona. 1 — Contra-basso, Soprano e Basso. „ f Principale Soprano, Im ( Principale Basso, Inio. g f Principale Soprano, 2ndo. I Principale Basso, 2ndo. 4 — Principale Soprano, 3zo. 6 — Rinforza nel Basso. 6 — Traverso, all unisono, Sop. e Basso, y I Viola Soprano. ( Violoncello Basso, g f Ottava Soprano, Imo. \ Ottava Basso. 9 — Ottava Soprano, 2ndo. 10 — Traverso, all ottava, Sop. e Basso. 16 — Ripieno di quattro. 17 — Ripieno di quattro. 18 — Cornetto di cinque. 19 — Cornetto di quattro. 20 — Usignuolo (to imitate a bird). 2j ( Tromba, Soprano. [ Trombone, Basso. 22 — Voce Umana. 23 — Fagotti, Basso. Swell, 10 Stops. 24 — Corno dolce (large double open, treble). 25 — Principale. 26— Flauto Traverso. 27— Ottava. 28 — Flauto alia Duodecima. 29 — Decima Quinta. 30 — Flauto alia Decima Quinta. 31 — Ripieno di quattro. I Oboe Soprano. " \ Corno Basso. 33 — Rosignuolo (a bird stop). Accessory Stops, Movements, &c. 1, 2, 3 — Three Composition Pedals. | 4 — Drum, worked by a Pedal. Compass. Great, CCC short, to c' in alt. Swell, CC to c' in alt. Pedal, CCC short, to Tenor c. 134. 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 : AN ACCOUNT OK FOIIEION OlIUANS. 423 Great, 1 — Contra-basso, Soprano e Basso. 2 — Contra-basso, Soprano, g I I'rincipale Soj)rano Inio. Principale Basso Inio. Prinoipalo Soprano 2ndo. I'rini'ipale Basso 2nilo. 6 — Prini'ipalo So))rano 'A/.o. 6 — Flaiito Traverso, Sop. e Basso. 7 — Flauto Tedesco, Sop. e Basso, g I Ottava Soprano Inio. ( Ottava Basso. 9 — Ottava Soprano 2ndo. 10 — Flautino. 1 1 — Duodecima. 1 2 — Decima quinta. 25 Stops. 13 — Ottavini, Soprano e Basso. 14 — Decima nona. 1 5 — Vigesima seconda. 16 — Vigesima nona. 17 — Trigesima sesta. 1 8 — Ses(|uialtera di qiiattro. 19 — llipieno di cinque. ■Cornetto di quattro. ■Cornetto di tre. Tromba Soprano. Trombone Basso. 20- 21- 22 23 24- 25- 1 Tromba Real, Soprano. I Fagotto Basso. Voce Umana (a Reed). Coma Musa, Sojjrano. 26 — Principale. 27 — Flautone. 28— Ottava. 31 — Principale. 32 — Corno dolce, Soprano. 33— Ottava. Choir, 5 Stops. 29 — Ripieno di cinque. ( Vox Pueri, Soprano. I Vox Tauri, Basso. Echo, 6 Stops. 34 — Ripieno, di quattro. 36 — Oboe, Soprano. 36 — Tromba, Soprano, Pedal, 87 — ContraBasso,alLa(toAAA) 82 feet. 38— Principale 16 feet. 39 — Contra Basso 16 feet. 6 Stops. 40 — Principale 8 feet. 41— Tromba 16 feet. 42— Clarone 8 feet. Accessory Stops, Movements, &c. 1 — Cou]iler, uniting all the Manuals. 2 — Coupler, Great to Pedal. 3, 4, 5 — Three Composition Pedals. 6 — Bells, on Choir Manual. 7, 8 — Two Bird Stops, on Echo Manual. 9 — Thunder, by means of a Pedal. 10 — Drum, by means of a Pedal. Compass. Great, CCC short, to c' in alt. Choir, CCC short, to c^ in alt. Swell, CC, to c' in alt. Pedal, CCC short, to Tenor d. 135. Genoa. The Organ in the Church of St. Fel'po Neri, at Genoa, has 21 Stops; of which the following is a list : J I Doppio Soprano 2 J - --■■-■t — ( Principale Imo Basso 1 ^^i^jj \ Contra Basso, j Principale Imo Soprano. Manual, 20 Stops. f Principale 2ndo Soprano. I Principale 2ndo Basso, j Traverso Soprano. I Flautone Basso. 424 APPENDIX. 5— Ottavi. G — Flautino. 7 — Duodecima. 8 — Decima quinta. 9 — Ottavini, Soprano. 10 — Vigesima seconda. 11— Flagioletta Basso (29). 12 — Ripieno di quattro. 13 — Ripieno di quattro. 14 — Cornetto Imo. 15 — Cornetto 2ndo. J g ^ Tromba Soprano. I Tromba Basso. 17 — Cor Anglais, Soprano. 18 — Fagotto, Basso. 1 9 — Voce Umana, Sop. (not a Reed.) 20 — Timpani. Pedal, 1 Stop. 21 — Rinforzo de Contra Bassi . . 16 feet. Accessory Stops, Movements, &c. 1,2, .3 — Three Composition Pedals. Compass. Manual, CCC short, to e^ in alt. | Pedal, one octave only. 136. Geneva. The Organ in the Cathedral Church of St. Pierre, at Geneva, was built by Gerger, about 150 years since. It has 4 Jlanuals, a Pedal of 2 octaves, and 45 Stops, of which the following is a Ust : Great, 17 Stops. 1— Montre 16 feet. 2 — Grand Bourdon .... 16 feet tone. 3 — Huit Pieds ouverte. . 8 feet. 4 — Principal 8 feet. 6— Flute 8 feet. 6 — Bourdon 8 feet tone. 7 — Prestant 4 feet. 8 — Nazard 8 feet. 9 — Quarte de nazard ... 2 feet. 10— Doublette 2 feet. 11 — Tierce , 1| foot. 12 — Cymballe. 13 — Foumiture. 14 — Comette, V ranks. J ^ ^ Trompette des dessus . 8 feet, 8 feet. ' Trompette des bassus , 16 — Clairon 4 feet. 17 — Voix Humaine .... 8 feet tone Choir, 10 Stops. 18 — Bourdon 8 feet tone. 19 — Prestant 4 feet. 20— Flute 4 feet. 21— Doublette 2 feet. 22 — Tierce If foot. 28— Cymballe. 24 — Foumiture. 2.5— Comette. 26 — Trompette . 27 — Crom Horn. Echo, 6 Stops. 28 — Bourdon 8 feet tone. 29 — Prestant 4 feet. 30— Flute 4 feet. 31 — Comette, III ranks. 82 — Trompette . , 33— Crom Horn 8 feet. 8 feet tone 8 feet. 8 feet tone. Orgue de Recit. 6 St 34 — Bourdon , . . 8 feet tone. 3.5— Flute Allemande 8 feet. 36— Prestant 4 feet. 87— Doublette 38— Cornette, IV ranks. 39 — Trompette 2 feet. 8 feet. AN ACCOUNT OP FOREIGN ORGANS. 426 40 — IG Picds oiiverle, to GG 1(5 feet. 4 1 — Bourdon 1 (? feet tone. 42 — Huit rieds ouverte. . 8 feet. Pedal, (> Stops. 43 — Bombarde 1(! feet. 44— Trompctte a feet. 45 — Clairon 4 feet. Accessory Stops, Movements, &c. 1 — Coupler, Positif to Great. ) 2 — Coupler, Great to Pedal. Compass. Great, CC to d' in alt. Positif, CC to d'^ in alt. Orgue de Ilecit. Fiddle g to d' in alt. Echo, Middle cMo d^ in alt. Pedal, CCC to Tenor c. Geneva. The Organ in another Church at Geneva was built by Mooser, of Freibourg. It has 2 Manuals and Pedal, and the following 22 Stops : Great Organ, 12 Stops. 1— Montre IG feet. 2 — Bourdon 1 G feet tone. 3 — Principal 8 feet. 4 — Flute 8 feet. 5 — Prestant . 4 feet. G — Nazard 3 feet. 7 — Quart de Nazard ... 2 feet. 8 — Doublette 2 feet. 9 — Tierce If foot. 10 — Cymballe. . Ill ranks. 11 — Fourniture. . V ranks. 12 — Cornet V ranks. Choir Organ, 6 Stops. 1 3 — Bourdon 8 feet tone. 14 — Gamba 8 feet. 15 — Prestant 4 feet. IG— Flute 4 feet. 1 7 — Flageolet 2 feet. 1 8 — Chalumeaux 4 feet. Pedal Organ, 4 Stops. 19 — Grand Bourdon, ouvert. 16 feet. 20 — Bourdon bouche . IG feet tone. 21 — ^Huit Pieds, ouvert . . 8 feet. 22 — Trombone IG feet. Accessory Stops, Movements, &c. 1 — Choir to Great. | 2— Great to Pedal. Compass. Manuals, CC to f^ in alt, 54 notes. I Pedal, CCC to Tenor f, 30 notes. 138. Siena. The Organ in the Cathedral is very small, yet a very effective instrument, has but 1 Manual and 14 Stops, of which the following is a list: Manual, 11 Stops. 6 — ^Vigesima Seconda. 7 — Bipieno di quattro. 2 — Flauto Traverso. 8 — Cornetto di cinque. 3 — Ottava. 9 — Tromba, Soprano e Basso. 4 — Decima Quinta. 10 — Corno Inglese. 5 — Decima nona. 11 — Voce Umr.na (not a Reed). It C Principale, Soprano. ^ Principale, Basso. 426 APPENDIX. 12 — Contra Bassi, al La (AAA) 32 feet. 13 — Contra Bassi, al La (A A) IG feet. Pedal, 3 Stops. 14 — Rinforza de Cnntra- Bassi (Trombone) IG feet. Compass. Manual, CCC short, to da in alt. | Pedal, CCC short, to FF. Accessory Stops, Movement, &c. 1, 2 — Manual Couplers, octave above and below. 3 — Manual to Pedal. 139. Siena. The Organ in the Conventual Church at Siena was originally built in 1738; but was rebuilt and enlarged by the Brothers Serassi, of Bergamo, in 1845. It has 1 Manual and Pedal, and 27 Stops, of which latter the following is a list : 1 — Contra Basso e doppio ne Soprani 2 — Viola, Soprano Principale Imo Soprano . Principale Imo Basso . . Principale 2ndo Soprano . Principale 2ndo Basso . . f Violino Soprano \ Violoncello Basso Flautino Soprano P^lautone Basso . .... ( Ottava Soprano 1 mo ... . I Ottava Basso Imo ( Ottava Soprano 2ndo . . . I Viola Basso J Flautino Soprano I Flauto Basso Manual, 32 feet. 32 feet. 16 feet. 16 feet. 16 feet. 16 feet. 1 6 feet. 16 feet. 16 feet. 16 feet. 8 feet. 8 feet. 8 feet. 8 feet. 8 feet. 8 feet. 24 Stops. 10 — Duodecima 11 — Decima-quinta 12 — Ottavini, Soprano e Basso 13 — Decima nona 1 4 — Vigesima seconda 15 — Vigesima sesta 16 — Vigesima nona 17 — Trigesima sesta 18 — llipieno di quattro. 19 — Ripieno di tre. 20 — Cornetto di cinque. 21 — Corno Inglese, Soprano . . 2^, j Tromba Soprano ( Tromba Basso ( Oboe Soprano ( Fagotto Basso 24 — Clarone, Sop. e Basso . . feet, feet, feet, feet, feet, foot, foot, foot. 82 feet. 16 feet. 1 6 feet. 16 feet. 16 feet. 8 feet. Pedal Organ, 4 Stops. 25 — Contra Basso, al La — (AAA) 32 feet. 26 — Contra Basso 16 feet. 27 — Principale 8 feet 28 — Bombardone 16 feet. Accessory Stops, Movements, &c. 1 , 2 — Octave Manual, above and below. 3 — Coupler, Manual to Pedal. 4— Bells. 5 — Glasses. 6 — Cymbals. 7 — Drums. 8 — Thunder. Compass. Manuals, CCC short, to in altissimo. | Pedal, CCC short, to Tenor c. AN ACCOUNT OP FOREKJN OUOANS. 427 140. Seville. The lartje 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 the Choir, and opposite each other. Each of these has a complete and beautiiuUy adorned front, both behind as well as before; and also a handsome " ('hoir Organ in front," not 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, S, and 4 tiers The largest Pipes are uppermost, and are sup- ported by iron bars. The Mouths of the tubes are Trumpet-sliaped. The older of the two chief Organs is the largest. According to most accounts, this has 110 Stops and 5300 Pipes. It is evident, however, that many of the Stops are, like those in the Italian Organs, just described, only " Half Stops." By no other means could such an aggregation of Stops be accounted to comprise a number of Pipes inferior to that contained in the Rotterdam, Weingarten, 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 tu^o " first" Mixtures, two " second" Mixtures, and so forth. The following account and translation of the large Seville Organ have been prepared from memorandums made from the Draw- Stop handles by J. W. Fraser, 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, ui mai'king the size of the large Foundation Stops. Great, 42 Stops; G2 Draw-Stops. ( Flauto de 2G Double Diapason. (Treb.) \ Flauto de 26 Double Diapason. (Bass.) 2 — Flauto de 26 Double Diapason. (Treb.) f Violon de 26 Gamba Major, or Double Gamba. (Treb.) I Violon de 26 Gamba Major, or Double Gamba. (Bass.) ^ I Tolosana de 26 ? Double Stop; probably either invented or I Tolosana de 26 ^ first made at Tolouse, and hence named after that place. f Baxoncillo Open Diapason. (T.) " Baxon" is a Bassoon, ^jBaxonciUo Open Diapason. (B.) anJ'411o" impliesdiini- >„ -n i-> -rv- /TIN nution; but the Baxon- I Baxoncillo Open Diapason. (T.) cillo Stop is known to ( Baxoncillo Open Diapason. (B.) be the equivalent to the English Open Diapason. 7 — Baxoncillo Open Diapason. (Treb.) ^ f Tapadillo Stopped Diapason. (Treb.) I Tapadillo Stopped Diapason. (Bass.) 9 — Tapadillo Stopped Diapason. (Treb.) |Flautadel3 Unison Flute. (Treb.) I Flauta de 13 Unison Flute. (Bass.) 11 — Flauta de 13 Unison Flute. (Treb.) 12 — Flauta Traversa German Flute. (Treb.) I Violon de 13 Gamba. (Treb.) I Violon de 13 Gamba. (Bass.) 14 — Violon de 13 Gamba. (Treb.) 428 APPENDIX. 15 — Tolosana Unison Stop. See No. 6 above. 16— Docena de 20 Twelfth to the 26-feet Stops. Fifth to the 13-feet Stops. Quint. ^ _ f Octava Octave or Principal. (Treb.) I Octava Principal. (Bass.) 1 8 — Octava — Principal. 19— Docen y 26" Twelfth and 26th (Octave Larigot).. 20 — Quincena Fifteenth. f Lleno 1° First Mixture. (Treb.) ( Lleno 1° - First Mixture. (Bass.) 22 1 Lleno 2» Second Mixture. (Treb.) \ Lleno 2° Second Mixture. (Bass.) 23 — Lleno Mixture. 24 — Corneta Cornet. 25 — Corneta Cornet. 26— Trompa de 52 , Double Double Trumpet. 1 Trompa de 26 Double Trumpet. (Treb.) I Trompa de 26 Double Trumpet. (Bass.) f Trompa Real Royal or Grand Trumpet. (Treb.) I Trompa Real Royal or Grand Trumpet. (Bass.) Trompa Real Royal or Grand Trumpet. (Treb.) Trompa Real Royal or Grand Trumpet. (Bass.) Trompa de Batalla Battle Trumpet. (Treb.) Trompa Magna Great Trumpet. (Bass.) 31 — Trompa 8 Octave Trumpet, probably. g2 I Oboe Hautboy. 27 28 29 30 Fagot Bassoon 33 — Cremona Cremona. 34 — Vox de 13 Vox Humana. f Viejos " Viejos," the eyebrows. This Stop takes I Viejos its name fi'om the shape of the cover or plug at the top of the Pipe. J Clarin Real Royal or Grand Clarion. (Treb.) r ( Clarin Real Royal or Grand Clarion. (Bass.) 37 — Clarin Real Royal or Grand Clarion. I Clarin de Batalla Battle Clarion. (TrelD.) I Clarin de Batalla Battle Clarion. (Bass.) 39 — Clarin Claro Clear Clarion. . f Clarin en 15 Octave Clarion. (Treb.) ( Clarin en 16 Octave Clarion. (Bass.) 41 — Clarin en 15 Octave Clarion. 42 — Orlo Orlo, a shawm ; the " Cink" of Dutch and " Zincke" of German Organs. The ori- ginal instrument exists only in the Ger- man saying, " in Heaven the Angels only play Fiddles and Shawms." Forte de Echo, 10 Stops, 12 Draw-Stops. 43 — Baxoncello Open Diapason. 44 — Tapadillo Stopped Diapason. 46 — Flauta Traverso German Flute. 40— Flauta Flute. 47 — Corneta Cornet. I Trompa Real Grand Trumpet. I Trompa Magna Great Trumpet. AN ACCOUNT OF POUEION ORGANS. 429 4!) — -Trompa Bastarda " Bastarda," a piece of ordnance. Boinbaide or Great Reed. Probably Duuble Trumpet. 50 — Vox Contralto. Contralto Voice. I Oboe Hautboy. 1 Fagot Bassoon. 62 — Clai'in sordina Soil Clarion. Echo, 12 Stops, 14 Draw-Stops. 53 — Baxoncello Open Diapason. 64 — Tapadillo Stopped Diapason. 65 — -Violon de 13 Gainba. 5G — •Tolosana Unison Stop. * 57 — Flauta Traversa (iernian Flute. 58 — Plauta de 13e 8va Flute, of Octave as well as Unison pitch. 59 — .Docena Twelfth. 60 — Quincena Fifteenth. 6 1 — Lleno M ixture . 62 — Corneta Cornet. Trompa Real Royal Trumpet. Trompa Magna . • Great Trumpet. Vox de 13 Vox Humana. Vox Contralto Contralto Voice. 63 64 Contra Pedale, 7 Stops. 65 — ^Trompa de 2G Trumpet of 26 feet. 60 — Trompa de 26 Trumpet of 20 feet. 67 — Trompa de 13 Trumpet of 13 feet. 68 — Trompa de Octave. Octave Trumpet (Gi feet). 69— Trompa de 12 Twelfth Trumpet (4^ feet). 70— Trompa en 15 Fifteenth Trumpet (3i feet). 71 — Trompa en 17 Tierce Trumpet. Compass. Manuals, CC to in altissimo. | Pedal, One Octave. 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 71 110 The mode of blowing the bellows 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. Under each end is a pair of bellows, of about 6 feet by 3i feet. These communicate with APPENDIX. 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 rehef. 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. 141. Seville. The second Organ in Seville Cathedral has 71 Draw-Stops, 3 Manuals, and Pedal. The contents of the several Manual Organs were not placed separately in the memorandum from which the following account was prepared : Manual Stops. 1 — Violata Small Viol, or Gambette. 2 — Baxoncello Open Diapason. 3 — Trompeta de Batalla Battle Trumpet. 4 Viejos See 35 in No. 140. 5 Orlo Cink. A small Reed. 6 Clarin en 22^ Super octave Clarion. 7_Clarin en 15* Octave Clarion. 8 — Clarin Claro Clear Clarion. 9 — Clarin de Campana Hunting Horn. 10 — Chirimia Clarion. 11 — Violata suave Soft Viola. 12 — Baxoncello Open Diapason. 13 — Trompeta en 15 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 — Violon de 13 Gamba. 23 — Lleno de 8 Mixture. 24 — Diezmonovena Nineteenth, or Larigot. 25 — Quincena Fifteenth. 26 — Docena Twelfth. 27 — Octava Octave, or Principal. 28 — Flautadel3 Unison Flute. 29 — Flautada de 18 Large Unison Flute. 30 — Flautada de 26 Double Diapason. 31 — Violon. 32— Contra-baxo , Double Bass. 33 — Clarin en 15=* .•. Octave Clarion. 34 — Baxoncello 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. AN ACCOUNT OF KORKIGN OIIQANS. 431 41 — Docena TvvoUtli. 42 — Octava Octavo. 43 — Flautada de 1 .S Large Unison Flute. 44 — Prepai'acion Preparation. Probably a wind-valve ; or a bell to give notice to the blower. 45 — Troni{)a Trumpet. 4(5 — Serpenton Great Serpent. Double Heed. 47 — Vox Humana Vox Humana. 48 — Clarin en 15 Octave Clarion. 49 — Clarin de sordino Soil Clarion. 50 — Clarinete Clarinet. 51 — Fagot Bassoon. 52 — Nasardo en 19* Twelfth and Larigot. 53 — Nasardo en l''^ Twelfth and Tierce. Sesquialtera. 54 — Nasardo en 15* Twelfth and Fifteenth. Rausch-quint. 65 — Lleno Mixture. 56 — Diezmonovena Larigot. 57 — Quincena Fifteenth. 58 — Octava Principal. 69 — Violon de 13 - . 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 20 feet. 67 — Bombarda de 18 Great Reed 18 feet. 68 — Contra de Clarin Great Clarion 6i feet. 69, 70, 71 — Three Stops without names. Compass. Manuals, AA to c* in altissimo, 5;3- octaves. A very large Organ has lately been completed in the Great Church at Berne, in Switzerland, which is described as being a particularly fine instrument. Another and still larger Organ, to contain, it is said, 100 Stops, is now in course of completion in the Cathedral at Ulm. It is being constructed by the celebrated builder, Walker, of Ludwigsburg. America. The following particuUirs concerning a few recently constructed American Organs will convey some idea of what has lately been going on in the matter of Organ - building in the United States. 142. 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 81 Sounding Stops and 11 432 APPENDIX. Couplers; 3 Manual Organs, of IG, 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 lias an 8-feet speaking front; while the Great Organ has a 16-feet speaking front. The following is a hst of the Stops in the above-named instrument : 1 — Open Diapason. 2 — Open Diapason. 3 — Stopped Diapason. 4 — Principal. .5 — Principal. G — Large Flute. 13 — Dulciana. 14 — Stopped Diapason. 15 — Principal. 16— Flute. 20 — Double Stopped Diapason. 21 — Open Diapason. 22 — Stopped Diapason. 23 — Dulciana. 24 — Principal. Great, 12 Stops. 7— Twelfth. 8— Fifteenth. !) — Sesqui-altera . .Ill ranks. 10 — Mixture Ill ranks. 11 — Trumpet. 12— Clarion. Choir, 7 Stops. 1 7 — Fifteenth. 18 — Clarionet, .(lialf Stop). 19 — Bassoon .. .(half Stop.) Swell, 9 Stops. 25 — Cornet, V ranks. 2<; — Hautboy. 27 — Trumpet. 28 — Clarion. Swell Bass, 2 Stops. 29 — Dulciana. | 30 — Sei-pent. Pedal, 1 Stop. 31 — Double Open Diapason, 32 feet. Couplers. 7 — Great to Pedal, 8-feet pitch. 8— Choir to Pedal. 9— Swell Bass to Pedal. 10 — Pedal Pipes in 32-feet pitch. 11— Pedal Pipes in IG-feet pitch. 1 — Swell to Great. 2 — Swell and Great at octaves. 3— Swell to Choir. 4 — Choir to Great. 5 — Choir and Swell at octaves. 6 — Great to Pedal, IG-feet pitch. Compass. Great, CCC to f^ in alt, 66 keys, 16-feet compass. Choir, CC to f ' in alt, 54 keys, 8-feet compass. Swell, tenor c to f * in altissimo, 54 keys, 4-feet compass. Swell Bass, two octaves. Pedal Stop, CCCC to tenor c, 37 Pipes, 32-feet compass. Pedal Clavier, CCC to tenor c, 25 keys. 143. 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 : AN AOrOUNT or FORKIfJN OltOANS. 433 Great, 9 Stops. 1 — Double Diapason 2 — Open Diapason . . 3 — Stopped Diapason 4— Melodia 5 — Principal 10 — Open Diapason.. . 1 1 — Viola di Gamba . 1 2 — Stopped ])iapason . J 3— Principal 18— Bourdon 1 9 — Open Diapason . . . 20 — Stopped Diapason , 21 — Dulciana 22 — Principal 28 — Open Diapason... 29 — Bourdon . K, feet. 8 feet. 8 feet tone. 8 feet. 4 feet. Choir, 8 feet. 8 feet. 8 feet tone. 4 feet. 6 — Twelfth 2i feet. 7 — Fifteenth 2 feet. 8 — Sesquialtcra, IV ranks. 9 — Trumpet 8 feet. 8 Stops. 14— Flute 4 feet tone. 15 — Fifteenth 2 feet. IG — Clarinet, Treble 8 feet tone. 17 — Bassoon, Bass .... 8 feet. Swell, 10 Stops. IG feet 8 feet. 8 feet 8 feet. 4 feet. tone. tone. 23— Fifteenth 2 feet. 24— Mixture, III ranks. 25 — Trumpet 8 feet. 26— Oboe 8 feet. 27 — Clarion 4 feet. Pedal, 3 Stops. 16 feet. 1 G feet tone. 80— Octave 8 feet. 1— Swell to Great. 2 — Swell Octave to Great. 3— Swell to Choir. 4 — Choir to Great. 5 — Choir Sub-octave to Great. Great, CC to f 3 in alt. Choir, CC to f-^ in alt. Couplers. 6— Great to Pedal. 7— Choir to Pedal. 8— Swell to Pedal. 9 — Pedal Organ Octave. Compass. Swell, CC to P in alt. Pedal, CCC to tenor e. By means of Mr. G. Jardine's Pallet, the«touch is relieved from all disagreeable stiffness, although there are 5 Manual Couplers, upwards and downwards as well as in the unison. 144. New York. The Organ in the first Presbyterian Church, New York, was- built by George Jardine, of that city. It has 8G Sounding Stops, 8 Manuals, and Pedal. The fol- lowing is a list of the Stops : Great, 12 Stops. 1 — Double Open Diapason 16 feet. 2 — Open Diapason 8 feet. 3 — Open Diapason 8 feet. 4 — Stopped Diapason . . 8 feet tone. 5 — Melodia (open wood) 8 feet. G — Principal 4 feet. 7— Hohl-fiute 4 feet. 8— Twelfth 2 1 feet. 9 — Fifteenth 2 feet. 10 — Sesqui-altera, Illranks 2 feet. 11 — Mixture. . . . Ill ranks 1 foot. 12 — Trumpet 8 feet. V F 434 APPENDIX. Choir, 9 Stops. 13 — Open Diapason .... 8 feet. 14 — Dulciana, through . . 8 feet. 15 — Viol d'amour 8 feet. 16 — Stopped Diapason 8 Icct tone. 17 — Principal 4 feet. 18 — Rohr-flote 4 feet tone. 19— Twelfth 21 feet. 20 — Fifteenth 2 feet. 21 — Cremona to Tenor c . 8 feet tone. Swell, 10 Stops. 22 — Bourdon 10 feet tone. 23 — Open Diapason .... 8 feet. 24 — Stopped Diapason . . 8 feet tone. 25 — ^Viol di Gamba .... 8 feet. 26 — Vox Celestes, II ranks 8 feet. 27 — Principal 28— Fifteenth 29— Mixture, III ranks. 80 — Cornopean 31— Hautboy Pedal, 5 Stops. 32 — Open Diapason . . 33 — Stopped Diapason 34— Octave 16 feet. 16 feet tone. 8 feet. 35 — Violoncello . . . . 36 — Contra Fagotto 4 feet. 2 feet. 2 feet. 8 feet. 8 feet. 8 feet. 16 feet. Accessory Stops. Six Manual and Pedal Couplers. Great, CC to g^ in altissimo. Choir, CC to g^ in altissimo. Compass. Swell, CC to g3 in altissimo. Pedal, CCC to Tenor f. A very large Organ, of which the writer has not the list of Stops, was built by Messrs. E. and G. G. Hook, for the Tremont Temple, Boston, United States, in 1854. It has 56 Stops, 4 Manuals, a Pedal with double Bourdon, 32 feet tone, and about 3,500 Pipes. It has been described by an organist, who has heard and tried it, as a most successful instrument. A TABLE OF FOREIGN AND ENGLISH EQUIVALENT TERMS. As many of the names which appear in the foregoing accounts of Continental Organs may not be familiar to some readers, the following table 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. After each name, one reference is given to some Organ which contains that particular Stop or term ; having traced which, the reader will find little difficulty in recognising the same Stop, even if its name be somewhat differently spelt, in other Specifications. Manual Stops. Grosse Principal (No. 16, Double Double Open Dia- p. 331, Gt.) 32 feet. pason 32 feet. Montre (No. 19, p. 334, The same, "mounted," or Gt.) 32 feet. in " front." Sub-Bourdon (No. 16, Double Double Stopped p. 331, Gt.) 32 feet tone. Diapason 32 feet tone. FOREKiN AND KNGLISII EQUIVALENT TERMS. 435 Manual-Untersatz (No. 40, p. n49, Gt.).. .. 32 feet tone. Bourdon, or Bordun (Nos. 61 and 04, pp. 357 and 3G({, Gt.) 32 feet tone. Principal (No. 57, p. 301, Gt.) 10 feet. Montre (Nos. 13 and 13B, pp. 328 and 329, Gt.) 10 feet. Prestant (No. 1, p. 315, Gt.) 10 feet. Gamba Major (No. 40, p. 349, Gt.) 10 feet. Salicional (No. 49, p. 350, Echo) 10 feet. Bourdon, or Bordun (Nos. 2 and 23, pp. 310 and 338, Gt.) 10 feet tone. Tibia Major (No. 40, p. 349, Gt.) 10 feet tone. Gross-Gedact (No. 33, p. 344, Gt.) 10 feet tone. Leiblich Gedact (No. 03, p. 305, Cr.) 16 feet tone. Rohr-Flote(No.50,p.350, Gt.) 10 feet tone. Quintaton (No. 44, p. 354, Gt.) 16 feet tone. Octave (No. 57, p. 301, Gt.) 8 feet. Principal (No. 44, p. 352, Gt.) 8 feet. Montre (No. 12, p. 325, Gt.) 8 feet. Flute (No. 13B, p. 329, Gt.) 8 feet. Geigen Principal (No. 46, p. 354, Ec.) 8 feet. Gamba, or Viol da Gamba (Nos. 44 & 47, pp. 352 & 354, Gt.; 8 feet. The same. The same. Double Open Diapason . . 10 feet. Tiie same, " mounted," or " in front." The same. Great, or Double Gamba. 10 feet. Reedy Double Dulciana . 16 feet. Double Stopped Diapason. 16 feet tone. The same. The same. Double Stopped Diapason, of slender scale and sweet intonation. Double Stopped Diapason, of metal Pipes with chimneys. 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 10 and og- ft. tones. 16 feet tone. Octave to the " Principal" or Double Open Dia- pason of 10 feet, and therefore identical with the Unison Open Dia- pason 8 feet. Open Diapason 8 feet. The same. The same. Violin or crisp-toned Dia- pason 8 feet. Bass Viol. Unison Stop, of smaller scale and thinner but more pungent tone than the Violin Dia- pason 8 feet. P F 2 APPENDIX. ■13G Fugara(No. 58, p.3(;2,Cr.) 8 feet. Salicional(No.35,p.8-14,Gt.) 8 feet. Flauto Traverse (No. 42, p. 351, Cr.) 8 feet. Hohl-Flote(No.25,p.339, Gt.) 8 feet. Harmonica (No.42, p.851, Gt.) , 8 feet. Spitz-Flote(No.80,p.382, Gt.) 8 feet. Genishorn (No. 78, p. 380, Gt.) 8 feet. Coppel(No.33,p.344,Gt.) 8 feet. Portunal-flaut (No. 53, p. 358, Gt.) 8 feet. Bifiira (No. 89, p. 348, Gt.) 8 feet. Unda Maris (No. 96, p.394, Gt.) 8 feet. Voix-ceK ste (No. 12 A, p. 327, Sw.) 8 feet. A species of small-scale Gamba, of bright and cutting tone, and slow- speech 8 feet. Dulciana of Reedy quality. 8 feet. German Flute, formed of cy- lindrical Pipes, of Pear- tree wood, and sounding their octave in the Treble 8 feet. Hollow- Flute, a kind of Clarabella 8 feet. A unison open wood Stop, sometimes smaller in the Treble and larger in the Bass than the H ohl - Flote 8 feet. Spire or Taper Flute, a unison open metal Stop, formed of Pipes with conical bodies 8 feet. Goat- Horn, a unison open metal Stop ; more coni- cal than the Spitz- Flote. 8 feet. Coupling-flute — a kind of Stopped Diapason or Cla- rabella, intended to be u ed chiefly in combina- tion with some other Stop • — as the Stojiped Dia- pason is used with the Clarinet in England — hence its name 8 feet. An open wood Stop, of the Clarabella species, the Pipes of which are larger at top than at bottom, and producing a tone of Clarinet quality 8 feet. A unison open Stop, forme d of Pipes having two mouths, the speech of which is accompanied by a pleasing undulation 8 feet. Wave ci'the Sea. A unison open Stop, tuned rather sharper than the other Stops, and producing an undulating or waving effect, when drawn in conjunction with another Stop 8 feet. A Stop of II ranks, resem- bling Dulcianas, one of which is tuned sharper than the cither, producing an undulating effect like that of the Unda Maris. 8 feet. POHKKIN AND KNdLLSII ECiUIVAM'lNT TKRMS. 437 Block-flote (No.()8, p. 372, Brustwerk) 0 feet. rortiiiuil (No. 94, p. 393, Gt.) 8 feet. Fhuito Dolce 8 feet. Gedact (No. 68, p.3G2,Gt.) 8 feet tone. Lieblich Gedact (No. GO, p. 8CA, Ch.) 8 feet tone. Still Gedact (No. 44, p. 352, Ch.) 8 feet tone. Uohr-Flote(No. 05, p.3G7, Gt.) 8 feet tone. Quintaton (No. 4G, p. 353, Gt.) 8 feet tone. Nacht-Horn (No. 4G, p. 353, Cr.) 8 feet tone. Quint (No. 2, p. 31G,Gt.) 5i feet. Grosse Nazard, Nasard, Nassat, Nasat 5^ feet. Gemshorn-quint (No. 59, p. 3G3, Gt.) bh feet. Quint-gedact (No. G, p. 320, Gt.) 5i feet tone. Roer-quint (No. 1, p. 315, Gt.) 5g- feet tone. Super-octave (No. 57, p. 3G1, Gt.) 4 feet. Common or ordinary Flute, formed of Pipes larger than Diapason scale ... 8 feet. An open wood Stoj), of tlie Clarabella species, but with the Pipes larger at top than at bottom, and producing a tone like that of the Clarinet 8 feet. A unison Flute-Stop, of tranquil and agreeable tone ; well ada[)ted for cantabile music, for v^hich an Open Diapason would be both too strong and too full 8 feet. Covered Stop. Stopped Diapason 8 feet tone. Stopped Diapason, of slen- der scale and sweet in- tonation 8 feet tone. Stopped Diapason, of quiet tone 8 feet tone. Reed- Flute. Metal Stop- ped Diapason, with reeds, tubes, or chimneys .... 8 feet tone. Stopped Diapason, pro- ducing the Twelfth as well as the ground-tone, i. 6. sounding the 8 and 2f feet tones 8 feet tone. Night- Horn. Nearly iden- tical with the foregoing ; but of larger scale, and more horn -like in tone . 8 feet tone. Fifth Sounding Stop. In this case producing the Fifth above the Diapa- son 03- feet. Fifth to the Unison Dia- pason 5 J feet. Fifth, composed of Gems- horn Pipes 5i feet. Stopped Fifth 5 g- feet tone. Stopped Fifth, formed of Metal Pipes with chim- neys 5 J feet tone. The second octave or Fif- teenth above the "Prin- ■cipal" or Double Open Diapason of IG feet, identical with the English Princi}>al 4 i'tei. 438 APPENDIX. Octave (No. -l-l, p. 352, Gt.) 4 feet. Principal (No. 108, p. 400, Cr.) 4 feet. Prestant 4 feet. Spitz-flote (No. 70, p. 381, Gt.) 4 feet. Gemshom (No. 80, p. 382, Gt.) 4 feet. Geigen Principal (No. 03, p. 305, Cr.) 4 feet. Gambette (No. 70, p. 373, Gt.) 4 feet. Salicional- octave (No. 39, p. 848, Cr.) 4 feet. Flauto Traverse (No. 42, p. 351, Cr.) 4 feet. Hohl-flote (No. 42, p.351, Gt.) 4 feet. Flaut a becq (No. 0, p. 320, Cr.) 4 feet. Klein-Gedact (No. 48, p. 355, Cr.) 4 feet tone. Rohr-Flote(No.G7, p. 370, Gt.) 4 feet tone. Grosse Tierce (No. 20, p. 336, Gt.) 3f feet. Quinte (No. 57, p.3Gl,Gt.) 2| feet. Gemshorn-quint (No. 53, p. 358, Gt.) 2f feet. Nazard(No.37,p.347,Gt.) 2 1 feet. Sedecima (No. 89, p. 389, Gt.) 2 feet. Super-Octave (No. 44, p. 352, Gt.) 2 feet. Octave (No. 108, p. 400, Cr.) 2 feet. Doublette (No. 14, p. 330, Gt.) 2 feet. The Octave to the Open Diapason of 8 feet. The English Principal .... 4 feet. Principal 4 feet. The same 4 feet. Octave Stop, formed of Co- nical Pipes 4 feet. Octave Stop, formed of more Conical Pipes 4 feet. Violin Principal 4 feet. Small Gamba, or Octave Gamba 4 feet. Octave Salicional 4 feet. German Flute, the Treble Pipes sounding their har- monic, or octave 4 feet. A kind of octave Clarabella 4 feet. Flute with beak or mouth- piece at one end. The old English Flute 4 feet. Small covered Stop. Stop- ped Flute 4 feet tone. Stopped Metal Flute, with reeds, tubes, or chimneys 4 feet tone. Great Third-sounding Stop. In this case producing the Third above the Princi- pal. Tenth or Decima. 3f feet. Fifth-sounding Stop; when of this size, producing the Fifth above the Principal. Twelfth, or Duodecimo. 2f feet. Twelfth, formed of Gems- horn Pipes 2f feet. Twelfth 2f feet. The third octave. Octave Fifteenth, or Twenty- second, above the " Prin- cipal" or Double Open Diapason of 10 feet. Identical with the Eng- Hsh " Fifteenth" 2 feet. The second octave above the unison " Principal." The Fifteenth 2 feet. Octave to the Principal of 4 feet 2 feet. The same , 2 feet. I'HtllKKlN AM) ENULISII KQUI VALKNT TKUMS. 439 Quarte de Nazard (No. 20, p. 335, Gt.) 2 feet. Quinta-decinia (No. 47, p. ;5r>4, Gt.) 2 feet. Gemshom (No. 10, p. 323, (it.) 2 feet. Wald- Kioto (No. 37, p. 347, Gt.) 2 feet. IIohl-Flote (No. 4G, p. 354, Gt.) 2 feet. Rausch-pfeif (No. (55, p. 3G7, Gt.) 21 feet. Rauscli-quint (No. 71, p. 375, Gt.) 2f feet. Flageolet (No. 110, p. 401, Ec.) 2 feet. Terz (No. 82, p. 383, Gt.) If foot. Sexte (No. 49, p. 355, Gt.) 25- feet. Sesquialtera (No. 71, p. 375, Cr.) 2|- feet. Quinta (No. 81, p. 383, Cr.) lifoot. Tertian If foot. Sedecima (No. 85, p. 386, Cr.) 1 foot. Mixture (No. 57, p. 361, Gt.) 2 feet. Scharf (No. 57, p. 361, Gt.) U foot. Cymbel (No. 67, p. 361, GL) 1 foot. The same. The Fifth above the Tenth ; i. e. the Fifteenth 2 feet. Gemshom Fifteenth 2 feet. Forest-flute 2 feet. Hollow-flute, of Fifteenth pitch 2 feet. Twelfth and Fifteenth on one slider 2| feet. The same. Flageolet 2 feet. Tierce ; when of this size, sounding the Third above the Fifteenth If foot. Sixth. All rank mutation stop, sounding the inter- val of a major sixth. A Twelfth and Tierce on one slider 2t feet. Sesquialtera, II ranks ; the same 2f feet. Fifth sounding Stop, pro- ducing the Fifth above the Fifteenth. The Nine- teenth or Larigot li foot. A II rank Mutation Stop, soimding the interval of a minor third. A Tierce and Larigot on one slider 1 1 foot. Twenty-second or Octave Fifteenth 1 foot. A mixed Stop, i. e. consist- ing of Foundation and Mutation ranks of Pipes, compounded together ; the largest rank being usually a Fifteenth .... 2 feet. 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. . . ly 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 1 foot. 440 APPENDIX. Cornet. Contra-fagott (No. 56, p. 8G0, Gt.) 32 feet. Tromba (No. 57, p. 361, Gt.) 16 feet. Tuba (No. 40, p. 349, Gt.) 16 feet. Trompet(No.l,p.315,Gt.) 16 feet. Dulcian(No. 2, p. 316, Gt.) 16 feet. Fagotto(No. 4, p. 319, Ec.) 16 feet, Bombarde (No. 14, p. 330, Gt.) 16 feet. Euphone (No. 16B, p. 329, Gt.) 16 feet. Phisavmonica (No. 70, p. 374, Gt.) 16 feet. Grand f Cornet (No. Ill, p, 402, Gt.) 10 feet. Corneta (No. 141, p. 480, No. 18) Trompette (No. 13B, p. 329, Gt.) 8 feet. Trompette Harmonique (No. 12, p. 828, Clavier de Bombardes) 8 feet. Hautbois(No.l8B, p. 329, Pos.) 8 feet. Cor Anglais (No. 12 A, p. 327, Svv.) 8 feet. Dulcian(No. 9, p. 323, Cr.) 8 feet. Fagotto(No. 2, p. 317, Cr.) 8 feet. Krum-Horn (No. 33, p. 844, Cr.) 8 feet tone. Crom-Horn (No. 34, p. 345, Cr.) 8 feet tone. Schalmay (No. 2, p. 317, Cr.) 8 feet tone. Vox Humana (No. 76, p. 378, Cr.) 8 feet tone. Clarin (No. 79, p. 381, Gt.) 4 feet. Cornet, frequently a Com- pound 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, Merse- burg, &c. Double Double Bassoon.. 82 feet. Double Trumpet 16 feet. The same. The same. Dulcian means, literally, a small Bassoon. In this case, a Double Bassoon . 1 6 feet. Double Bassoon 16 feet. Double Reed 16 feet. Double Reed 16 feet. Double Reed, w^ith Free Reeds, and Tubes of half length 16 feet tone. Double Reed 16 feet. Double Reed Trumpet 8 feet. Harmonic Trumpet .... 8 feet. Hautboy 8 feet. English Horn 8 feet. Bassoon 8 feet. The same. Clarinet 8 feet tone. The same. The same. Human Voice 8 feet tone. Clarion 4 feet. FOREIGN AN1> KNdLISII EQUIVALKNT TERMS. 441 Pedal Sdb- Principal (No. 1, p. 310) 32 feet. Gross Principal (No. 70, p. 874) 32 feet. Prestant (No. 2, p. 317) . . 32 feet. Flute ouvertc (No. 12, p. 32(!) 32 feet. Untersatz (No. 81, p. 383) 32 feet tone. Sub-bass (No. 50, p. 357) 82 feet tone. Quintaton (No. 13, p. 328) 32 feet tone. Grand Bourdon (No. 12 A, p. 327) 32 feet tone. Gross-Quinten-Bass (No. 64, p. 306) 2li feet tone. Principal Bass (No. 80, p. 882) 16 feet. Octave (No. 91, p. 891) . . 16 feet. Prestant (No. 2, p. 317). • 10 feet. Flute ouverte (No. 20, p. 330) Ifi feet. Violone (No. 42, p. 351) 16 feet. Stops. "Under Principal," i.e. below the Pedal Diapa- son pijtch. Double Open Bass 32 feet. Great or Double Diapason Bass 32 feet. The same. The same. " Below position,"!, e. un- der the Pedal unison pitch. Double Stopped Bass 32 feet tone. " Under Bass," or Double Stopped Bass 32 feet tone. Double Stopped Bass, soundintT the Twelfth as well as the ground tone ; in this case producing the 82 and lOf feet tones. Great or Double Bourdon 32 feet tone. Fifth to the Great Bass of 82 feet 2 1^ feet tone. Open Diapason Bass 16 feet. The same. The same. Where there is a Metal " Principal" of 10 feet on the same Pedal, the name Prestant is ap- plied to a tco'od Open Bass of the same size, as at Liegnitz, No. 88, p. 888. The same. 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 furnish- ed 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 always drawn with it lo feet. 442 APPENDIX. Gamba (No. 59, p. 363). . 16 feet. Salicet (No. 59, p. 363), . 16 feet. Sub-Bass (No. 33, p. 344) 16 feet tone Bourdon (No. 37, p. 3 i 7) 16 feet tone. Gamba Bass 16 feet. Dulciana Bass 16 feet. Stopped Bass, usually, but sometimes Open wood, 16 feet, as at Haarlem, (No. 1, p. 316) 16 feet tone. This name is very rarely applied to a Pedal Stop. When it is so, it is ge- nerally to a Stopped Bass, though occasion- ally to a wood open Bass, 1 6 feet, as at Strasbourg (No. 36, p. 347) 16 feet tone. Quintaton (No.46, p.354) 16 feet tone. A small scale unison Co- vered Stop, sounding the Twelfth as well as the gi'ound-tone, i. e. pro- ducing the 16 feet and 6g- feet tones 16 feet tone. Grosse Quint, Stopped — (No. 71, p. 375) ... .101 feet. Roer-quint(No. 1, p. 316) lOf feet tone. Octave — (No. 85, p. 387) 8 feet. Violoncello (No. 54, p. 359) 8 feet. Bass -Flute 8 feet tone. Tertia (No 74, p. 377) . . 6| Quint (No. 20, p. 336) . . 5^ Rohr-quint (No.69,p.373) 5i Super-octave (No.2 5, p.340) 4 Mixture, V ranks (No. 91, p. 391) 4 Cornet, VIII ranks (No. 82, p. 384) Contra Posaime (No. 77, p. 379) 32 Posaune (No. 77, p. 379) 16 Bombarde (No. 13B, p. 329) Fagotto (No. 65, p. 367) . . 16 Dulcian (No. 66, p. 369) . 16 Trompet (No. 82, p. 384) 8 Trombone (No. 2, p. 317) 8 Basson (No. 13 B, p. 329) 8 Krummhorn(No.49,p.3o6) 8 feet, feet. feet tone, feet. feet. feet, feet. feet, feet. feet, feet feet. feet. Great Fifth, Stopped .... 1 Of feet tone. Stopped Fifth, fornied of Pipes with reeds, tubes, or chimneys lOf feet tone. Octave, or Principal to the Diapason of 16 feet . . 8 feet. Crisp-toned Open Stop, of small scale. The " Oc- tave" to the Violone of 16 feet 8 feet. Flute Bass. The Stopped Octave to the Stopped Bass of 1 6 feet tone . . 8 feet tone. Tenth, or Great Tierce ... 6f feet. Twelfth 5i feet. Stopped Twelfth 5i feet tone. Fifteenth 4 feet. IMixture, V ranks 4 feet. Pedal Cornet. Double Trombone 32 feet. Trombone 16 feet. Large Unison Pedal Reed . 1 6 feet. Bassoon 16 feet. Small Bassoon 16 feet. Trumpet 8 feet. Large Octave Reed 8 feet. Octave Bassoon 8 feet. Cremona . , 8 feet tone. AN ACCOUNT 01'' BKITISII OROANS. 443 Clairon (No. 04, p. 38fi) . 4 feet. Clarion 4 feet. Cornet (No. 50, ji. ;j57). • 4 feet. Cornet — a small llced, Cla- rion 4 feet. Cinq (No. 1, p. 31 G) 2 feet. Octave Clarion 2 feet. Cornet (No. 49, p. 35G). . 2 feet. Octave Clarion 2 feet. BRITISH ORGANS. LONDON AND ITS ENVIRONS. 145. Panopticon. The largest and by far the most complete Organ in London is that m the Royal Panopticon of Science and Art, Leicester Square. 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 succession, and after- wards of reducing them in a similar manner, so as to produce a perfect Crescendo and Diminuendo ; desiderata 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 which are complete or whole Stops, excepting the Vox Anfjelica in the Solo Organ, which only goes to Tenor c. It has 4 Manual Organs, all of the CC or 8-feet compass ; a separate Pedal of 10 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 auxiHary 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 the Panopticon Organ : Great Organ, 16 Stops. 1 — Double Open Diapa- son, metal and wood 1 6 feet. 2 — Open Diapason, metal 8 feet. 3 — Open Diapason, No. 2, metal 8 feet. 4 — Stopped Diapason, wood 8 feet tone. 6 — Quint metal 6 feet. 6 — Octave metal 4 feet. 7 — Wald Flute . . .wood 4 feet. 8 — Octave Quint . .metal 8 feet. 9 — Super Octave, .metal 2 feet. 10 — Sesquialtera, III ranks, metal 11 — Mixture, III ranks, met. 12 — Furniture, III rks. met. 13 — Trumpet metal 16 feet. 14 — Posaune metal 8 feet. 15 — Trumpet metal 8 feet. 16 — Clarion metal 4 feet. 4-44 APPENDIX. Choir Organ, 12 Stops. 17 — Double Stopped Dia- pason wood 18 — Gamba metal 19 — Dulciana metal 20 — Stopped Diapason, metal and wood 21 — Gemshorn . . . .metal 22 — Octave Quint . .metal IG feet tone. 8 feet. 8 feet. 8 feet tone. 4 feet. 3 feet. 23 — Super Octave, .metal 2 feet. 24 — Cymbal, II ranks, met. 25 — Stopped Flute, metal 4 feet tone. 26 — Piccolo wood 2 feet. < Bassoon, Bass . . wood l Clarionet,Treble, wood 28 — Trumpet .... metal 8 feet. 8 feet. Solo Organ, 9 Stops. 29^ d CI. GrandTubaMi- '§ S) rabilis . . metal 30^=5 r 2. Do Clarion,met. 31 — Claribel wood 32 — Harmonic Flute, metal 33 — Flageolet metal 8 feet. 4 feet. 8 feet. 4 feet. 2 feet. 34 — Doublette, II ranks. . metal 35 — Vox Angelica, II rks. metal 3G — Krum Horn. . .metal 37 — Vox Humana, .metal Swell Organ, 13 Stops. 38 — Bourdon and Double Diapason, wood and metal 16 feet. 39 — Open Diapason, metal 8 feet. 40 — Salcional metal 8 feet. 41 — Stopped Diapason, wood 8 feet. 42 — Octave metal 4 feet. 43 — Octave Quint • .inetal 3 feet. 44 — Super Octave . . 45 — Sesquialtera, V ranks 46— Suabe Flute . . . 47 — Cornopean . . . . 48 — Trumpet 49 — Hautboy 50 — Clarion metal & IV metal wood metal metal metal metal 2 feet. 8 feet. 8 feet tone. 8 feet tone. 2 feet. 4 feet. 8 feet. 8 feet. 8 feet. 4 feet. Pedal Organ, 10 Stops. 51 — Double Open Diapa- son wood 32 feet. 52 — Open Diapason, wood 16 feet. 53 — Open Diapason, metal 16 feet. 64 — Bourdon wood 16 feet tone. 55 — Octave metal 8 feet. 56 — Octave Quint . .metal 6 feet. 4 feet. 57 — Super Octave . .metal 58 — Sesquialtera, V ranks, metal 3 feet. 59 — Trombone . . . .metal 16 feet. 60 — Octave Trombone, met. 8 feet. 61— Drums CC— C. Accessory Stojis, Movements, &c. 1 — Coupler, Swell to Great. 2 — Choir to Great. 3 — Solo to Great. 4— Pedal to Great. 5 — Pedal to Choir. G — Pedal to Swell. Number of Sounding Stops. Great Organ 16 Choir 12 SweU 13 Solo 9 Pedal 10 00 7 — Pedal to Solo. 8 to 16 — Nine Composition Pedals. 17, 18— Two Tremulants. 19 — Pneumatic Lever attachment. 20 — Crescendo and Diminuendo Pedal. Number of Pipes. Great Organ 1276 Choir 754 Swell 932 Solo 626 Pedal 416 Total, 4004 AN ACCOUNT OF HllITISlI ORGANS. 446 14G. St. Paul's Cathedral. Tlic Organ in St. Paul's Cathedral was built by Father Smith in 1 ony. It originally cuiisisted of a " Great and Chair Organ," the i'urnier ranging from CCC (1() feet compass) to c'i in alt; the latter descending to FFF (the 12 feet compass). Towards the latter part of the last century, a Swell of Seven Stops, to Tenor c (•1 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 and Nutt. In 182G, considerable alterations were made in the instrument by the late Mr. 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 Clai-abella 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 Duloiana 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 G (5^ 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 IMetal Flute in the Choir Organ, and a Clarabella for the Stopped Diapason ; and also put in new Keys and Pedals. The following is a list of the Stops at St. Paul's : Great, 13 Stops, CCC or 16 feet compass. 1 — West Front Open Diapason. 2 — East Front Open Diapason. 3 — Stopped Diapason, Clarabella Treble. 4 — Principal. 6_Twelfth. 6— Fifteenth. 7 — Block Flute, labelled large Fifteenth. 8 — Tierce. 9 — Sesquialtera, II ranks. 10— filixture II ranks. 1 1 — Trumpet. 12 — Trumpet to middle c', in place of Cornet. 13 — Clarion. Choir, in front, 8 Stops, FFF or 12 feet compass. 14 — Open Diapason. 1 5 — Stopped Diapason. 1(5 — Dulciana. 17 — Viol di Gamba. 18 — Principal. 19— Twelfth. 20— Fifteenth. 21 — Cremona to Tenor c. Swell, 7 Stops, Gamut G or 5^ feet compass. 22 — Open Diapason. 23 — Stopped Diapason. 24 — Princijial. 25 — Sesquialtera, III ranks. 2G — French Horn. 27 — Hautboy. 28 — Trumpet. 44G APPENDIX. Pedal, CCC or 1 G feet compass. 29— One Octave of Open Wood Pipes to CCC,— 16 feet length. Accessory Stops, Movements, &c. 4— Swell to Choir. 5, 6, 7, 8 — Four Composition Pedals. 1— Great to Pedal. 2— Choir to Pedal. 3— Swell to Great. Great, CCC to f ^ in alt. Choir, FFF to f ^ in alt. Compass. Swell, Gamut G to f in alt. Pedal, CCC to Tenor c. 147. Westminster Abbey. Tlie present Organ in Westminster Abbey was originally built, in 1730, by Schreider and 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 GG 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 GGG 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 ; lea^^ng 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 Claners are placed, crossways, behind the Choir Organ. The alterations in 1848 comprised an extension of the Great Organ down to CCC (the IG-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 III additional ranks of Mixture. The compass was also extended up to f ^ in alt. An entirely new Swell to CC (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 hst: Great CCC (]G feet compass), 14 Stops. 1 — Double Diapason, to CC key. 2 — Open Diapason, through. 3 — Open Diapason to CC. 4 — Stopped Diapason. 5 — Quint, to CC key. 6 — Principal, through. 7 — Stopped Flute to CC key. 8— Twelfth. 9— Fifteenth. 10 — Sesquialtcra, V ranks. 11 — Mixture III ranks. 12 — Double Trumpet to Tenor c key. 13 — Posaune, through. 1 4 — Clarion. AN ACCOUNT OF IIRITJSII ORUANS. 447 Swell, CC (8 feet compass), 10 yto]is. 15 — Doul)lo Diapason. 10 — Open Diapason. 1 7 — Stopped Diapason. 1 8 — Principal. 19— Fifteenth. 20 — Sesquialtcra, III ranks. 21 — Contra Fagotto, to Tenor c key. 22 — Cornopean. 23 — Hautboy. 24 — Clarion. Choir, GG (lOf feet compass), 6 Stops. 25 — Open Diapason to Ganmt G. 28 — Principal. 26— Ilohl Flute. 29— Flute. 27 — Stopped Diapason. 30 — Cromorne. Pedal, CCC (10 feet compass), 2 Stops. 31— Great Open Diapason, 32 feet. | 32 — Open Diapason, 10 feet. Accessory Stops, Movements, &c. 1 — Coupler Swell to Great. 2 — Great to Pedal, 10-feet pitch. 3 — Great to Pedal, 8-feet pitch. 4— Choir to Pedal, IG-feet pitch. 6 — Swell to Pedal, 8-feet pitch. 0, 7, 8 — Three Composition Pedals. 148. Buckingham Palace. The Organ in the Chapel at Buckingham Palace is on the left side of the altar, about nine feet from the floor ; the keys are so placed that the organist sits beneath it, and no apparent connection exists between them and the instrument The bellows are beneath the Chapel. The Organ contains the following 8 Stops : Manual, 8 Stops. 5— Twelfth. 1 — Open Diapason. 2 — Dulciana. 3 — Stopped Diapason. 4 — Principal. 6— Fifteenth. -Sesquialtera, III ranks. 8 — Trumpets. Compass, GG to f^ in alt. 149. Buckingham Palace. His Royal Highness the Prince Albert's Organ. This instrument was built by Messrs. Gray and Davison, in 1841, for His Royal Highness. It stands in a handsome room, in the Prince's private apartments, in the left wing of the Palace ; it is divided, and in appearance resembles two beautiful cabinets, standing on each side of the fire-place, at one end of the room. There is no apparent communication between the two parts, the connection being ingeniously contrived behind the pier glass, over tlie fire-place. The bellows is not in the room," but is placed in an adjoining passage, where it appears like a table. The Organ contains the following 7 Sounding Stops : Manual, 6 Stops. 5— Fifteenth. 1 — Open Diapason. 2 — Dulciana. 3 — Stopped Diapason. 4 — Principal. 6 — Hautboy Enclosed in a Swell Box. Manual to CC. Pedal to CCC. Pedal, 1 Stop — Bourdon, 10 feet tone. Compass. Accessory Stops. 1, 2, 3, 4, Four Composition Pedals. 448 APPENDIX. 150. TEMPtE Church. The fine Organ in the Temple Church was built by Father Smith, in 1G87. 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 Irom 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 peculiar brilliancy also to tlie 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. The memorable trial which took place between Smith and Harris, when the Organ was built, has been duly described in the " Historical Introduction." It only remains therefore to enter into matters of detail here. Originally the Temple Organ consisted of Great and Choir Organs, ranging from FFF (12 feet) to d^ in alt, — omitting FFFJt, GGU, AAb, and DDJt in the Bass ;— and an Echo to Middle c^; the whole being supplied with wind from three diagonal bellows. About the middle of the last century, Byfield added a Swell of 6 Stops to Fiddle g ; the Horn going to Tenor f. In 1843, on the occasion of the complete restoration of the Church, the Organ was, by the late Mr. Bishop, placed in a spacious Organ-chamber, built expressly for its reception ; and was re-erected on a new building- fi-ame ; the sound-boards were new palleted, where necessary ; a Dulciana was added to the Choir Organ in place of the Vox Humana; the swell was continued down as far as Tenor c, and the quarter tones added ; the DD sharp was introduced into the Great and Choir Organs ; the compass of their Manuals extended upwards from d^ to f ^ in alt; an octave and a half of FFF Pedals were laid down, and an octave of CCC return Pedal Pipes applied to them ; two Pedal Couplers, and one Manual Coupler, Swell to Great, were also added, and three Composition Pedals. Subsequently the FFF Pedals were removed, and a Pedal Clavier of the proper range — CCC to Tenor f — supplied by Robson, together with three independent Pedal Stops, as well as preparation being made for a fourth ; the necessary Couphng movements also were introduced for uniting " Manuals to Pedal" correctly. The old Manuals, with black naturals and white short keys, were at the same time removed, and new ones applied. The Organ contains 26 Sounding Stops, of which the following is a list : * Christian Ecmcinbrancer, vol. xv, 1833, p. 623. AN ACCOUNT OF imiTISIl ORGANS. 44!) Great, 10 Stops. 1 — Open Diapason .... 8 feet. 2 — Stopped Diapason, me- tal to Tenor c, oak to the bottom 8 feet tone. 3 — Principal 4 feet. 4 — Nason, oak tlirougli- out 4 feet tone. 5— Twelfth 21 feet. G — Fifteenth 2 feet. 7 — Sesquialtera, III rks. 1-f foot. 8— Mixtm-e, III rks. 1 foot. 9— Cornet, IV rks. 4 feet. 1 0 — Trumpet 8 feet. 11 — Stopped Diapason, oak throughout 8 feet tone. 1 2 — Dulciana to Gamut G. 8 feet. 13— Gamba to CC 8 feet. Swell, 17 — Open Diapason 8 feet. 18 — Stopped Diapason, me- tal to Fiddle g, new Pipes below of deal 8 feet tone. 19 — Principal 4 feet. Choir, 6 Stops. 14 — Spitzflute Principal . . 4 feet. 15 — Stopped Flute, metal throughout 4 feet tone. 1 6 — Gemshorn Fifteenth . 7 Stops. 20— Cornet, .III ranks 21— Horn. . . 22— Hautboy 23— Clarion. . 2 feet. 2| feet. 8 feet. 8 feet. 4 feet. 24 — Double Stopped Bass to FFFF 32 feet tone. 25 — Open Bass 16 feet. Pedal, 3 Stops. 26 — Stopped Bass ... 16 feet tone. 27 — Preparation for Trom- bone 16 feet. Great, FPF to f 3 in alt. Choir, FFP to f ^ in alt. Compass. Swell, Tenor c to f 3 in alt. Pedal, CCC to Tenor f. Accessory Stops, Movements, &c. 1 — Coupler Great to Pedal. 2 — Coupler Choir to Pedal. 3 — Coupler Swell to Great. 4 — Coupler Choir Sub-octave to Great. 5 — Pedal Register 8 feet. 6 — Pedal Register 16 feet. 7, 8, 9 — Three Composition Pedals. 10 — Tremulant Swell. " Smith's diapasons have ever been celebrated. Those in this Organ are very excellent, particularly the Bass of the Open Diapason. The Stopped Diapason in the Great Organ is made of metal to c in the Tenor, and is a most delightful Solo Stop. The Stopped Diapason and Flute in the Choir are both excellent as Solo Stops. The Open Diapason and Stopped Diapason in the Swell, both of metal, are purity itself ; and the Reed Stops are excellent, both as Solo and Chorus Stops.*" 151. 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 CC * Christian Remembrancer for 1833, p. 624. G G 460 APPENDIX. compass. The instrument now justly ranks as one of the largest and finest in London, and contains the following Stops : Great, 13 Stops. 8 — Sesquialtera . V ranks 9 — Mixture ... V ranks 10 — Doublette . . II ranks 11 — Double Trumpet. 12 — Posaune , 13 — Clarion 4 1_ 1 fi fppt XV icct. 2- J? fpAt 3- —I It iPii 1 imi'i CAT! 8 feet. 4_ OLUUUCU. J-Zldl-'cloUl 1 . • • 5- — rvinpinnl 4 feet. 6- -Twelfth 2| feet. 7- 2 feet. Swell, 14- — Double Diapason .... IG feet. 15- 8 feet. 16- —Stopped Diapason . . 8 feet tone. 17- 4 feet. 18- 4 feet. 19- 2 feet. Choir, 25- —Open Diapason .... 8 feet. 20- —Stopped Diapason . . 8 feet tone. 27- 4 feet. Pedal, 30- —Great wood Diapason . 16 feet. 31- —Wood open Diapason. 1 6 feet. 32- —Metal open Diapason . 16 feet. 33- 8 feet. 34- 5 3" feet. If 10 feet, foot, feet, feet, feet, feet. .V ranks. 20 — l\Iixture 21— Horn 8 22— Trumpet 8 23— Oboe 8 24 — Clarion 4 Stops. 28— Stopped Flute 4 29— Fifteenth 2 foot, feet, feet, feet, feet. feet tone, feet. 35— Fifteenth 4 feet. 3G — Sesquialtera, VI ranks. 37 — Mixture. ... V ranks. 38 — Posaune 16 feet. 39 — Clarion 8 feet. Accessory Stops, Movements, &c. 1 to 8 — Eight Couplers. | 9 — Shifting Movement to Swell. Compass. Great, CC to P in alt. Swell, CC to f3 in alt. Choir, CC to f^ in alt. Pedal Organ, CCC to CC, one octave. Pedal Clavier, CCC to Fiddle g, two octaves and a half. 152. St. Sepulchre's. The Organ in St. Sepulchre's Church, Snowhill, was originally built by Renatus Harris, in 1670, and is supposed to be the oldest instrument of his make now exist- ing in London. It consisted, at first, of a Great and Choir Organ only ; the compass being from GG, short octaves, to d^ in alt. On the instrument undergoing an exten- sive repair by the elder Byfield, about the year 1730, 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 GG 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 CCC 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 Fes- AN ACCOUNT OV IIRITISU ORGANS. 461 tiviil in Westminster Abbey, in ]i!;?4. A now sound-board was also made to the Great Organ, for facilitating the tuning, and for improving and preserving the instru- ment. The Oi'gan has recently been considerably enlarged and improved by Gray and Davison, through the liberality of the parish and the munificence of a private gentleman. The new work consists of an independent Pedal Organ of 1 0 Stojis ; the Keraulophon and Clarinet Stops in the Choir Organ ; an extension of the Swell Double Diapason ; new Manuals, &c. ; and " it now requires only a Double Dia- pason and new Open Diapason in the Great Organ, the Double Diapason in the Swell to be completed, and a Contra Fagotto or Double Heed 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. 1 . . . . 4 feet. () — Principal, No. 2 . . . . 4 feet. 7— Twelfth 3 feet. 8 — Fifteenth 2 feet. 9 — Tierce 1 1 foot. 10 — Larigot ly foot. 11 — Sesquialtera, III ranks li foot. 12 — Mixture. ... II ranks f foot. 13 — Furniture. . Ill ranks If foot. 14— Trumpet 8 feet. 15 — Clarion 4 feet. Swell Organ, 10 Stops. 1 G — Double Diapason, Bass 1 G feet. 1 7 — Open Diapason .... 8 feet. 18 — Stopped Diapason . . 8 feet. 19 — Principal 4 feet. 20 — Fifteenth 2 feet. Choir Organ 21 — Sesquialtera, III ranks 1^ foot 22— Horn 8 feet. 23 — Trumpet 8 feet. 24— Hautboy 8 feet. 25 — Clarion 4 feet. 7 Stops. 26 — Stopped Diapason . . 8 feet. 80- 27— Dulciana 8 feet. 31- 28 — Keraulophon 8 feet. 32- 29— Principal 4 feet. Pedal Organ, 10 Stops. Flute 4 feet. Fifteenth 2 feet. Clarionet ........ 8 feet. 33 — Grand Open Diapason, wood IG feet. 34 — Grand Violon, metal . 16 feet. 35 — Grand Bourdon .... IG feet. 36 — Grand Principal .... 8 feet. 87— Grand Twelfth 6 feet. 38— Grand Fifteenth 4 feet. 89 — Grand Mixture, V ranks. 40 — Grand Posaune .... 16 feet. 41 — Grand Trumpet. ... 8 feet. 42 — Grand Clarion 4 feet. Accessory Stops, Movements, &c. 1 — Coupler, Great to Pedal, 16 ft. pitch. 2 — Coupler, Great to Pedal, 8 ft. pitch. 3 — Coupler, Choir to Pedal, 8 ft. pitch. 4 — Coupler, Swell to Pedal, 16 ft. pitch. 5 — Coupler, Swell to Great. 6 — Coupler, Swell to Choir. 7 — Choir, Sub-octave to Great. 8 — Sforzando Coupler, Great to Swell. 9 to 1 5 — Seven Composition Pedals. 16 — Pneumatic Lever attachment. 17 — Tremulant Swell. Two Horizontal Bellows. Great, GG to e' in alt. Choir, GG to e^ in alt. Compass. Swell, GG to e» in alt. Pedal, CCC to Tenor f. * Advertisement to Mr. Cooper's " Organist's Manual." G G 2 4.V2 APPENDIX. 153. St. Andrew".<, Holrorn. . 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 Fiddle 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, revolced, 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 1 6 feet. 8 feet. G- 2 — Open Diapason 3 — Clarabella Treble and Stopped Diapason Bass 8 feet. 4 — Principal 4 feet. Choir, 6 Open Diapason to Gamut G 8 feet. 12 — Stopped Diapason .. 8 feet tone. 13 — Principal 4 feet. Swell, 10 Stops. Fifteenth 2 feet. 7 — Sesquialtera, III rks. 12 foot. 8 — IMixture II rks. | foot. 9 — Trumpet 8 feet. 10 — Clarion 4 feet. 11 Stops. 14— Flute 4 feet tone. 1.5 — Fifteenth 2 feet. 1 G — Cremona to Tenor c . 8 feet tone. 22 — Doublette, II ranks, . 2 feet. 17 — Double Dulciana ... 16 feet. 18 — Open Diapason .... 8 feet. 1 9 — Stopped Diapason . . 8 feet tone 20 — Principal 4 feet. 21 — Flageolet 4 feet. Pedal, 1 Stop. 27 — Open Diapason (CCC to Gamut G) . .16 feet length Accessory Stops, Movements, &c. 23 — Hautboy 8 feet. 24 — Trumpet . , . . o . . . 8 feet. 2.5 — Cornopean 8 feet. 26— Clarion 4 feet. 1 — Coupler, Great to Pedal. 2 — Coupler, Swell to Great. 3, 4, 5 — Tliree Composition Pedals. Couplers. Great and Choir, GG to f^ in alt. Swell, Tenor c to f* in alt. Pedal Clavier, two octaves. 154. St. Peter's, Cornhill. Tiie Organ in St. Peter's Church, Cornhill, was originally built by Father Smith, hi 1681, at a cost of £210, inclusive of painting and gilding. It then contamed the following 13 Stops; compass, GG, short octaves, to d in alt; viz. Great, 9 Stops. G — Sesquialtera. . .Ill ranks. 1 — Open Diapason. 2 — Stopped Diapason. 3 — Principal. 4— Twelfth. 5 — Fifteenth. 10 — Stopped Diapason 11 — Principal. 7 — Mixture II ranks. 8 — Trumpet. 9 — Comet to Middle c^Jf, V ranks. Choir, 4 Stops. 1 2— Fifteenth. 13 — Cremona. AN ACCOUNT OF UIUTISU ORGANS. 423 To which Craiig inlded a Tonor t" Swell of 0 Stojis. The " Chorus" ol Smith's Organ was originally a very fine one, but had been in 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 incorpo- rated with the new work. The present Organ, which is considered one of the finest in London, contains the fijilowing Stops : 1 — Tenoroon Tenor 2 — Bourdon, 3 — Principal 4 — Stopped Treble 5 — Stopped Bass . (5 — Dulciana 7— Claribel Tenor 8 — Principal Diapason, to c key to meet No. 1. Diapason . . Diapason, Diapason, , to Tenor c . Flute, to c Octave .... Great, 20 Draw Stops. IG feet. 16 feet tone. 8 feet. 8 feet tone. 8 feet tone. 8 feet. 8 feet. 4 feet. 0_Wald Flute 10— Oboe Flute 11 — Stopped Flute 12 — Twelfth i;}— Fifteenth 14 — Tierce 15 — Sesquialtera, II ranks 16 — Mixture ... II ranks 17 — Doublette . . II ranks 1 8 — Corno Trombone . . ... 19 — Corno Clarion 20 — Cremorne, to Tenor c 4 feet. 4 feet. 4 feet tone 2f feet. 2 feet. 1 f foot, li foot. f foot. 2 feet. 8 feet. 4 feet. 8 feet tone. 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. 26 — Principal Octave. ... 4 feet. 27 — Suabe Flute, to Tenor c 4 feet. 28 — Flageolet, to Tenor c . 4 feet. Swell, 18 Draw Stops. 29— Twelfth 2| feet. 80 — Fifteenth 2 feet. 2 feet, f foot. 1 foot. 31 — Piccolo, to Tenor c . . 82 — Sesquialtera, III rks. 33— Mixture II rks. 34 — Echo Dulciana Cornet, V ranks. 35 — Cornopean 8 feet. 36 — Tromba 8 feet. 37 — Hautboy 8 feet. 38 — Clarion 4 feet. 39 — Great Diapason Pedal, 2 Draw Stops. 16 feet. I 40 — Contra Posaune Accessory Stops, Movements, &c. 16 feet. 1 — Coupler, Swell to Great. 2 — Coupler, Great to Pedal. 3 — Coupler, Swell to Pedal. 4 — Octave Pedal. 5, 6, 7, 8 — Four Composition Pedals. Compass. Great Organ, CC to f^ in alt, 54 notes. Swell Organ, CC to f^ in alt, 54 notes. Pedal Organ, CCC to BB, 12 notes. Pedal Clavier, CCC to Tenor a, 27 keys. 155. 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 454 APPENDIX. Messrs. Robson, under the direction of Mr. Limpus, the present Organist, and now ranks as one of the finest instruments in the metropolis. Great Organ, Feet. Pipes. 1 — Double Open Diapason, metal IG 5G 2 — Large Open Diapason. . 8 56 3 — Open Diapason 8 56 4 — Stopped Diapason .... 8 56 6 — Principal 4 56 6— Wald Flute 4 56 12 Stops. Feet. Pipes. 7— Twelfth 3 56 8— Fifteenth 2 66 9— Sesquialtera, IV ranks. 2 224 10 — Mixture IV ranks. 1 224 11— Trumpet 8 56 12— Clarion 4 66 1008 Feet. Pipes. 1.3- 14- . 8 44 15- . Stone. 56 16 17- 4 tone. 56 Choir Organ, 8 Stops. Feet. Pipes. 18— Fifteenth 2 56 19— Bassoon 8 56 2 0 — Clarionet 8 tone. 44 424 Swell Organ, 12 Stops. Feet. Pipes. 21 — Double Diapason .... 16tone.56 22 — Open Diapason 8 56 23 — Dulciana 8 54 24 — Stopped Diapason .... 8 tone. 56 25 — Principal.. .. , 4 56 26 — Fifteenth 2 56 27 — Piccolo 2 56 Feet. Pipes. 28 — Sesquialtera, III ranks. 1| 168 29— Mixtm-e II ranks. | 112 30— Oboe 8 66 31— Horn 8 56 32— Clarion 4 85 828 33 — Open Diapason. . . 34 — Stopped Diapason , Pedal, 3 Stopi Feet. Pipes. 16 30 16 tone. 30 35 — Trombone, metal Feet. Pipes. 16 30 1 — Swell to Great, 2 — Swell to Choir. 3 — Great to Pedal. 4— Choir to Pedal. Accessory Stops, Movements, &c. 5— Swell to Pedal. 6 — Octave Pedal. 7, 8, 9, 10 — Four Composition Pedals. Compass. All the Manuals, CC to g3 in altissimo. I Pedal, CCC to Tenor f. Great Organ 12 Swell Organ 12 Choir Organ 8 Summary of Stops stops. Pipes. 1008 828 424 stops. Pipes. Pedal Organ 3 90 Copulas 6 41 2350 AN ACCOUNT OV URITISK 0R(IAN8, 455 15(i. St. Stepiikn's, Wamuiook. Tlio Organ in St. Stephen's Churcli, Walbrook, was built by George EnglanJ, about the year 1 7(!0 ; and was paid for out of funds raised by subscription. Tiie 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 make in London ; — conse- quently, 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. Tiie Organ now contains 26 Stops, of which the following is a list : Great, 11 Stops. 7 — Fifteenth. 1 — Open Diapason 2 — Open Diapason. 3 — Stopped Diapason. •1 — Principal. 5 — Nason. G— Twelfth. 12 — Stopped Diapason. 13 — Principal. 14— Flute. 18 — Open Diapason. 10 — Stopped Diapason. 20— Principal. 21 — German Flute. 8 — Furniture, III ranks. 9 — Mixture,. . II ranks. 10 — Trumpet. 1 1 — Clarion. Choir, 6 Stops. 15 — Fifteenth, IG — French Horn. 17 — Vox Humana. Swell, 8 Stops. 22 — Cornet, III ranks. 23 — Hautboy. 24 — Trumpet. 25 — Clarion. Pedal, 1 Stop. 26 — Open Pipes GGto Gamut G, one octave,. .10§ feet length. 1 — Great, GG to e^ in alt. 2— Choir, GG to e^ in alt. 3 — Swell, Fiddle g to e^ in alt. Compass. 4 — Pedal Stop, one octave. 5 — Pedal Clavier, GG to Tenor c, octave and a half. Accessory Stop. Coupler Great to Pedal. 157. St. Edmund the King, Lombard Steeet. 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 FF, 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. G — Sesquialtera, III ranks. 7 — Trumpet. 45G t APPENDIX. 8— Dulciana to FF. 9 — Stopped Diapason. 10 — Principal. 13 — Open Diapson 14 — Stopped Diapason 1 5 — Principal. 16— Twelfth. Choir, 5 Stops. 11— Flute. 12 — Cremona to Tenor e. Swell, 7 Stops. 17 — Fifteenth. 18— Hautboy. 1 9 — Trumpet. Pedal, 1 Stop. 20— Open Wood Pipes, GGG to CC,. .21^ feet length. Accessory Stops, Movements, &c. 1 — Coupler, Swell to Great. 2 — Coupler, Swell to Choir. 3 — Coupler, Choir to Great. 4 — Coupler, Great to Pedal. Great GG to f » in alt. Choir, GG to f 3 in alt. 5 — Coupler, Choir to Pedal. 6, 7, 8, 9 — Four Composition Pedals. 10 — Shifting Movement to Swell. Compass. Swell, EE to f ^ in alt. Pedal, GG to Tenor c. This Organ has ^fourth Manual, which acts either on the Pedal Pipes, or on the Great or Choir Organs. 158. St. Mary-at-Hill. The Organ at St. Mary-at-Hill is a very fine instrument, and was built in 1849, by Messrs. Hill and Co. It contains 30 Sounding Stops, distributed among 2 Manuals and Pedal, in the following manner : Great, 1 5 Stops. — Every Stop throughout. 8 — Super Octave 2 feet. 1 — Bourdon and Open Dia- pason IG feet. 2 — Open Diapason 8 feet. 3 — Gamba 8 feet. 4 — Stopped Diapason 8 feet. 6 — Quint G feet. 6 — Octave 4 feet. 7 — Octave, Quint 3 feet. 9— WaldeFlute 4 feet. 10— Flageolet 2 feet. 11 — Sesquialtera. .Ill ranks. 12 — Mixture . . . .Ill ranks. ] 3 — Posaune 8 feet. 14 — Clarion 4 feet. 15 — Krum Horn 8 feet. Swell 12 Stops. 16 — Bourdon and Open Dia- pason 16 feet. 17 — Open Diapason 8 feet. I Stopped Diapason, bass \ ^ ^.^^^ ( Stopped 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 — Sesquialtera 3 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. AN ACCOUNT OK UIUTISII ORliANS. 467 Accessory Stops, Movements, &c. 1 — Coupler, Swell to Great. 2 — Coupler, Great to Pedal. Great, CC to f ^ in alt. Swell, CC to f ' in alt. 3 — Coupler, Swell to Pedal. 4, .5, G — Three Composition Pedals. Compass. Pedal, CCC to Tenor e. 159. 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 : Great, 10 Stops. 7 — Mixture. ... II ranks. 8 — Trumpet. 9 — Clarion. 10 — Cornet to middle c^, V ranks. These Stops are all throughout, except the Cornet. 1 — Open Diapason. 2 — Stopped Diapason. 3 — Principal. 4— Twelfth. 5 — Fifteenth 6 — Sesquialtera, III ranks. 11 — Stopped Diapason. 1 2 — Principal. 13— Flute. 16 — Open Diapason. 17 — Stopped Diapason. 1 8 — Principal. Great, GG to e' in alt, no GG**. Choir, GG to e' in alt, no GG . Choir, 5 Stops. 14— Fifteenth. 15 — Cremona to Tenor c. Swell, 6 Stops. 19 — Cornet III ranks. 20 — Trumpet. 21 — Hautboy. Compass. Swell, Fiddle g to e^ in alt. Pedal Clavier, GG to Tenor c. 160. St. Botolph, Aldgate. There is a fine Organ in St. Botolph 's Church, Aldgate. The Great Organ was made by Smith in 1676 : the rest is by Byfield. The IV-rank Sesquialtera in the Great Organ commences with a Fifteenth. The following is a hst of the Stops : Great, 8 Stops. 6— Fifteenth. 6 — Sesquialtera, IV ranks. 7 — Mixture II ranks. 8 — Trumpet. 1 — Open Diapason. 2 — Stopped Diapason, metal Treble. 3 — Principal. 4— Twelfth. 9 — Stopped Diapason, wood. 10 — Dulciana to Tenor c, in place of Vox Humana. 11 — Principal. Choir, 5 Stops. 12— Flute, metal 1 3 — Bassoon, to Tenor c ; used to go through. 458 APPENDIX. Swell, 5 Stops. 14 — Open Diapason. 15 — Stopped Diapason. 10 — Principal. 17— Fifteenth. 18— Hautboy. Compass. Great, GG, short octaves, up to in alt. Choir, GG, short octaves, up to d''' in alt. Swell, Tenor e to d^ in alt. Pedal Clavier, octave and a half. 161. St. Ann's, Limehouse. The new Organ in St. Ann's, Limehouse, was made by Gray and Davison, and is the same which those builders erected in the Great Exhibition building in 1851. It contains 34 Stops, of which the following is a list : Great, 13 Stops. 1- — Double Open Diapason 16 feet. 2- 8 feet. 8- 8 feet. 4- —Stopped Diapason .... 8 ft. tone. 5- 4 feet. 6- 4 ft. tone. V- 2|feet. 8— Fifteenth 9 — Flageolet, Open 10 — Sesquialtera, III ranks. 11 — Mixture. ... II ranks. 12 — Posaune 13 — Clarion 2 feet. 2 feet. If foot. I foot. 8 feet. 4 feet. Choir, 8 Stops. 14 — Dulciana 8 feet. 1 5 — Keraulophon 8 feet. 16 — Clarinet Flute 8 ft. tone. 17 — Stopped Diapason Bass 8 ft. tone. 18— Octave. 4 feet. 19— Flute, Open 4 feet. 20— Fifteenth 2 feet. 21— Clarinet 8 ft. tone. Swell, 9 Stops. 22 — Bourdon 16ft. tone. 23 — Open Diapason 8 feet. 24 — Stopped Diapason ... 8 ft. tone. 2.5 — Octave 4 feet. 26 — Fifteenth 2 feet. 27 — Sesquialtera, III ranks. 28 — Cornopean 29— Oboe , 30 — Clarion , 8 feet. 8 feet. 4 feet. Pedal, 4 Stops. 31 — Grand Open Diapason 10 feet. 82 — Grand Bourdon . . . - 16ft. tone. 83 — Grand Octave 8 feet. 34 — Grand Bombarde 16 feet. 1 — Swell to Great. 2 — Swell to Choir. 3 — Great to Pedal. 4— Choir to Pedal. Accessory Stops, Movements, &c. 5 — Swell to Pedal. 6 — Sforzando Pedal. 7 to 12 — Stx Composition Pedals. Compass. Great, CC to f* in alt. Choir, CC to f* in alt. Swell Organ, Tenor c (4-ft. compass) to f ^ in alt. Swell Clavier down to CC, acting on Choir Organ below Tenor c. Pedal, CCC to Tenor e. AN ACCOUNT OF BRITISH ORGANS. 459 1G2. Wesleyan Chapel, Poplar. There is a very fine Organ in the Wesleyan Cliapel, Poplar. It was made by Hill, in 1847, and contains 3 Manuals, all of complete CC compass, a Pedal of G Stops, and 40 Sounding Stops, of which latter the following is a list : Great Organ, 1 5 Stops. 8 — Octave Quint . 1 — Double Open Diapason, to Tenor c 1 G feet. 2 — Sub-bass, to meet No. 1. IG feet, o — Open Diapason 8 feet. 4 — Open Diapason 8 feet. 5 — Stopped Diapason,wood 8 ft. tone G — Quint G feet. -Octave . IG 4 feet. 3 feet. 9 — Super-octave 2 feet. 10 — Sesquialtera, III ranks. 11 — Mixture. . . . II ranks. 1 2 — Fourniture, III ranks. 13 — Contra Trumpet IG feet. 14 — Posaune 8 feet. 15 — Clarion 4 feet. Swell Organ, 14 Stops. Double Open Diapason to Tenor c IG feet, 17— Bourdon, to meet No. 1. IG ft. to 1 8 — Open Diapason 8 feet, 1 9 — Stopped Diapason Tre- ble 20 — Stopped Diapason, Bass 21 — Dulciana to Tenor c. . 8 ft. tone. 8 ft. tone. 8 feet. 4 feet. 4 feet. 3 feet. 22 — Octave 23— Suabe Flute 24 — Octave Quint 25 — Super Octave 2 feet. 26 — Sesquialtera, III ranks. l| foot. 27 — Cornopean 8 feet. 28 — Hautboy 8 feet. 29 — Clarion 4 feet. 80 — Viol di Gamba 31— Hohl Flute, to Tenor c 32 — Stopped Diapason, me- tal Treble to Tenor c, 33— Claribel 34 — Gemshorn , ... 40 — Open wood Bass . 41— Metal Open Bass. 42 — Octave, metal . . . Choir Organ, 10 Stops. 8 feet. 8 feet. 8 ft.tone. 8 feet. 4 feet. 35— Wald Flute 37 — Piccolo. 38 — Krum Horn 39 — Fagotto Pedal, 6 Stops. 16 feet. 16 feet. 8 feet. 4 feet. 36 — Super Octave 2 feet. 2 feet. 8 ft. tone. 8 feet. 43 — Octave Quint 6 feet. 44 — Super Octave 4 feet. 45 — Trombone IG feet. Accessory Stops, Movements, &c. 1 — Coupler, Swell to Great. 2 — Coupler, Great to Pedal. 3 — Coupler, Swell to Pedal, 4 — Coupler, Choir to Pedal. 5 — Sforzando Pedal, uniting Great to Swell. 6, 7, 8 — Three Composition Pedals. Compass. Great, CCC to f^ in alt, 54 notes. Swell, the same. Choir, the same. Pedal, CCC to Tenor d, 27 notes. 163. Christ Church, Spitalfields. 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, scaixely half its 4G0 APPENDIX. real value. In 1822, it was repaired by Mr. Bishop, who introduced the Dulcianainto the Choir Organ, in place of the Ill-rank Mixture. The instrument afterwards suffered materially from water, during the fire that occurred in the steeple, and was subse- quently repaired and enlarged by Lincoln, in 1 837, 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 and Davison, under the direction of Mr. J. S. Noble, the Organist to the Church. The Spitalfields Organ now contains 46 Sounding Stops, distributed among 3 Manuals and Pedal, in the following manner : Great Organ, 16 Stops. 1 — Open Diapason. 2 — Open Diapason, 3 — Stopped Diapason. 4 — Clarabella. 5 — Principal. 6 — Principal. 7_Twelfth. 8 — Fifteenth. 9— Fifteenth. 10 — Tierce. 11 — Sesquialtera, V ranks. 12 — Mixture, . . II ranks. 13 — Furniture, .III ranks. 14 — Posaune. 15 — Trumpet. 1 G — Clarion. Swell Organ, 14 Stops. 17 — 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. 31 — Open Diapson. 82 — Stopped Diapason. 33 — Dulciana. 34 — Principal. 35— Flute. 36 — Fifteenth. 24— Fifteenth. 25 — Sesquialtera, III ranks. 2G — Mixture II ranks. 27 — Contra Fagotto. 28 — Cornopean. 29— Oboe. 30 — Clarion. Choir Organ, 11 Stops. 37 — Flageolet. 38 — French Horn, to Tenor c. 39 — Trumpet, to Tenor c. 40 — Cremona. 41 — Bassoon. 42 — Open Diapason. 43 — Bourdon. Pedal Organ, 4 Stops. 44 — Principal. 45 — Trombone. Accessory Stops, Movements, &c. 1 — Coupler, Swell to Great. 2 — Coupler, Choir to Great. 3 — Coupler, Swell to Choir. 4 — Coupler, Great to Swell (Sforzando). 6 — Coupler, Choir Sub-octave to Great. & — Coupler, Great to Pedal. 7 — Great Sub-octave to Pedal. 8— Choir to Pedal. 9— Swell to Pedal. 10— Octave Pedal Coupler. 11 to 17 — Seven Composition Pedals. AN ACCOUNT OK lUllTISII ORGANS. 461 Compass. Great, GG to f » in alt 59 notes. Choir, GG to P in alt 5'.) notes. Swell, CC to f 3 in alt .54 notes. Pedal, partly GG to middle c . notes. Summary of Stops and Pipes. Great Choir Swell Pedal I (J Stops , I I Stops , 14 Sto]is . 4 Stops , 1.328 pipes, 551 pipes. 70iJ pipes. 02 ])ipes. 27*;!) Pipes. 45 Stops. Couplers . . 9 Total.. 54 164. St. Luke's Church, Old Street Road. The Organ in St. Luke's Church, Old Street Road, was originally built by Bridfre, but has been remodelled and almost entirely reconstructed by Gray and Davison. It now consists of 3 Manual Organs of complete compass ; an independent Pedal ; and 32 Stops, of which the following is a list : Great, 14 Stops. 1 — Sub-octave, Stopped. 2 — Principal, Open . . . . 3 — Principal, Open . . . . 4 — Stopped Principal . . . 6 — Octave .... - 6 — Piccolo Flute 7— Twelfth IG ft. tone. 8 feet. 8 feet. 8 ft.tone. 4 feet. 4 feet. 3 feet. 8— Fifteenth 9 — Ottavina 1 0 — Seventeenth 11 — Sesquialtera, II ranks 12 — Mixture .... II ranks 13 — Trumpet 14 — Clarion Choir, 7 Stops. 1 5— Stopped Flute, Treble , 1 6 — Stopped Bass 17 — Dulciana 18 — Octave . „ 22 — Sub-octave, Stopped. 23 — Principal 24 — Concert Flute 25 — Octave 26— Fifteenth 8 ft.tone. 8 ft.tone. 8 feet. 4 feet. 29— Flageolet 20— Fifteenth. 21 — Clarinet, , Swell, 9 Stops. 16 ft.tone. 8 feet. 8 feet. 4 feet. 2 feet. 27 — Sesquialtera, III ranks 28— Hautboy 29 — Cornopean 30 — Clarion 2 feet. 2 feet. If foot. H foot. -f foot. 8 feet. 4 feet. 4 feet. 2 feet. 8 ft.tone. If foot. 8 feet 8 feet. 4 feet. Pedal, 2 Stops. 31 — Grand Principal 16 feet. | 32 — Grand Octave 8 feet. Accessory Stops, Movements, &c. 5 — Coupler, Choir to Pedal, 1 — Coupler, Swell to Great. 2 — Coupler, Swell to Great, Sub-octave. 3 — Coupler, Swell to Great, Super- octave. 4 — Coupler, Great to Pedal. 6 — Coupler, Swell to Pedal. 7, 8, 9, 10 — Four Composition Pedals. 11 Tremulant Swell. Great, CC to f ^ in alt. Choir, CC to f in alt. Compass. Swell, CC to f 3 in alt. Pedal, CCC to Tenor e. 4G2 APPENDIX. 1G5. St. Leonard's, Shoreditoh. This Organ was built by Bridge, in 1757, and contains the following Stops: 1 — Open Diapason. 2 — Open Diapason. 8 — Stopped Diapason. 4 — Principal. 6 — Principal to middle Ci V-rank Cornet. 6— Twelfth. 14 — Open Diapason. 15 — Stopped Diapason. 1 G — Principal. 20 — Open Diapason. 21 — Stopped Diapason. 22 — Principal. Great, GG to e3 in alt. Choir, GG to in alt. Swell, Fiddle g to es in alt. Great, 13 Stops. 7— Fifteenth. 8 — Tierce. 9 — Sesquialtera, HI ranks. 10 — Furniture . . II ranks. in place of 11 — Trumpet. 12 — Trumpet. ^ 13 — Clarion. Choir, G Stops. 17— Flute. 18 — Fifteenth. 19 — Cremona to g. Swell, 6 Stops. 23 — Fifteenth in place of Ill-rank Cornet. 24 — Hautboy. 25 — Trumpet. Compass. Pedal Clavier, octave and a half ; GG to Tenor c. 16G. Hackney. There is a fine Organ in St. John's Church, Hackney, built by Snetzler. It was originally 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; 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 CCC ; a Dulciana to the Choir Organ, in place of the Vox Humana ; extended the Swell fi-om 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 wdth a new pair of Horizontal Bellows. The Organ now contains 25 Sounding Stops, of which the following is a list: Great, 12 Stops. 1 — Open Diapason. 2 — Open Diapason. 3 — Stopped Diapason, metal to Mid- dle ci. 4 — Principal. 5— Twelfth. G— Fifteenth. 7 — Tierce. 8 — Sesquialtera, III ranks. 9 — Mixture .... II ranks. 10— Cornet, to Middle c^, V ranks. 11 — Trumpet. 1 2 — Clarion. AN ACCOUNT OK lUtlTISII ORGANS. 403 13 — Stopped Diapason, wood. 14 — Dulciana. 15 — Princii)iil. Choir, (! Stops. 10 — Flute, metal. 1 7 — Fifteenth. 18 — Bassoon throughout. Swell, G Stops. 22 — Cornet, III ranks. 23— IIautl;ioy. 24 — Trumpet. 10 — Open Diapason. 20 — Stopped Diapason, metal to Mid- dle el. 21 — Principal. Pedal, 1 Stop. 26 — Open Pipes, one octave, CC to CCC, 10 feet length. Accessory Stops, Movements, &c. 1 — Coupler, Swell to Great. 2 — Coupler, Choir to Great. 3 — Coupler, Great to Pedal. Great, GG to f^ in alt. Choir, GG to f^ in alt. 4 — Coupler, Choir to Pedal. 5, 6, 7 — Three Composition Pedals. Compass. Swell, Tenor c to fs in alt. Pedal Clavier, GG to Tenor c. The quality of tone of the instrument is excellent throughout. The old Open Diapason, by Snetzler, is of very superior tone ; the second one, added by England, is also a very good Stop, and mixes well with the rest of the instrument. The metal Stopped Diapasons in the Great and Swell are very clear and pure in quality. The instrument possesses the advantages of standing in a good situation, and being placed in a Church that is favorable to sound. 167. St. Mary's Catholic Chapel, Moorfields. The Organ in St. Mary's Catholic Chapel, Moorfields, was built by Bevington and Son. It contains 31 Sounding Stops, of which the following is a list : 1 — Open Diapason, metal, No. 2 — Open Diapason, ditto. No. 3 — Open Diapason, small. No. 4 — Stopped Diapason, No. 1. 6 — Stopped Diapason, No. 2. 6 — Principal, large, No. 1. 7 — Principal No. 2. 14 — Open Diapason. 15 — Stopped Diapason. IG — Dulciana. 17 — ^Principal. 22 — Double Diapason. 23 — Open Diapason. 24 — Stopped Diapason. 25— Claribel. 26 — Principal. Great, 13 Stops. 1. 8— Twelfth. 2. 9 — Fifteenth. 3. 10 — Sesquialtera, IV ranks. 11 — Mixture. . . Ill ranks. 12 — Trumpet. 13 — Clarion. Choir, 8 Stops. 18 — Flute. 10 — Fifteenth. 20— Mixture, III ranks. 21 — Cremorne. Swell, 9 Stops. 27— ^Cornet, III ranks. 28— Trumpet. 29 — Clarion. 30— Oboe. 4G4 APPENDIX. Pedal, 1 Stop. 31— Open Pipes from CC down to FFFF. .24 feet length. Accessory Stops, Movements, &c. 1, 2, 8 — Three Couplers. | 4 to 12 — Nine Composition Pedals. Compass. Great, FFF to f 3 in alt. Choir, FFF to f 3 in alt. Swell, FF to f 3 in alt. Pedal, FFF to Tenor c. 168. St. Mark's, Pentonville. A fine Organ, built by Gray, lowing is a list : 1 — Open Diapason. 2 — Open Diapason. 3 — Stopped Diapason. 4 — Principal. 5_Twelfth. 11 — Open Diapason. 12 — Stopped Diapason. 13 — Dulciana. 14 — Principal. 19 — Double Dulciana. 20 — Open Diapason. 21 — Stopped Diapason. 22 — Principal. It contains 26 Sounding Stops, of which the fol- Great, 10 Stops. G— Fifteenth. 7 — Sesquialtera, III ranks. 8 — Mixture. ... II ranks. 9 — Trumpet. 1 0 — Clarion. Choir, 8 Stops. 15— Flute. 16— Fifteenth. 17 — Bassoon. 1 8 — Cromorne. Swell, 7 Stops. 23 — Dulciana. 24 — Hautboy. 25 — Trumpet. Pedal, 1 Stop. 26— Open Pipes to CCC, 16 feet length. 169. St. Dunstan's in the West, Fleet Street. Tlie 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, 9 Stops. 1 — Open Diapason, large. 2 — Open Diapason, small. 3 — Stopped Diapason. 4 — Principal. 5_Twelfth. 10— Dulciana, all through. 11 — Stopped Diapason. 12 — Principal. 13 — Flute. 17 — Double Diapason. 18 — Open Diapason. 19 — Stopped Diapason. 20 — Principal. 6— Fifteenth. 7 — Sesquialtera, III ranks. 8 — Mixture .II ranks. 9 — Trumpet. Choir, 7 Stops. 14— Fifteenth. 15 — Cremona. 1 6 — Bassoon. Swell, 7 Stops. 21— Flute. 22 — Trumpet. 23— Oboe. AN ACCOUNT OF URITISH GROANS. 466 I'edul, 1 Stop. 24— Open Pipes, CC down to GGG. . 2U feet. Accessory Stops, Movements, &c 1 — Coupler, Swell to Great. 2 — Coupler, Great to Pedal. 3 — Coupler, Choir to Pedal. Compass, Great, GG with GGJ{ to P in alt. Choir, the same. ■i — Choir to Great, Sub-octave. 5, (J, 7 — ^Three Composition Pedals. Swell, Tenor f to P in alt. Pedal, GG to Tenor c. 170. Foundling Hospital. The new Organ for the Foundling Hospital is being built by Bevington, from a Specification prepared by Mr. Willing, the Organist to the Chapel. It is to consist of 49 Sounding Stops, 3 Manuals, and Pedal. The following is a list of the Stops which it is to contain : Great, 18 Stops. Feet. Pipes. 1 — Double Open Diapa- son to the Tenor c key 49 . , 2— Bourdon, CCC to BB . 12., 3 — Open Diapason, No. 1 , 61 • 4 — Open Diapason, No. 2, 61. 5 — Open Diapason, No. 3, large scale 61 . . C — Stopped Diapason, through 61., 7— Clarabella, to Fiddle g 42 . , 8 — Principal, No. 1 , 61, Pipes. 49. 12. 1 9 — Dulciana Treble . 20 — Dulciana Bass . 21— Viol da Gamba, Te- nor c 49. 22 — Stopped Diapason . . 61 . 23 — Principal 61 . 24— Wald Flute, Tenor c. 49. Pipes. 9— Principal, No. 2 61. 10— Wald Flute, to Te- 16 nor c 49. 6 tone. 11— Twelfth 61. 8 12— Fifteenth 61. 13 — Sesquialtera 244. 14— Mixture 183. 1 .5— Furniture 183. 1 6 — Trumpet 61 . 17 — Tromba, Solo Stop . . 49. 18 — Clarion 61. 11 Stops. Pipes. 25 — Suabe Flute, Tenor c. 49. 26— Fifteenth 61. 27 — Piccolo, Tenor c . . . 49. , 2 8 — Double Bassoon, Te- nor c 49. 29 Clarionette, Tenor c . . 49. . Stone. , 8 . 4 Choir, Feet. . 8 . 8 . 8 . 8 tone. , 4 , 4 Swell, 15 Stops Feet. Feet. . 4 , 4 .21 , 2 . IV rks. .Ill rks. , III rks. . 8 . 8 , 4 Feet. 4 2 2 16 8 tone. Pipes. 30 — Double Open Diapa- son, to Fiddle G key 42.. 16 31— Bourdon Bass, CCC to FFt 19. .16 tone. 32 — Open Diapason 61 . . 8 33— Stopped Diapason, Treble 49. . 8 tone. 34 — Stopped Diapason, Bass 12 . 35 — Dulciana, Tenor c. . 49. Pipes. 45 — Open Diapason, wood 30. 46 — Open Diapason, metal 30 . 47 — Bourdon .... wood 30. . 8 tone. . 8 Pedal, Feet. .16 .16 .16 tone. Feet. Pipes. 36 — Viol da Gamba, Te- nor c 49. . 8 37 — Principal 61.. 4 38 — Open Flute, Tenor c. 49. . 4 39— Triplet 183. . Ill rks. 40— Doublette 122 . . II rks. 41 — Trombone 61. .16 42 — Cornopean 61.. 8 43— Oboe 61. . 8 44— Clarion 61.. 4 Stops. 48 — Principal . . metal. 49 — Trombone, .metal. Pipes. . 30. , 30. Feet. 8 16 H H 466 APPENDIX. Also, by means of an octave coupler, and an additional octave of Pipes above Tenor f. Pipes. Feet. . Pipes. Feet. a — Octave , . . b — Principal . c — Bass Flute. wood . metal . v*rood 12. 12. 12. 8 8 8 tone. d— Fifteenth e — Trumpet metal. . 12. . 4 metal.. 12.. 8 1 — Swell to Great. 2— Swell to Choir. 3— Pedal to Great. 4— Pedal to Swell. Accessory Stops, Movements, &c. 5— Pedal to Choir. 6 — Octave up to Great. 7 to 16 — Nine Composition Pedals. Great, CC to c* in altissimo, 5 com- plete octaves. Choir, CC to c* in altissimo, ditto. Swell, CC to c* in altissimo, ditto. Compass. Pedal Organ, CCC to Middle fi, fii octaves. Pedal Clavier, CCC to Tenor f, 2^ octaves. 171. St. Clement Dane's, Strand. A good Organ, built by Schmidt, and altered by Hill. Great— GG 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. 19 — Cornet, IV ranks. 6— Twelfth. 7— Fifteenth. 8 — Sesquialtera, IV ranks. 9 — Mixture ... Ill ranks. 10 — Trumpet. Choir— GG to D. 14— Fifteenth. 15 — Cremona. Swell— Tenor F to D. 20 — Trumpet. 21— Oboe. 22 — Clarion. 23- Pedal, 1 Stop. -li octave of Pedal Pipes, GG (unisons). 172. St. Martin's Hall. The new Organ for St. Martin's Hall is being built by Messrs. Hill and Co. When completed, it will contain the 40 Sounding Stops mentioned below : Great, 14 Stops. 8— Flute 4 feet. 1 — Double Open Diapason, metal and wood . . 16 feet. 2 — Open Diapason .... 8 feet. 3 — Spitzflute 8 feet. 4 — Stopped Diapason . . 8 feet tone 5 — Quint 5i feet. 6 — Principal 4 feet. 7 — Gemshorn 4 feet. Choir, 11 Stops. 9 — Octave Quint 2| feet. 10— Fifteenth 2 feet. 11 — Sesquialtera, III ranks. 2 feet. 12 — Mixture. ... II ranks. 13 — Posaune 8 feet. 14 — Clarion 4 feet. 1 5 — Bourdon, throughout . 1 6 feet tone. 16 — Dulciana 8 feet. 17 — Gamba 8 feet. 18 — Stopped Diapason .. 8 feet tone. 19— Octave 4 feet. 20 — Flute 4 feet tone. 21— Fifteenth 2 feet. 22 — Piccolo 2 feet. 23 — Cymbal, II ranks. 24 — Double Bassoon .... 16 feet. 26 — Clarinet 8 feet tone. AN ACCOUNT OF nRITISH OKOANS. 467 Swell, 10 Stops. 2G — Double Stopped Dia- pason 1 () feet tone. 27 — Open Diapason .... it feet. 28 — Stojjped Diapason ... 8 feet tone. 29 — Principal 4 feet. 30— Fifteenth 2 feet. 31 — Mixture, III ranks. 32 — Hautboy 33 — Cornopean 34 — Clarion 3r) — Vox Humana 8 feet. 8 feet. 4 feet. 8 feet tone. Pedal, 5 Stops. 36 — Open Diapason 1(5 feet. n7_Violone IG feet. 38 — Bourdon 16 feet tone. 39 — Principal 8 feet. 40 — Posaune 16 feet. 1 — Swell to Great. 2 — Great to Pedal. Accessory Stops, Movements, &c. 3— Choir to Pedal. 4, 5, 6— Three Composition Pedals. Compass. Great, CC to a' in altissimo. Choir, CC to a' in altissimo. Swell, Tenor c to a? in altissimo. Pedal, CCC to Tenor f. 173. German Lutheran Church, Savoy, Strand. The Organ in the German Lutheran Church in the Savoy, Strand, was built by Snetzler. It contains 1 8 Stops, of which the following is a list : Great, 8 Stops. 5— Fifteenth. 1 — Open Diapason. 2 — Stopped Diapason. 3 — Principal. 4— Twelfth. 9 — Open Diapason. 10 — Stopped Diapason. 1 1 — Principal. 15 — Open Diapason. 16 — Principal. 6 — Sesquialtera, III ranks. 7 — Trumpet. 8 — Cornet, mounted, V ranks. Choir, 6 Stops. 12— Flute. 13— Fifteenth. 14 — Bassoon. Swell, 4 Stops. 1 7 — Hautboy. 1 8 — Trumpet. Accessory Stops, Movements, &c. 1 — Coupler, Choir to Great. 2 — Coupler, Swell to Great. 3 — Tremulant ; part of Snetzler's original work. Great, FFF to e^ in alt. Choir, GG to e^ in alt. Compass. Swell, Fiddle g to es in alt. Pedal Clavier, FFF to Tenor c. 174. 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 Court Road. The exterior, which corresponds with the architecture of the Hall, was designed by Mr. Robert R. Banks. The width of the instrument is thirty feet, and the height forty ; the depth in the lower part is four feet six inches only, the Directors of the Hall having limited the builder to these dimen- H H 2 408 APPENDIX. sions, to prevent a loss of space on the platform when public meetings are held. Within this lower part, the bellows, four in number, are placed; while above, at the height of twelve 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 con- siderably higher than the outer ones, and project five feet each beyond the body of the instrument ; the longest pipes in these towers measure twenty feet from the base and sixteen from the body (C and C sharp) ; the circumference is forty- five inches, the diameter fifl;een inches, and the weight of each four 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 ex- tended 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 adopted for the tuning ; the latter improvement at the suggestion of Mr. Costa. The Organ now contains 41 Sounding Stops, of which the following is a list: 1 — Open Diapason. 2 — Open Diapason, large. 8 — Open Diapason, small. 4 — Stopped Diapason. 5 — Principal, large. G — Principal. 7— Twelfth. 14 — Open Diapason. 1 5 — Stopped rjiapason. 16— Dulciana to FF. 17 — Principal. 21 — Open Diapason. 22 — Open Diapason, large. 2.3 — Stopped Diapason. 24 — Dulciana. 25 — Principal. 2 G— Metal Flute. 27 — Fifteenth. Great, 13 Stops. 8— Fifteenth. 9 — Sesquialtera, III ranks. 10 — Mixture, .. II ranks, 11 — Furniture,. . II ranks. 12 — Trumpet. 1 8 — Clarion. Choir, 7 Stops. 18— Metal Flute. 19— Fifteenth. 20 — Cremona to Fiddle g. Swell, 13 Stops. 28 — Sesquialtera, III ranks. 29— Horn. 30— Oboe. 81 — Clarion. 32 — Ophicleide, 8 feet, } on a 38 — Ophicleide, 4 feet, j heavy wind. A.N ACX'OU.NT ()!■' ItltnT.SlI OHUANS. 469 Pedal, !! Stc)|is. 84— Double Open to FFFP 82 feet. 35 — Open Diapason, wood. 1(! foot. 36— Open Diapason, metal. Ki foot. 37 — Principal H feet. ;Ui — Fifteenth 8 feet. 3!) — Ses(iuia!tera, III ranks 40 — Trombone 10 feet. 41 — Trumpet 8 feet. 1 — Swell to Great. 2 — Choir to Great. 3 — Great to Pedal. 4— Choir to Pedal. Accessory Stops, IMovements, &c. 0 to 1 2 — Seven Composition Pedals ; viz. 3 to Great, 2 to Swell, and 2 to I'edal. 13 — Pneumatic attachment. Compass. Great and Choir, FFF to in altissimo. Swell, CC to in altissimo. Pedal, CCC to Tenor e. 175. St. ]\Iartin-in-the-Fields. This Organ, built by Messrs. Bevington, for the Parish Church of St. Martin-in- the-Fields, erected by voluntary subscription, 1854, contains three Manuals, from CC to Gin alt (5G keys), and Pedal Organ, 2* Octaves (30 keys) ; Two 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 feet 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, CCC, being 18 feet in length. The smaller Case in front of the lower Gallery, 10 feet wide by 12 feet in height, contains the Choir Organ, the front gilt Pipes also form- ing a portion of the interior Stops. Great Organ, CC to G, 18 Stops. stops. Pipes. 1— Double Diapason, metal CCC. . 16 ft.) 12 2— Ditto, ditto ditto CC. 16 ft. | 44 3 — Open Diapason, ditto, large scale. No. 1 . . . . 8 ft 56 4 — Ditto, ditto ditto No. 2 8ft 56 6— Hohl Diapason ditto Tenor C. 8ft 44 6 — Stop Diapason, wood 8 ft. 1 tone 12 7— Claribel ditto 8 ft. | 44 8— Principal No. 1 4ft 56 9 — Quint, double twelfth Oft 56 10 — Decima, tenth 3 ft. 0 in 56 11— Twelfth 3 ft. 66 12— Fifteenth 2ft 56 13 — Sesquialtera, IV ranks 224 14 — Furniture,. , III ranks 168 15 — Mixture. ... Ill ranks 168 10— Wald Flute, Tenor C. 4ft 44 17— Trumpet CC. 8ft 5G 18 — Clarion 4 ft 56 1264 470 APPENDIX. Swell Organ, CC to G. stops. Pipes. 19 — Bourdon, Double Diapason, wood 16 ft. tone. | 20 — Double Diapason, metal C. . ]0 tt. . , j 21— Open Diapason, metal .... CC. . 8 ft 56 22 — Dulciana, small scale . . , — metal, Tenor C. . 8 ft 44 23 — Stop Diapason Bass 8 ft. tone. \ gg 24 — Ditto, ditto Treble 8 ft. tone, j 25 — Flute 4 ft. tone 56 26— Principal ■ 4 ft 56 27— Twelfth 8 ft 56 28— Fifteenth 2 ft 56 29— Sesquialtra, . . IV ranks 280 30— Trombone, double reed CCC. 16 ft 56 31— Cornopean CC. , 8 ft 56 32— Oboe CC. 8 ft 66 • 33- Clarion CC. 4 ft 56 Five Couplers ; viz. 940 Choir Organ, CC to G. 34 — Bourdon Double Diapason, wood K! ft. tone. ] ^ 35 — Double Diapason, ditto, . . Tenor C. 16 ft. ..j ' 36 — Open Diapason metal CC . 8ft 66 37— Viol de Gamba Tenor C . 8ft 44 38 — Dulciana Tenor C. 8 ft 44 39— Claribel ) C . 8 ft. tone 40 — Stop Diapason Bass, j 8 ft 41 — Principal 4 ft ' 56 42— Flute 4ft 56 43— Mixture, III ranks Dulciana Scale 2ft 168 44— Clarionet Tenor C . 8ft 44 45 — Bassoon, double reed .... Tenor C. . 16 ft 44 56 624 Pedal Organ, CCC to F.— 30 Notes. 46 — Great Open Diapason,, .wood 16 ft 30 47 — Bourdon ditto , 16 ft. tone 30 48 — Unison Open Diapason . metal 8 ft 30 49 — Unison Stop Diapason . .wood 8 ft. tone 30 50 — Principal metal 4 ft 30 51 — Great Trombone metal 16 ft 80 52— Trumpet metal 8 ft. 30 53 — Quint and Decima . . . .metal 60 54— Twelfth and Fifteenth . metal 60 Movements. 330 Nine Composition Pedals — Three to eacli Organ. 3 to Great Organ ~| 3 to Choir Organ Vto shift the Stops. 3 to Swell Organ J 1 — Pedals to Great Organ Keys. 2 — Pedals to Choir Organ Keys. 3 — Pedals to Swell Organ Keys. 4— Swell Manual to Great Manual. 5 — Swell Manual to Choir Manual. AN ACCOUNT OF imiTISII ORGANS. 471 Tlic Sto|)s licldiiging to tlie (Jreat Organ have tlicir 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. Total. Draw Stops. Pipes. Great Organ IfJ 1264 Swell Organ 1 .5 040 Pedal Organ !» 330 Choir Organ 12 t!24 Couplers .5 59 3158 176. 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, sur- mounted with the Royal Arms. It was rebuilt in 1814, by EUiott ; it then had 20 Stops. In 1844, Messrs. Hill and 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 GG to P in alt. Pedal Pipes from FFF up, twenty -one notes to D, with Choir Organ in front of the Gallery. Great, 8 Stops. 5— Fifteenth. 1 — Open Diapason. 2 — Stopped Diapason. 3 — Principal. 4— Twelfth. 9 — Open Diapason. 10 — Stopped ditto (Treble) 11— Ditto ditto (Bass) 15 — Bourdon. 16 — Tenoroon. 17 — Open Diapason 18— Claribella. 19 — Stopped Diapason (Bass) 20— Flageolet. 2 1 — Principal. 29 — Open Diapason. 30 — Stopped Diapason. 1 — Pedals to Great. 2— Ditto to Choir. 6 — Sesquialtera, III ranks. 7 — Mixture, .... II ranks. 8 — Trumpet. Choir, 6 Stops. 12 — Viol da Gamba. 13 — Principal. 14 — Bassoon. Swell, 14 Stops.— Down to FF. 22— Fifteenth. 23 — Sesquialtera, 24— Mixture. 25 — Corno (Basso). 26 — Cornopean. 27 — Clarion. 28 — Hautboy. Solo, 4 Stops. 31— Flute. 32 — Cromorne. Pedal, 1 Stop. Open Pipes to FFF, 12 feet. Couplers. I 8 — Swell to Great. I 4 — Swell to Choir (octave belov?). 472 APPENDIX. 177. 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. The present instrument contains the following Stops : Great, 11 Stops. 1 — Open Diapason. 2 — Stopped Diapason. 3 — Clarabella, in place of Cornet. 4 — Principal. 5 — Nason. 6— Twelfth. Choir, 12 — Stopped Diapason. 13 — Dulciana. 14 — Principal. 15— Flute. 7 — Fifteenth. 8 — Tierce. 9 — Sesquialtera, III ranks. 10 — Mixture, .. II ranks. 11 — Trumpet. 7 Stops. 16— Fifteenth. 17 — Furniture, II ranks. 1 8 — Cremona. Swell, 6 Stops. 22— Cornet, III ranks. 23 — Trumpet. 24 — Hautboy. Pedal, 1 Stop. 25 — Open Pipes, one Octave, Gamut G down to GG, 10| feet length. Couplers. 19 — Open Diapason. 20 — Stopped Diapason. 21 — Principal. 1 — Swell to Great. 2— Great to Pedal. Great, GG to f 3 in alt. Choir, GG to f ^ in alt. 3— Choir to Pedal. Compass. Swell, Fiddle g to P in alt. Pedal, GG to Gamut G, one octave. 178. St. Philip's, Waterloo Place, The Organ in St. Philip's Chapel, Waterloo Place, is a very good instrument, built by Da\is. It consists of the following Stops : Great, 8 Stops. 1 — Open Diapason. 2 — Stopped Diapason. 3 — Principal. 4— Twelfth. 9 — Stopped Diapason. 10 — Dulciana. 13 — Open Diapason. 14 — Stopped Diapason. 1 5 — Principal. 5 — Fifteenth. 6 — Sesquialtera, III ranks. 7 — Mixture,. ... II ranks. 8 — Trumpet. Choir, 4 Stops. 1 1 — Principal. 12— Flute. Swell, 6 Stops. IC — Cornet, III ranks. 1 7 — Trumpet. 1 8 — Hautboy. Pedal, 1 Stop. 19— Open Pipes to CCC. AN ACCOUNT OP HRITISII OIKIANS. 473 170. St. James's, Piccadilly. The Organ, by Harris, that was placed in this? Church immediately after its erection, was given by Queen Mary, in IG'Jl ; having been before " in y« Greate 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. Tlie present instrument contains 30 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. 7_Twelfth 2| feet. 8 — Fifteenth 9 — Sesquialtera, III rnks. 10 — Mixture,. • III rnks. 11 — I'osaune , . - 12 — Clarion 2 feet. If foot, f foot. 8 feet. 4 feet. Swell, 11 Stops. 13 — Bourdon 16 feet tone. 1 4 — Open Diapason .... 8 feet. 15 — Stopped Diapason ... 8 feet tone. 16 — Principal 4 feet. 17— Fifteenth 2 feet. 18 — Sesquialtera, III rnks. If foot. 19 — Mixture, III ranks 20 — Contra Fagotto . . 21 — Cornopean ...... 22 — Hautboy 23 — Clarion § foot. 16 feet. 8 feet. 8 feet. 4 feet. Choir, 10 Stops. 24 — Open Diapason 8 feet. f Clarabella Treble. . . . ) „ p . '25 < r,, J -n ^ 8 feet. ( stopped mss J 26 — Dulciana 8 feet. 27 — Viol de Gamba 8 feet. 28 — Principal 4 feet. 29— Flute 4 feet.- 30— Fifteenth 2 feet. 31— Piccolo, 2 feet. Cremona Treble . . Bassoon Bass .... 32 8 feet. 33 — Open Diapason 34 — Bourdon Pedal, 4 16 feet. 16 feet tone. Stops. 35— Principal 8 feet. 36— Fifteenth 4 feet. Accessory Stops, Movements, &c. 1 — Coupler, Swell to Great. 2 — Coupler, Choir to Great. 3 — Coupler, Swell to Choir. 4 — Coupler, Great to Pedal. 5 — Coupler, Swell to Pedal. 6 — Coupler, Choir to Pedal. 7 to 15 — Nine Composition Pedals. All the Manuals, CC to f^ in Compass. alt. I Pedal, CCC to Tenor e. 474 APPENDIX. 180. St. George's, Hanover Square. The Organ in St. George's Church, Hanover Square, was built by Gerard Smith, and has been repaired by Bishop. Great, 9 Stops. 6— Fifteenth. 1 — Open Diapason. 2 — Open Diapason. 3 — Stopped Diapason. 4 — Principal. 5— Twelfth. 7 — Sesquialtera, III ranks. 8 — Trumpet. 9 — Clarion. Choir, 6 Stops. 10 — Stopped Diapason Bass, Claribella Treble 1 1 — Dulciana. 1 2 — Principal. , 13— Flute. 14 — Fifteenth. 1.5 — Cremona. 16 — Open Diapason. 17 — Stopped Diapason. 18 — Principal. Swell, G Stops. 1 9 — Trumpet. 20 — Hautboy. 21 — Octave Hautboy. Pedal, one Pipe, viz. GGfl. Accessory Stops, Movements, &c. 1 — Coupler, Swell to Great. 2 — Coupler, Great to Pedals. Great, GG to e^ in alt. Choir, GG to e^ in alt. Swell, Tenor c to e^ in alt. 8 — Coupler, Choir to Pedals. 4, 5,' 6 — Three Composition Pedals. Compass. Swell Clavier, down to GG, acting on Choir Organ below Tenor c. Pedal Clavier, GG to Tenor c. 181. Hanover Square Rooms. The new Organ in the Concert Room, Hanover Square, was built by Gray and Davison. It contains 17 Stops, of which the following is a list: Great, 10 Stops. 1 — Open Diapason 8 feet. 2 — Clarinet Flute to Tenor c 8 feet tone. 8 — Dulciana, to Tenor c. . 8 feet. 4 — StoppedDiapason,Bass 8 feet tone 6 — Octave 4 feet. 6— Flute 4 feet. 7_Tvvelfth 2| feet. 8— Fifteenth 2 feet. 9 — Sesquialtera, III rnks. 1| foot. 10— Trumpet 8 feet. Swell, G Stops. 14 — Octave 4 feet. 15— Fifteenth 2 feet. 16 — Cornopean 8 feet. 11 — Double Stopped Dia- pason 16 feet tone. 12 — Open Diapason 8 feet. 13 — Stopped Diapason , . . 8 feet tone. Pedal, 1 Stop. 17 — Grand Open Diapason 16 Accessory Stops, Movements, &c. 1 — Swell to Great. 3, 4, 6 — Three Composition Pedals. 2— Great to Pedal. AN ACCOUNT OP URITISII OIKJANS. 475 Compass. Great, CC to f s in alt. Swell Organ, Tenor c to i'* in alt. 18i Swell Clavier, to CC, acting on Great below Tenor c. Pedal, CCC to Tenor e. The Cyclorama. The new Apollonicon Organ in the Colosseum, Regent's Park, was erected by Bevington and Sons, to accompany the Diorama of Lisbon. It contains 3 Manuals, a Pedal Organ, and Sounding Stops. Great, 1 G Stops. 9 — Super Octave. 1 — Tenoroon. 2 — Bourdon. 3 — Unison, metal. 4 — Unison, wood. 5 — Claribella. 6 — Contra Bass. 7 — Octave. 8— Twelfth. 1 7 — Double Stopped Diapason, 1 6 ft. tone 18 — Salcional. 19 — Viol da Gamba. 20— Claribella. 21 — Unison, Bass. 22— Wald Flute. 10— Doublette 11 — Sesquialtera, . . 12 — Furniture, .. 13 — ^Trumpet. 14 — Trombone. 15 — Clarion. 16 — Octave Clarion. Solo, 11 Stops. 23— Suabe Flute. 24 — Piccolo. 25 — Bassoon. 2G — Clarionet. 27 — Oboe. II ranks. IV ranks. Ill ranks. 28 — Tenoroon. 29 — Flauto Unisone, metal. 30 — Flauto Unisone, wood. 31 — Quint. 82 — Octave 33— Wald Flute. 34 — Octave Quint. 35 — Doublette. 43- 44- -Double Open Diapason . -Unisone, wood ....... Swell, 15 Stops. 36 — Flageolet. 37— Triplette. 38 — Posaune. 39 — Cornopean. 40 — French Horn. 41 — Clarion. 42 — Octave Clarion. Pedal, 5 Stops. 16 feet. 8 feet. 46 — Great Ophicleide IG feet. 47 — Trombone 8 feet. 45 — Principal 4 feet. A set of Kettle Drums, Triangle, Cymbals, and Effects for the Storm, worked by the one performer. The roll of the drum is done by machinery, set in motion by the performer. The kettle-drums are those used at the great Commemoration of Handel, about seventy years since, and are very large. 183. St. Katherine's, Regent's Park. The Organ in St. Katherine's Church, Regent's Park, removed from the demolished 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. ; 476 APPENDIX. and a Swell down to Gamut G (5^ feet compass), a most extensive and excellent range for the period. Below G, the Swell-keys act on the Choir Organ. The follow- ing is a list of the Stops in the above-mentioned instrument : 1 — Open Diapason. 2 — Open Diapason. 3 — Stopped Diapason. 4 — Principal. 5— Twelfth. 11 — Stopped Diapason. 12 — Principal. 13— Flute. 16 — Open Diapason. 17 — Stopped Diapason 18 — Principal. Great, 10 Stops 6— Fifteenth. 7 — Sesquialtera, III ranks. 8 — Mixture II ranks. 9 — Trumpet. 10 — Cornet, ... .IV ranks. Choir, 5 Stops. 14— Fifteenth. 1 5 — Bassoon. Swell, 6 Stops. 19 — Cornet, III ranks. 20 — Trumpet. 21 — Hautboy. Pedal, 1 Stop. 22 — An Octave of Open Pipes to CCC, 16 feet length. Pedal Clavier to GG. 184. Christ Church, Marylebone. The Organ in Christ Church, Marylebone, was made by Bishop, in 1825. contains 22 Sounding Stops, of which the following is a list : Great, 9 Stops. It 1 — Open Diapason. 2 — Open Diapason. 3 — Stopped Diapason. 4 — Principal. 5— Twelfth. 10 — Dulciana 1 1 — Stopped Diapason (Claribella treble) 1 2 — Principal. 16— Open Diapason. 17 — Stopped Diapason. 1 8 — Principal. 1 — Coupler, Swell to Great 2 — Coupler, Great to Pedal. -Fifteenth. -Sesquialtera, III ranks. -Mixture .... II ranks. -Trumpet. Choir, 6 Stops. 13 — Flute. 14— Fifteenth. 16 — Cremona. Swell, 6 Stops. 19 — Horn. 20 — Trumpet. 21 — Hautboy. Pedal, 1 Stop. 22 — Open Diapason. .16 feet. Accessory Stops, Movements, &c. 3 — Coupler, Choir to Pedal. 4, 5, 6 — Three Composition Pedals. Compass. Great, GG to P in alt. Choir, GG to f ^ in alt. Swell, Tenor c to f ^ in alt. Pedal, CCC to Fiddle g. AN ACCOUNT OF HIUTISII OROANS. 477 185. CriAPEL Royal, St. Jamks's. Tlio Organ in tlio Chapel Royal, St. James's, was a present from His late Majesty William the Fourth; and was built by- Hill and Davison, in 11!;J7. It contains SO Sounding Stops, of which the following is a list : 1 — Open Diapason, No. 1. 2 — Open Diapason, No. 2. 3 — Stopped Diapason. 4 — Principal (metal). 6 — Principal (wood). G — Twelfth (metal). 12 — Open Diapason. 13 — Dulciana. 14 — Stopped Diapason. 15 — Flute. 20 — Open Diapason. 21 — Dulciana. 22— Claribella. 23 — Stopped Diapason. 24 — Principal. Oreat, 1 1 Stops. 7 — Fifteenth (wood). 8 — Fifteenth (metal). 9 — Sesquialtera, IV ranks. 10 — Trumpet. 11 — Octave Trumpet or Clarion. Choir, 8 Stops. 16 — Principal. 17 — Fifteenth. 1 8 — Cromorne. 19 — Bassoon. Swell, 10 Stops. 2.5— Fifteenth. 26 — French Horn. 27— Oboe. 28 — Trumpet. 29 — Clarion. 30- Pedal, 1 Stop. -Unison Open Pipes to GG . lOf feet. 1 to 4- Accessory Stops, Movements, &c. -Four Couplers. | 5 to 7 — Three Composition Pedals. Compass. Great, GG to f^ in alt. Choir, GG to P in alt. Swell, Gamut G to f ^ in alt. Pedal, from GG, an octave and a half. 186. St. Paul's, Wilton Place, Knightsbridge. This fine Organ, built by Gray and Davison, is one of the largest and best in- struments 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 oc- taves 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. 1 — Double Diapason, bass 1 6 feet. 2 — Double Diapason, treb. 16 feet. 8 — Open Diapason .... 8 feet. 4 — Open Diapason .... 8 feet. 5 — Stopped Diapason. . . 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 fggt. 478 APPENDIX Choir, 11 Stops. 14- 15- 10- 17- 25- 2G- 27- 28- 29- 30- 88- 39- 40- -Dulciana 8 feet. -Keraulophon (new stop) 8 feet. -Stopped Diapason, Bass 8 feet. -Stopped Diapason, Treble 8 feet. -Clai-ibella Flute 8 feet. 1 9— Flute 4 feet. 20 — Principal 4 feet. 21 — Piccolo , 2 feet. 22— Fifteenth 2 feet. 23— Mixture, II ranks . . li foot. 24— Clarionet 8 feet. Swell, 18 Stops. -Double Diapason, Bass IG feet. -Double Diapason, Treble 10 feet. -Open Diapason .... 8 feet. -Stopped Diapason ... 8 feet. -Principal 4 feet. -Flute 4 feet. 31— Fifteenth 2 feet. 32 — Sesquialtera, III ranks. 33 — Mixture II ranks. 34— Hautboy 8 feet. 36 — Cornopean 8 feet. 86— Trumpet 8 feet. 87— Clarion 4 feet. -Open Diapason .... 16 feet. -Stopped Diapason ... 1 G fe.et. -Principal 8 feet. -Swell to Great Manual. -Swell to Choir Manual. -Swell Manual to Pedals. Pedal, 6 Stops. 41— Fifteenth 4 feet. 42— Sesquialtera, IV ranks. 43 — Trombone 16 feet. Copulffi. -Great Manual to Pedals. -Choir ]\Ianual to Pedals. The Swell Organ is of the same compass as the Great and Choir Organs — CC, 8 feet — and is of an improved construction. The four reed stops. Hautboy, Corno- pean, Trumpet, and Clarion, as well as the Double Diapason of 16 feet, are through- out 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 tiwe 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, with especial reference to the requirements of an Organ intended for the ac- companiment 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 CC, ascending from thence to g3 in altissimo, 56 notes. The pedal board, with the pedal Organ running throughout, extends from CCC to tenor F, 80 notes, being ihe first pedal Organ erected in London of this com- plete compass. Great, 12 Stops. 1 — Double Stopped Dia- pason 16 feet tone. 2 — Open Diapason .... 8 feet. 3 — Stopped Diapason . . 8 feet tone. 4 — Principal 4 feet. 6 — Flute (open, wood) . . 4 feet. 6— Twelfth 2f feet. 7— Fifteenth 2 feet. 8 — Piccolo (wood, open). 2 feet. 9 — Sesquialtera, III ranks 1 1 foot. 1 0 — Mixture .... II ranks | foot. 11 — Trumpet 8 feet. 12— Clarion 4 feet. AN ACCOUNT OF lilUTlSlI OROANS. 479 Choir, 10 Stops. 13 — Dulciana 8 feet. 14— Viol di (liunha .... li feet. 15 — Stopped Diapason, IVeble 8 feet tone. 16 — Stopjied l)iaj)ason, Bass 8 feet tone. 17 — Principal 4 feet. Swell, 12 Stops 23 — Double Dulciana 10 feet. 24 — Open Diapason .... 8 feet. 26 — Stopped Diapason .. 8 feet tone. 2G — Principal 4 feet. 27 — Celestina 4 feet. ■ 28— Twelfth 2 f feet. Pedal 18— Flute 4 feet. 1 9— Fifteenth 2 feet. 20 — Furniture, II ranks . 1 ,^ foot. 21 — Bassoon throughout . . 8 feet. 22 — Clarionet and Corno di Bassetto 8 feet tone. 35 — Open Diapason . . 3C — Stopped Diapason 1 G feet. 1 G feet tone. 29— Fiilcenth 2 feet. 30— Mixture, III ranks. . If foot. 31 — Double Bassoon .... IG feet. 32 — Horn 8 feet. 33 — Hautboy 8 feet. 34 — Clarion 4 feet. Stops. 37 — Trombone (metal) .. IG feet. Accessory Stops, Movements, &c. 4— Choir to Pedal. 5 — Pedal Octave. G, 7, 8 — Three Composition Pedals. St. Gabriel's Church, Pimlico. erected in St. Gabriel's Church, Pimlico, was built by Bevington, from a Specification prepared by Mr. Brownsmith, Organist to the Church. It contains 32 Draw Stops, commanding the Sounding Stops, and G Couplers. The following is a list of its contents : Great, 1 1 Stops. 1 — Swell to Great. 2 — Swell to Choir. 3 — Great to Pedal. 188. The Organ recently Pipes. 1 — Open Diapason 59 2 — Open Diapason 59 3 — Stop Diapason 59 4 — Principal 59 5— Flute 59 C— Twelfth 59 Pipes. 7 — Fifteenth 59 8 — Sesquialtera 177 9— Mixture.. l]8 10 — Trumpet 59 11 — Clarion 59 826 Swell, 47 11 12 — Double Diapason, Bass . 13 — Double Diapason, Treble 14 — Open Diapason 47 15 — Dulciana 47 16 — Stop Diapason 47 17 — Principal 47 Stops. 18— Flute . . 19— Mixture 20— Horn . . 21— Oboe. .. 22 — Clarion . 47 94 47 47 47 517 23 — Dulciana 47 24 — Stop Diapason 59 25 — Principal 59 26 — Flute, Bass 27— Flute, Treble Pedal, 31 — Open Diapason to CCC, 16 feet length 20 Choir, 8 Stops. 59 28— Fifteenth 59 29 — Bassoon | 80 — Cremona J 69 Stops. 32— Trombone to CCC, 16 feet lenffth 342 20 40 480 APPENDIX. 1— Swell to Great. 2 — Octave down, Choir to Great 3 — Octave up, Great. 4 — Octave down, Choir. Accessory Stops, Movements, &c. 5 — Pedals to Great. G —Pedals to Choir. 7 to 11 — Five Composition Pedals. Compass. Pedal Organ, Gamut G down to CCC, l(i feet length, then repeating. Pedal Clavier, GG to Fiddle g, two octaves. Great, GG, with GG% up to f in alt. Choir, GG, with GGJt, up to in alt. Swell Organ, Gamut G, up to P in alt. Swell Clavier, down to GG, acting on Choir Organ below Gamut G. The Organ is enclosed in a Gothic Screen Case of solid oak, with gilt Speaking Pipes, designed by Thomas Cundy, Esq. the architect of the Church. 189, Holy Trinity, Brompton. This Organ was built by Messrs. Flight and Robson, in 1829; since then, Mr. Robson has considerably enlarged the Swell Organ, by adding new Stops, &c. The instrument now contains 23 Stops. Great, 8 Stops. 5— Twelfth. 1 — Open Diapason. 2 — Great Open Diapason. 8 — Stopped Diapason. 4 — Principal. 9 — Stopped Diapason. 10 — Dulciana. 13 — Double Open Diapason. 14 — Open Diapason. 15 — Stopped Diapason. 16— Claribel- Flute. 17 — Echo Dulciana. 6— Fifteenth. 7 — Sesquialtera. 8 — Trumpet. Choir, 4 Stops. 1 1 — Principal. 12 — Cremona. Swell, 10 Stops. 1 8 — Principal. 19— Fifteenth. 20 — Sesquialtera. 21— Oboe. 22 — Horn. 1 — Swell to Great. 2 — Swell and Choir to Great, 3 — Octave Coupler to Swell. Pedal, 1 Stop. 23 — An Octave of Pedals and Pedal Pipes. Couplers, &c. 4 — Pedals to Great. .5 — Pedals to Choir. 0, 7, 8 — Three Composition Pedals. 190. St. Luke's, Chelsea. The Organ in St. Luke's, Chelsea, was built by Nichols, but completed and erected by Gray. It contains 34 Sounding Stops, of which the following is a list: Great, 14 Stops. 8— Twelfth. 1 — Open Diapason. 2 — Open Diapason 3 — Open Diapason. 4 — Stopped Diapason. 5 — Clarabella. 6 — Principal. 7 — Principal 9— Fifteenth. 10— Fifteenth. 11 — Tierce. 12 — Sesquialtera 13 — Trumpet. 14 — Clarion. AN ACCOUNT OF HRITIfill OIIOANS. 481 16 — Open Diapason. IG — Open Diapason. 17 — Stopped Diapason. 1 8 — Dulciana. 19 — Dulciana. 20 — Principal. 27— Dulciana. 28 - Stopped Diapason. 29— Principal. Swell, 12 Stops. 21 — Principal. 22— Flute. 23— Cornet. 24— Trumpet. 25— Hautboy. 26— Clarion. Choir, 6 Stops. 30— Flute. 31— Fifteenth. 32 — Cremona. Pedal, 1 Stop. 33 — Open Pedal Pipes from Gamut G down to CCC, 16 feet length; then repeating below. 1 — Swell to Great. 2— Great to Pedal. Accessory Stops, Movements, &c. 3— Choir to Pedal. 4, 5, 6 — Three Composition Pedals. Compass. Great, GG to f^ in alt. Choir, GG to f^ in alt. Swell, to Fiddle g only, 2| feet compass. Pedal Clavier, GG to Fiddle g, two octaves. Com- 191. St. John's, Waterloo 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, pass of Great and Choir, GG to f 3 in alt ; Swell, to Gamut G. Great, 10 Stops. 6— Fifteenth. 1 — Open Diapason. 2 — Open Diapason. 3 — Stopped Diapason. 4 — Principal. 6_Twelfth. 11 — Dulciana. 12 — Stopped Diapason. 13 — Principal. 14— Fifteenth. 18 — Open Diapason. 19 — Stopped Diapason. 20 — Dulciana. 21 — Principal. 7 — Sesquialtera, III ranks. 8 — Mixture, .. II ranks. 9 — Trumpet. 1 0 — Clarion. Choir, 7 Stops. 15— Flute. 16 — Cremona, Treble. 17 — Bassoon, Bass. Swell, 7 Stops. 22— French Horn. 23 — Trumpet. 24 — Hautboy. Pedal, 2 Stops. 25— Double Open Pipes to CCC, then I 26— Trombone, 7 Pipes FFF8 to CCC. Unisons to the bottom. | Accessory Stops, Movements, &c. 3 — Choir to Pedal. 4 to 7 — Four Composition Pedals. 1 — Great to Swell. 2 — Great to Pedal. I I 482 APPENDIX. 192. St. Peter's, Walworth. A fine Organ, built by Lincoln about 182G, containing 27 Stops. 1 — Open Diapason. 2 — Open Diapason. 3 — Stopped Diapason. 4 — Principal. 5— Twelfth. G— Fifteenth. 12 — Open Diapason. 13 — Stopped Diapason. 14 — Dulciana. 1 6 — Principal. 20 — Open Diapason. 21 — Stopped Diapason. 22 — Double Diapason. 23 — Principal. Choir to Great. Pedals to Great. Great, 11 Stops. 7— Tierce. 8 — Sesquialtera. 9 — Mixture. 1 0 — ^Trumpet. 11 — Clarion. Choir, 8 Stops. 16— Flute. 17— Fifteenth. 18 — Cremona. 19 — Bassoon. Swell, 7 Stops — to Tenor C. 24— Hautboy. 25 — Trumpet. 2G — Clarion. Pedal, 1 Stop. 27 — Unison Open Pedal Pipes to GG. Couplers. Pedals to Choir. 193, This Church has a fine 1 — Double Diapason. 2 — Open Diapason. 3 — Open Diapason. 4 — Stopped Diapason. 5 — Principal. 6— Twelfth. 1 2 — Dulciana. 13 — Stopped Diapason. 14 — Principal. 18 — Dulciana. 19 — Stopped Diapason. 20 — Open Diapason. 21 — Principal. St. George's, Camberwell. Organ, built by Lincoln, containing 25 Stops. Great, 11 Stops. 7— Fifteenth. 8 — Sesquialtera, V ranks. 9— Mixture, . . IV ranks. 1 0 — Trumpet. 11 — Clarion. Choir, 0 Stops. 15— Flute. IG— Fifteenth. 17 — Cromorne and Bassoon. Swell, 7 Stops. ■ 22— Cornet. 23 — Trumpet. 24— Hautboy. Pedal, 1 Stop. 25— Open Pipes to CCC. 194. St. Giles, Camberwell. The Organ at this Church was built by Mr. J. C. Bishop, in 1844, from a speci- fication prepared by Dr. S. S. Wesley. It contains 41 Sounding Stops. AN ACCOUNT OF TIRITISII ORdANS. Great, 14 Stops. 1- 2_ 3- 4- 5- (1- 7- 15- !()- 17- 18- 25- 26- 27- 28- 29- 30- 31- 39- 40- -Open Diapason .... 8 feet. -Ojien Diapason .... 8 feet. -Open Diapason, wood, large 8 feet. -Claribella 8 feet. -Princi])al 4 feet. -Principal 4 feet. -Twelfth 2,1 feet. Choir, 10 Stops 8— Fifteenth 2 feet. 9 — Sesquialtera, III rnks. 10— Mixture, . . Ill rnks. 1 1 — Furniture, . . II rnks. 12— Doublette, . . II rnks. 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. 19 — Principal 4 feet. 20— Flute 4 feet. 21— Fifteenth 2 feet. 22— Mixture, II ranks.. U feet. 23 — Cremona 8 feet tone. 24 — Bassoon 8 feet. -Bourdon IG feet tone. Swell, 14 Stops. -Double Diapason .... 16 feet. -Open Diapason .... 8 feet. -Open Diapason .... 8 feet. -Stopped Diapason . . 8 feet tone. -Principal 4 feet. -Fifteenth 2 feet. Pedal, -Double Diapason IG feet. -Open Diapason (large scale, metal) 8 feet. Accessory Stops, Movements, &c 32 — Sesquialtera, III rnks, Ij foot. 33 — Mixture, . . II rnks. # foot. 34 — Doublette, . . II rnks. 2 feet. 35 — Horn 8 feet. 3G — Trumpet 8 feet. 37 — Hautboy 8 feet. 38— Clarion 4 feet. 3 Stops. 4 1 —Double Trumpet 16 feet. -Swell to Pedals. -Great to Pedals. -Choir to Pedals. 4— Swell to Great. 5 — Wood open to Pedals separately. 6 to 13 — Eight Composition Pedals. 195. St. Saviour's, Southwark. The Organ in St. Saviour's Church, Southwark, possesses a fine bold tone, and, until recently, was enclosed in a splendid case, with the 16 -feet metal Double Diapa- son in front. The instrument was built in the year 1 703, 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, GG," 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 GGG 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 Clarabella 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 I I 2 484 APPENDIX. 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 : Great, 13 Stops. 8— Twelfth. 1 — -Double Open Diapason. 2 — Open Diapason. 3 — Open Diapason. 4 — Stopped Diapason. 5 — Clarabella. 6 — Principal. 7 — Stopped Flute. 14 — Open Diapason. 15 — Stopped Diapason. 16 — Principal. 17 — Stopped Flute. 21 — Open Diapason. 22 — Stopped Diapason. .23 — Principal. 24 — Sesquialtera, III ranks. 9— Fifteenth. 10 — Sesquialtera, IV ranks. 11 — Furniture,. .Ill ranks. 12 — Trumpet. 13 — Clarion. Choir, 7 Stops. 18— Fifteenth. 19 — Mixture, III ranks. 20 — Cremona. Swell, 7 Stops. 25 — Trumpet, 26— Oboe. 27 — Clarion. Pedal, 1 Stop. 28— Open Wood Pipes, CC to Gamut GGG.. .21^ feet length. Compass. Great, GG to f3 in alt. Choir, GG to fs in alt. 1 — Swell to Great. 2 — Choir to Great. Swell Gamut G to f ^ in alt. Pedal, GG to Tenor c. Accessory Stops, Movements, &c. 3 — Great to Pedal. 4— Choir to Pedal. 196. St. Olave's, Southwark. "This Organ, of a 32-feet Manual Gamut, was designed by 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. 1 — Sub Bourdon, to Tenor c key 32 feet. 2 — Tenoroon, to Tenor c key 16 feet. 3 — Bourdon 16 feet tone. 4 — Unison, open 8 feet. 6 — Unison Treble, closed. 8 feet tone. 6 — Unisiin Bass, closed. . 8 feet tone. 7 — Viol di Gamba, to Tenor c 8 feet. 8 — Salcional, to Tenor c. . 8 feet. 9 — Clarabella, to Tenor c. 8 feet. 10 — Quint 6 feet. 11 — Octave 4 feet. 12— Wald Flute, to Tenor c 4 feet. Si feet. 3 feet. 2 feet. 2 feet. If foot. 13 — Decima 14 — Duo Decima .... 1 5 — Super Octave .... 16 — Piccolo, to Tenor c 1 7 — Octave Decima . . 1 8 — Sesquialtera, III ranks. 19— Mixture, ..II ranks. 20 — Furniture,. .Ill ranks. 21 — Doublette, . . II ranks. 22 — Glockenspiel, 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. AN ACCOUNT OF BRITISH ORGANS. 486 Swell, 10 Stops. 28 — Tenoroon 10 feet. 29 — Unison Open 8 feet. 30 — Unison Closed 8 feet tone. 31 — Octave 8 feet. 32— -Suabe Flute 4 feet. 33 — Super-octave 2 feet. 34— Flageolet 2 feet. 35 — Octave Fifteenth ... 1 foot. 36 — Cornopean 8 feet. 37 — Hautbois 8 feet. 38 — Contra Bourdon ... 39 — Principal Contra Bass. Pedal, 3 Stops. 32 feet tone. IG feet. 40 — Bass Trombone IG feet. 1 — Grand Organ combined. 2 — Swell to Grand. Couplers, &c. 3 — Grand to Pedal. 4— Swell to Pedal. Compass. Pedal, CCC to Tenor d. Great, CC to P in alt. Swell, Tenor c to f^ in alt. The Great Organ has two separate sound-boards, which accounts for the Coupler denominated "Grand Organ combined." 197. St. John's, Southwark. This Organ was built by Cranz and Hancock in 1770, and enlarged by J. Walker in 1844. It has 27 Sounding Stops, of wliich the following is a Hst : 1 — Large Open Diapason. 2 — Small Open Diapason. 3 — Open Diapason, treble. 4 — Stopped Diapason. 5 — Principal. 6— Twelfth. 12 — Stopped Diapason. 13 — Principal. 14— Flute. 17 — Double Diapason. 18 — Open Diapason. 19 — Stopped Diapason. 20 — Dulciana. 21 — Principal. Great, 11 Stops. 7— Fifteenth 8 — Sesquialtera. 9 — Mixture. 10 — Trumpet. 1 1 — Clarion. Choir, 5 Stops. 15— Fifteenth. 1 6— Cremona. Swell, 10 Stops. 22 — Fifteenth. 23 — Sesquialtera. 24— Horn. 25 — Hautboy. 26 — Clarion. Pedals to Choir Organ. Pedals to Great Organ. Great, GG to e' in alt. Choir, GG to e^ in alt. Pedal, 1 Stop. 27 — Open wood Pipes to CCC. .16 feet length. Couplers. Great Organ to Swell. Compass. Swell, Gamut G to e' in alt. Pedal Clavier to GG. 48G APPENDIX. 198. St. James's, Bermondsey. This Organ was built by Bishop, in 1829, and contains the following 29 Stops ; 1 — Open Diapason. 2 — Open Diapason. 3 — Stopped Diapason. 4 — Principal. 6— Twelfth. Great, 10 Stops. 59 Notes, from GG to F. 6— Fifteenth. 7 — Sesquialtera, III ranks. 8 — Mixture, . . II ranks. 0 — Trumpet. 10 — Clarion. 11 — Open Diapson. 12 — Stopped Diapason. 13 — Dulciana, from Gamut G. 14 — Principal. Choir, 8 Stops. 59 Notes, from GG to F. 15— Flute. 16— Fifteenth. 17 — Cremona, treble. 18 — Bassoon, bass. Swell, 8 Stops. 47 Notes, from Gamut G to F, with keys continued to GG, acting on the Choir Organ. 19 — Open Diapason. 20 — Open Diapason. 21 — Stopped Diapason. 22 — Principal. 23 — Cornet (originally 12th, 15th, and Sesquialtera ; now unfortunately only 12th and 15th). 24 — French Horn. 25 — Trumpet. 26 — Hautboy. Pedal, 3 Stops. 27 — Double Diapason, 25 Notes, from GGG — 21 J feet length. 28— Unison Ditto GG—1 Of feet length. 29— Trombone Ditto GG—1 Of feet length. Copulas. 1 — Swell to Great. 2— Swell to Choir. 3 — Great to Choir. 1— Full. 2 — Full, without Reeds. 3 — Diapasons. 4 — Pedals to Great. 5 — Pedals to Choir. Composition Pedals, &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. 199. 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 Stops, of which the following is a list : AN ACCOUNT OF nRITISII OIIQANS. Great, 9 Stops — GG to F. 1 — Open Diapason 60 pipes. 2 — Open J)iuf)aaon 58 pipes. 3 — Stopped Diapason .... 58 pipes. 4 — Principal 58 pipes. 5— Twelfth 68 pipes. () — Fifteenth 58 pipes. 7 — Ses(iuialtera 174 pipes. 8 — Trunijiet 58 jiipes. 9 — Clarion 58 pipes. G38 Choir, 5 Stops— GG to F. 10 — Stopped Diapason .... 58 pipes. 11 — Principal 58 pipes. 12 — Flute 58 pipes. Swell, 9 Stops— Fiddle G to E. 15 — Open Diapason 34 pipes 10 — Open Diapason 34 pipes 17 — Stopped Diapason .... 34 pipes 18 — Principal 34 jiipes 19 — Hautboy 84 pipes 20 — Trumpet 34 pipes 13— Fifteenth 68 pipes. 14 — Cremona to C 42 pipes. 274 Total number of Pipes. Swell Organ 204 pipes. Choir Organ 274 pipes. Great Organ G38 pipes. 1116 200. Greenwich. The Organ in the Chapel of the Royal Hospital, at Greenwich, is a most admi- rable specimen of Green's work. It cost £l,000, exclusive of the case, and contains the following 26 Stops : Great, 12 Stops. 1 — Open Diapson 2 — Open Diapason. 3 — Stopped Diapason. 4 — Clarabella, in lieu of IV-rank Cornet. 5 — Principal. 6— Metal Flute. 7— Twelfth. 8— Fifteenth. 9 — Sesquialtera, III ranks. 10 — Mixture . . . .Ill ranks. I Trumpet, Treble. I Trumpet, Bass. 12 — Clarion. 13 — Stopped Diapason. 14 — Principal. 15— Flute. Choir, 5 Stops. 16— Fifteenth. 17 — Cremona. Swell, 8 Stops. 22 — Dulciana Principal. 23 — Cornet, III ranks, 12, 15, 17. 24— Hautboy. 26 — Trumpet. Pedal, 1 Stop. 26— Open Diapason, CC down to CCC ; then return BB to FFF. Accessory Stops, Movements, &c. 18 — Open Diapason. 19 — Dulciana. 20 — Stopped Diapason 21 — Principal. 1 — Coupler, Swell to Great. 2 — Coupler, Choir to Great. Great, FFF to e » in alt ; no FFFfl. Choir, FFF to e^ in alt; no FFFJI. 3 — Coupler, Great to Pedal. 4 — Coupler, Choir to Pedal. Compass. Swell, FF to e^n alt; keys below FF acting. Pedal Clavier, FFF to Tenor c. 488 APPENDIX. 201. Lee Church, Kent. This fine Organ was built by Bishop, in 1850. It has 29 Sounding Stops, of which the following is a list : 1 — Open Diapason .... 8 2 — Stopped Diapason . . 8 3 — German Flute .... 8 4 — Principal 4 5— Twelfth 21 1 0 — Open Diapason .... 8 11 — Dulciana 8 12 — Stopped Diapason 8 13 — Viol di Gamba .... 8 1 8 — Bourdon , bass 16 19 — Tenoroon 10 20 — Open Diapason .... 8 21 — Stopped Diapason .. 8 22 — Principal 4 Great, feet. feet tone, feet, feet, feet. 9 Stops. 6— Fifteenth 2 feet. 7 — Sesijuialtera, III ranks. 8 — Mixture. ... II ranks. 9 — ^Trumpet 8 feet. Choir, 8 Stops. feet, feet. feet tone, feet. 14 — Principal 4 feet. 16— Flute 4 feet. 16— Fifteenth 2 feet. 1 7 — ^Creinona 8 feet tone. Swell, 10 Stops. 28 — Open Diapason .... 16 1 — Pedals to Choir Organ. 2 — Ditto to Great Organ. 3 — Ditto to Swell. , 4 — Swell to Choir. All the Manuals, CC to f feet tone. 23— Twelfth 2| feet. feet. 24— Fifteenth 2 feet. feet. 25 — Sesquialtera, III ranks. feet tone. 26— Horn 8 feet. feet. 27 — Hautboy 8 feet. Pedal, 2 Stops, feet. I 29 — Stopped Diapason . . 16 feet tone. Couplers, &c. 5 — Swell to Great. 0 — Choir to Great. 7 to 13 — Seven Composition Pedals, viz, 3 to Great Organ, 4 to Swell. Compass. 3 in alt. I Pedal, CCC to Tenor c. 202. St. Mary's, Clapham. This Organ was built by Mr. J. C. Bishop, in 1845 of keys, from CC to F, and 28 Sounding Stops. Great, 8 Stops. 1 — Open Diapason .... 8 feet. 2 — Stopped Diapason . . 8 feet tone. 3 — German Flute 8 feet. It has three complete rowa 4 — Principal 4 feet. 6— Twelfth 2|feet. 6 — Fifteenth 2 feet. 7 — Sesquialtera, III ranks. 8 — Trumpet ........ 8 feet. Choir, 9 Stops. 9 — Open Diapason .... 8 feet. 10 — Dulciana 8 feet. 8 feet tone. 11 — Stopped Diapason 12 — Claribella 8 feet. 13 — Principal 4 feet. 14— Flute 4 feet. 15— Fifteenth 2 feet. 1 6 — ^Clarionet 8 feet tone. 1 7 — Double Diapason, bass 1 6 feet tone. 18 — Open Diapason 8 feet. 19 — Stopped Diapason .. 8 feet tone 20 — Principal 4 feet. 21— Twelfth 21 feet. 22 — Fifteenth 2 feet. Swell, 10 Stops. 23 — Sesquialtera, III ranks. 24 — Mixture. ... II ranks. 25— Horn 8 feet. 26 — Hautboy 8 feet. 27— Clarion 4 feet. AN ACCOUNT OF BKITISII GROANS. 1 — Swell to Pedal. 2 — Great to Pedal. 3— Choir to Pedal. 4— Swell to Great. 6 — Choir to Great. Pwhil, 1 Stop. 28 — Open Diapason 16 feet. Accessory Stops, Movements, &c. G — Swell to Choir. 7 — Swell to Great, octave higher. 8, 9, 10 — Three Composition Pedals to Great. 11, 12, 13— Three Ditto Ditto to Choir. Great, CC to f ' in alt. Choir, CC to f ^ in alt. Compass. Swell, CC to f 3 in alt. Pedal, CCC to Tenor c. 203. Croydon Church. This Organ was built in 1794, by Avery, and enlarged and improved by Messrs. Elliott and Hill, in 1819. One of the Open Diapasons originally acted to Gamut G only upon the keys, the last octave being upon the Pedals ; but Elliott attached the whole Stop to the Great Organ, and added a regular set of an octave and a half of Pedal Pipes in place of the other Pipes of shorter compass. He likewise put in a Coupler to unite the Choir to Great Manual. The Organ now contains 24 Stops, of which the following is a list : Great, 11 Stops— GG to F in alt. 1 — Open Diapason, front. 2 — Open Diapason. 8 — Stopped Diapason. 4 — Principal. 5— Flute. 6_Twelfth. 12 — Dulciana to Gamut G. 13 — Stopped Diapason. 14 — Principal. 18 — Open Diapason. 19 — Stopped Diapason. 20— Principal. 7— Fifteenth. 8 — Sesquialtera, III ranks. 9 — Mixture .... II ranks. 1 0 — Cornet V ranks. 1 1 — Trumpet. 1 — Pedals to Great, Choir, G Stops. 15— Flute. IG— Fifteenth. 17 — Furniture, II ranks. Swell, 6 Stops — 3 Octaves. 21 — Cornet, III ranks. 22 — Trumpet. 23 — Hautboy. Pedal, 1 Stop. 24 — Diapason .... lOf feet. Couplers. I 2 — Pedals to Choir. I 3— Great to Choir. 204. 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 Or- gan. The Organ now contains 20 Sounding Stops, of which the following is a hst: 490 APPENDIX. 1 — Open Diapason. 2 — Stopped Diapason. 3 — Principal. ■I — Flute ( Qicintaton) . 5— Twelfth. 10 — Stopped Diapason. 11 — Principal. 12— Flute. 16 — Open Diapason. 16 — Stopped Diapason. 1 7 — Principal. Great, 9 Stops. G— Fifteenth. 7 — Sesquialtera, III ranks. 8 — Cornet .... Ill ranks. 9 — Trumpet. Choir, 5 Stops. 13— Fifteenth. 14 — Cremona. Swell, 5 Stops. 18— Hautboy. 1 9 — Trumpet. Pedal, 1 Stop. 20 — Open Pipes, Gamut G down to CCC, 1 G feet length ; repeating on lowest i octave of Pedal. 1 — Swell to Great. Couplers. 2 — Great to Pedal. 3— Choir to Pedal. Great, GG to in alt. Choir, GG to e^ in alt. SweU, Tenor f to f 3 in alt. Compass. Pedal Stop, CCC to Gamut G. Pedal Clavier, GG to Fiddle g. COUNTRY ORGANS. 205. Windsor. The Organ that was built by Father Smith, in the reign of Charles the First, 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. Copsiderable additions have been made to the instrument by Gray and Davison, within the last twenty years ; among the most important of which may be mentioned the extension of the Swell to FF, together with the introduction of six new Stops ; the application of Open Pedal Pipes to FFFF ; 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 Fif- teenth in the Choir. The Organ now contains 33 Sounding Stops, of which the following is a list : Great, 12 Stops. 1 — Open Diapason — Nave Front. 2 — Ditto Diapason — Choir Front. 3 — Stopped Diapason. 4— Claribella Flute. 6 — Principal. 6— Twelfth. 7— Fifteenth. 8 — Sesquialtera, III ranks. 9 — Mixture. ... II ranks. 10— Trumpet (Treble). 11— Ditto (Bass). 12 — Clarion. AN ACCOUNT OV COUNTRY OHQANS. 491 13— Dulciana to FF. 14 — Stdjiped Dia})a3on. 1 — Principal. 10 — Octave Flute. 20 — Double Diapason. 21 — Open Diapason. 22 — Stopped Diapason. 23 — Dulciana. 24 — Dulciana Principal. 25 — Principal. 32 — Double Open Diapason to FFFF 24 ft. Swell to Great. Great to Pedals. Choir, 7 Stops. 1 7 — Keraulophon. 1 ii — ]5assoon. 1 9 — Clarionet. Swell, 12 Stops. 26 — Fifteenth. 27 — Sesquialtera, III ranks. 28 — Cornopean. 29 — Hautboy. 30 — Trumpet. 81 — Clarion. Pedal, 2 Stops. 33 — Open Diapason to length. FFP 12 ft. length. Couplers. Choir to Pedals. Swell to Pedals. 206. Windsor. The Organ in St. George's Hall, Windsor Castle, was built by Messrs. Hill and 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, &c. 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. 8 — Cone Gamba 8 feet. 4 — Stopped Diapason . . 8 feet tone 6 — Quint 5g- feet. 0 — Principal 4 feet. Choir, 6 Stops. 13 — Open Diapason, through- out 8 feet. 14 — Clarabella and Stop- ped Bass 8 feet. Flute 4 feet. 8— Twelfth 2| feet. 9 — Fifteenth 2 feet. 10 — Sesquialtera, III ranks. 11 — Posaune 8 feet. 12— Clarion 4 feet. 15 — Salicional, to Tenor c . 8 feet. 16 — Gemshorn 4 feet. 17— Flute 4 feet. 1 8 — Cromome 8 feet tone. Swell, 8 Stops. 23— Fifteenth 2 feet. 24 — Sesquialtera, II ranks. 25 — Cornopean 8 feet. 26— Oboe , 8 feet. 19 — Double Diapason , ... 16 feet 20 — Open Diapason .... 8 feet. 21 — Stopped Diapason . . 8 feet tone 22 — Principal 4 feet. Pedal, 3 Stops. 27 — Open Diapason .... 16 feet. 29 — Trombone 16 feet. 28— Prmcipal 8 feet. Accessory Stops, Movements, &c. 1— Swell to Great. | 2— Great to Pedal. | 3— Swell to Pedal. Compass. Great, CC to f in alt. I Pedal, CCC to Tenor d. Swell, CC to f ^ in alt. 492 APPENDIX. 207. Eton College. The present Organ in Eton College was built by Gray and 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. Deason, is of oak, and is very handsome. The Pipes, which appear in the front of the case are of polished tin. There are altogether 29 Sounding Stops, of which the following is a hst: -Compass, GG to F in alt. G — Fifteenth 2 feet. Great, 10 Stops 1 — Open Diapason .... 8 feet. 2 — Open Diapason .... 8 feet. 3 — Stopped Diapason . . 8 feet. 4 — Principal 4 feet. 6_Twelfth 3 feet. Choir, 9 Stops — Compass, GG to F in alt 7 — Sesquialtera, III rks. 8— Mixture ... Ill rks. 9 — Posaune 8 feet. 10— Clarion 4 feet. 11 — Dulciana 8 feet. 1 2 — Keraulophon 8 feet. 13_Clarionette Flute. . . 8 feet. 14 — StoppedDiapason,Bass 8 feet. 15— Principal 4 feet. Swell, 9 Stops — Compass, Tenor C to F in alt 16— Flute 4 feet. 17— Fifteenth 2 feet. 18 — Piccolo 2 feet. 1 9 — Clarionet to Tenor c. 8 feet. 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 rks. 26 — Cornopean 8 feet. 27— Oboe 8 feet. 28— Clarion 4 feet. Pedal, 1 Stop. 29 — Grand Pedal Open Diapason, to CCC. .16 feet length. The Pedal Clavier descends to GG. Couplers. 1 — Swell to Great. 2 — Swell to Choir. 3 — Choir Sub-octave to Great. 4 — Great to Pedal. 5— Choir to Pedal. 1 208. 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 and Davison, in 1848; who made the Manuals " long octaves," added the Pedal Pipes, &c. Great, 9 Stops. 6— Fifteenth. 7 — Sesquialtera, III ranks. 8 — Mixture,. ... II ranks. 1 — Open Diapason. 2 — Claribella, in place of IV-rank Cornet. 3 — Stopped Diapason. 4 — Principal. 6_Twelfth. Choir, 5 Stops 10 — Dulciana. 11 — Stopped Diapason. 12 — Principal. 9 — ^Trumpet. 13— Flute. 14 — Cremona. AN ACCOUNT OP COUNTRY OUOANS. 49.3 1 5 — Double Diapason. 16 — 0[)eii Diapason. 17 — Stopped Diapason. Swell, G Stops. 1 ii — Principal. 1 9 — Trumpet. 20 — Hautboy. Pedal, 1 Stop. 21 — Open Diapason. .16 feet. Couplers. 1 — Coupler, Swell to Great. 2 — Coupler, Choir to Great. 3 — Coupler, Choir to Pedals. 4 — Coupler, Great to Pedals. 209. Magdalen College. The new Organ in Magdalen College Chapel, Oxford, was built by Gray and Davison, and completed in the early part of the present year (1855). It contains 35 Sounding Stops, distributed among 4 Manuals and Pedal in the following manner : Pedal, 4 Stops. 1 — Grand Open Diapason 16 feet. 2 — Grand Bourdon . . . . 16 feet. 3 — Grand Octave 8 feet. 4 — Grand Trombone . . 16 feet. Solo, 2 Stops. 5 — Flute Harmonique . . 8 feet. | 6 — Tromba 8 feet. Great, 10 Stops. 7 — Open Diapason. . . 8 — Open Diapason. . . 9 — Stopped Diapason.. 10 — Octave 11— Flute 8 feet. 8 feet. 8 feet. 4 feet. 4 feet. 12— Twelfth 3 feet. 13 — Super-octave 2 feet. 14 — Sesquialtera, III rks. 15 — Mixture .... II rks. 16 — Posaune 8 feet. Choir, 8 Stops. 1 7 — Salcional 18 — Gamba 19 — Stopped Diapason, Bass 20 — Concert Flute 8 feet. 8 feet. 8 feet. 8 feet. Swell, 25 — Bourdon 16 feet. 26 — Open Diapason .... 8 feet. 27 — Stopped Diapason, Bass 8 feet. 28 — Clarionet Flute .... 8 feet. 29 — Keraulophon 8 feet. Accessory Stops, 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. 21— Octave 4 feet. 22 — Flute d' Amour 4 feet. 23— Piccolo 2 feet. 24 — Corno di Bassetto. . . 8 feet. 1 Stops. 30— Octave 4 feet. 31 — Super Octave 2 feet. 32 — Sesquialtera,I II ranks 33 — Cornopean 8 feet. 34 — Oboe 8 feet. 35 — Clarion 4 feet. Movements, &c. 8 — Swell to Great Super-octave. 9 — Solo to Swell Manual. 10 — Tremulant Swell. 1 1 to 1 6 — Six Composition Pedals. 17 and 18 — Two Pedals for taking on and oft' the Coupling Stops. 1 9 — 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 494 APPENDIX. 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. 210. 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 follovdng is a list : Great, 1 — Double Open Diapason, metal 1 G 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. . 5t feet. 6 — Principal (Great) metal 4 feet. 7 — Principal (Small) metal 4 feet. 16 Stops. 8 — Tenth metal . 9— Twelfth metal. 10 — Fifteenth . . . metal. 11 — Octave Flute . wood . 12 — Sesquialtera . . metal. 1 3 — Mixture .... metal . 1 4 — Double Trumpet, metal 1 6 feet. 1 5 — Trumpet .... metal . . 8 feet. 16 — Clarion .... metal. . 4 feet. 3^ feet. 2 1 feet. 2 feet. 2 feet. IV ranks. Ill ranks. Choir, 8 Stops. 17 — Stopped Diapason, wood 8 feet tone. 1 8 — Dulciana metal 8 feet. 19 — Viol di Gamba . metal 8 feet. 20 — Principal metal 4 feet. 21— Wald Flute wood 22— Fifteenth .... metal 23 — ]\Iixture metal 24 — Cremona metal 4 feet. 2 feet, lifoot. 8 feet. Swell, 13 Stops. 25 — Double Diapason, metal and wood 16 feet. 2 6 — Open Diapason . . metal 8 feet. 27 — Dulciana metal 8 feet. 28 — Stopped Diapason,wood 8 feet tone. 29 — Principal metal 4 feet. 30 — Principal (Small) metal 4 feet. 31— Twelfth metal 2| feet. 32— Fifteenth metal 2 feet, 33 — Twenty-second . metal 1 foot. 34 — Sesquialtera .... metal .III ranks. 3 5 — Cornet (Dulciana) metal .III ranks. 36 — Trumpet metal 8 feet. 37 — Oboe metal 8 feet. Pedal, 10 Stops. 38 — Double Double Open Diapason .wood 32 feet. 39 — Double Open Diapason, wood 1 6 feet. 40 — Double Open Diapason, metal 1 6 feet. 41 — Open Diapason . metal 8 feet. 42 — Principal .... metal 4 feet. 43— Twelfth metal 2t feet. 44 — Fifteenth .... metal 2 feet. 45 — Sesquialtera . metal . IV ranks. 46 — DoubleTrumpet, metal 16 feet. 47 — Trumpet metal 8 feet Accessory Stops, JMovements, &e. 1 — Coupler, Swell to Great. 2 — Coupler, Swell to Choir. 3 — Coupler, Swell to Pedal. Great, CC to g^ in altissimo. Choir, CC to g^ in altissimo. 4 — Coupler, Great to Pedal. 5 to 10 — Six Composition Pedals. Compass. Swell, CC to g3 in altissimo. Pedal, CCC to Fiddle g. AN ACCOUNT OP COUNTRY ORGANS. 4U5 211. Gloucester. The Organ in Gloucester Cathedral was originally built by the elder Harris, in conjunction with his son llenatus, in the year 1G70. In 1847, the instrument was considerably enlarged by Henry Willis, of London, who added a Swell of Twelve 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 GG to CCC, 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, 1 1 Stops. 7 — Fifteenth. 1 — Open Diapason. 2 — Open Diapason. 3 — Stopped Diapason. 4 — Clarabella. 6 — 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. 8 — Sesquialtera, IV ranks. 9 — Mixture, . . II ranks. 1 0 — Trumpet. J 1 — Clarion. Choir, 5 Stops. ] 5— Flute (metal). 16— Fifteenth. Swell, 12 Stops. 23— Fifteenth. 24 — Sesquialtera. 25 — Trumpet. 20— Hautboy. 27 — Cremona. 28 — Clarion. Pedal, 1 Stop. 29 — Open Diapason. Accessory Stops, Movements, &c. 1 — Coupler, Swell to Great. 2 — Coupler, Choir to Great. 3 — Coupler, Swell to Choir. Great, CCC to f ^ in alt. Choir, GG to P in alt. 4 — Coupler, Pedals to Great. 6 — Coupler, Pedals to Choir. (5 — Coupler, Pedal to Great. Compass. Swell, CC to f 3 in alt. Pedal, CCC to Tenor e. 212. Gloucester. The Organ in the Shire Hall, at Gloucester, was built by Nicholson of Worcester, in the year 1849. It contains 36 Sounding Stops, of which the following is a list : Great, 13 Stops. -StoppedDiapason,Bass 8 feet tone. 1 — Double Open Diapa- son, metal all through 16 feet. 2 — Open Diapason, large scale, all metal . . 8 feet. 3 — Open Diapason, small scale, all metal . . 8 feet. 4 — Stopped Diapason, Treble 8 feet tone. -Viol di Gamba -Principal. . -Wald Flute 8 feet. 4 feet. 4 feet. -Twelfth 2f feet. 10— Fifteenth 2 feet. 11 — Mixture, II ranks. 12 — Trombone 8 feet. 13— Clarion 4 feet. 496 APPENDIX. 14 — Dulciana, throughout 15 — Stopped Diapason, Treble 1 6 — Stopped Diapason,Bass Choir, 7 Stops. 8 feet. 8 feet tone. 8 feet tone. 17- 21 — Bourdon 16 feet tone 22— Open Diapason 8 feet. 23 — Stopped Diapason .. 8 feet tone. 24 — Principal 4 feet. 25— Fifteenth 2 feet. 31 — Open Diapason, large 16 feet, 32 — Open Diapason, small 16 feet. 83— Principal 8 feet. Keraulophon, to Tenor c 8 feet. 18 — Principal 4 feet. 19— Fifteenth 2 feet. 20 — Cremona to Tenor c . 8 feet tone. Swell, 10 Stops. 26 — Sesquialtera, III rnks. 27 — Cornopean 8 feet. 28 — Hautl)oy 8 feet 29— Clarion 4 feet. 30 — Cromorne, throughout 8 feet tone. Pedal, 6 Stops. 34— Fifteenth 4 feet. 35 — Sesquialtera, V ranks. 36— Posaune 16 feet. Accessory Stops, Movements, &c. 1 — Coupler, Great to Swell. 2 — Coupler, Great to Choir. 3 — Coupler, Choir to Swell. Great, CC to g 3 in altissimo. Choir, GG to g ' in altissimo. 4 — Coupler, Pedal to Great. 5 — Coupler, Pedal to Choir. 6— Coupler, Pedal to Swell. Compass. Swell, CC to g ^ in altissimo. Pedal, CCC to Tenor f. 213. 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 1 740, 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 fi-ont, 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. Great, 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. 5 — Dulciana 8 feet. 6 — Principal 4 feet. 7_Twelfth 2 1 feet. Swell, 7 Stops- 14 — Open Diapason .... 8 feet. 15 — Stopped Diapason . . 8 feet tone. 16 — Principal 4 feet. 17 — Fifteenth 2 feet. Pedal, 2 Stops — Two octaves and a major third, from CCC to E. 21 — DoubleOpenDiapasonie. feet. | 22 — Double Trumpet ... . 16 feet Couplers 8— Fifteenth 4 feet. 9 — Sesquialtera. 10 — Mixture. 11 — Trumpet . . . , 8 feet. 12 — Clarion 4 feet, 13 — Cremona 8 feet tone. from CC to F. 18 — Sesquialtera, III rnks. If foot 19 — Trumpet (only pre- pared for). 20— Hautboy 8 feet 1 — Swell to Great 2— Swell to Pedals. 3— Great to Pedal. AN ACCOUNT 01' COUNTRY ORGANS. 497 214. Hereford. Tlic Organ in Hereford Cathedral, originally built by Father Smith, in 1 080, was a present from King Ciuirles the Second. Byfield afterwards added the Choir Organ ; and the instrument has since been successively repaired by Snetzler, Green, Avery, Lincobi, Elliott, who in ] 806 put Pedals and Pedal Pipes ; and, lastly, by Bishop, who introduced the present Swell and Pedal Pipes. The instrument has now 24 Sounding Stops, of which the following is a hst : Great, 12 Stops. 1 — Open Diapason. 2 — Open Diapason. 3 — Stopped Diapason. 4 — Clarabella, in place ofV -rank Cornet 5 — 'Principal. 6 — Principal. 13 — Stopped Diapason. 1 -k — Dulciana. 1 5 — Principal. 19 — Open Diapason. 20 — Stopped Diapason. 21 — Principal. 7— Twelfth. 8— Fifteenth. 9 — Tierce. 10 — Larigot 11 — Sesquialtera, III ranks. 1 2 — Trumpet. Choir, 6 Stops. 16— Flute. 17— Fifteenth. 18 — Cremona. Swell, 5 Stops, to Tenor c. 22 — Trumpet. 23— Hautboy. Pedal, 1 Stop, CCC to Tenor d. 24 — Open Diapason, wood. .16 feet. Accessory Stops, Movements, &c. 1 — Coupler, Swell to Great. 2 — Coupler, Great to Pedal. 3— Choir to Pedal. 4, 5, 6 — Three Composition Pedals. 215. Worcester. The present Organ in Worcester Cathedral was built by Messrs. Hill and Co. in the year 1842, and is one of the largest Cathedral Organs in England, except that at York Minster. It contains 39 Sounding Stops, of which the fol- lowing is a list : Great, 14 Stops. 1 — Tenoroon 16 feet. 2 — Bourdon, to meet No. 1 16 feet tone. 3 — Open Diapason, Back 8 feet. 4 — Open Diapason, Front 8 feet. 6 — Stopped Diapason . . 8 feet tone. 6 — Quint 5i feet. 7 — Prmcipal 4 feet. Choir, 8 Stops. 8— Wald-Flote 4 feet. 9— Twelfth 2| feet. 10— Fifteenth 2 feet. 11 — Sesquialtera, III rnks. 1| foot. 12 — Mixture, . . II ranks § foot. 13 — Doublette, . . II ranks 2 feet. 14 — Posaune 8 feet. 15 — Dulciana 8 feet. 16— Clarabella 8 feet. 1 7 — Stopped Diapason ... 8 feet tone. 18 — Principal 4 feet. 1 9 — Stopped Flute 4 feet tone. 20— Oboe Flute 4 feet. 21— Fifteenth 2 feet. 22 — Cremona 8 feet tone. 498 APPENDIX. Swell, ] 1 Stops. 23 — Double Dulciana. . 24 — Open Diapason. . . 26 — Stopped Diapason. 26 — Dulciana 27 — Principal 28 — Suabe- Flute. . . . IG feet. 8 feet. 8 feet tone. 8 feet. 4 feet. 4 feet. 29 — Flageolet 4 feet. 80 — Doublette, II ranks. . 2 feet. 31 — Echo Cornet. 32— Oboe 8 feet. 88 — Cornopean 8 feet. 34 — Open Diapason . . 35 — Stopped Diapason 36 — Principal Pedal, 6 Stops. . . 16 feet. 87— Fifteenth 4 feet. . . 16 feet tone. 38 — Sesquialtera, V ranks. . . 8 feet. 39— Trombone 16 feet. Accessory Stops, Movements, &c. 1 — Coupler, Swell to Great. 2— Coupler, Swell to Choir. 3 — Coupler, Pedals to Great. Great, CC to f 3 in alt. Choir, CC to f 3 in alt. 4 — Coupler, Pedals to Choir. .5 to 9 — Five Composition Pedals. Compass. Swell, Tenor c to f 3 in alt. Pedal, CCCto Tenor e. 216. WOECESTER. The Organ in the Shire Hall at Worcester was built in 1844, by Nicholson of that City. It contains 63 Sounding Stops, of which the following is a list : Great, 16 Stops. 1 — Great Diapason, metal throughout 16 feet. 2 — Open Diapason .... 8 feet. 3 — Open Diapason, small 8 feet. 4 — Gamba 8 feet. 5 — Bourdon 8 feet tone. 6 — Quint 5^ feet. 7 — Octave 4 feet. 8 — Gemshorn 4 feet. 9— Wald Flute 10— Twelfth 11— Fifteenth 12 — Tierce 13 — Mixture . . V ranks. 14 — Posaune 15 — Clarion 1 6 a — Spare Slider. Swell, 16 Stops. 16 — Great Diapason, open throughout 16 feet. 1 7 — Open Diapason .... 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— Wald Flute 4 feet. 2 4 — Super-octave 25— Mixture, . . V ranks. 26 — Trombone 27 — Cornopean 28— Hautboy 29 — Clarionette 80 — Clarion 81a — Spare Slider. Choir, 11 Stops. 31 — Open Diapason .... 8 feet. 32 — ^Viol di Gamba 8 feet. 38 — Dulciana 8 feet. 84— Clarabella 8 feet. 35 — Stopped Diapason . , 8 feet tone. 36 — Harmonic Flute .... 4 feet. 37— Dulcet 88 — Suabe Flute 89— Octave Flute 40 — Echo Cornet, V ranks. 41 — Trumpet 42 a — Spare Slider. 4 feet. 2 1 feet. 2 feet. 15 foot. 2 feet. 8 feet. 4 feet. 2 feet. 1 6 feet. 8 feet. 8 feet. 8 feet tone. 4 feet. 4 feet. 4 feet. 2 feet. 8 feet. AN ACCOUNT OP COUNTRY ORGANS. 409 Pedal, 11 Stops. 42 — Great Diapason, open, wood .... 32 feet. 43 — Open Diapason .... 1 (5 feet. 44 — Open Diapason, small, wood 10 feet. 45 — Dulciana, metal .... Hi feet. 4G— Violon 10 feet. 47 — Bourdon 10 feet tone. 4a — Quint, Stopped — .IO5 teet tone. 4!) — Principal B feet. 60 — Bass Flute 8 feet tone. 61— Fifteenth 4 feet. 52 — Mixture, III ranks. 63 — Posaunc 10 feet. Accessory Stops, Movements, &c. 1 — Coupler, Swell to Great. 2 — Coupler, Swell to Choir. 3 — Coupler, Choir to Great. 4 — Coupler, Great to Pedal. 6 — Coupler, Choir to Pedal. 6 — Coupler, Swell to Pedal. 7 — Coupler, Pedal Octave. 8 — Coupler, Swell Octave. 9 — Pedal Organ off or on. 10 — Sforzando Pedal. 11 — Tremulant Swell. 12 — Pneumatic Lever Attachment. 13 to 22 — Ten Composition Pedals. 217. 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, to meet No.l 16 feet tone. 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 feet. 8 — Principal Octave .... 4 feet. 9— Wald Flute 4 feet. 10— Oboe Flute 4 feet. 11— Twelfth 2| feet. 12— Fifteenth 2 feet. 13— Octave Fifteenth 1 foot. 14 — Sesquiahera If foot. 1 5 — Mixture f foot. 1 6 — Corno Trombone .... 8 feet. 1 7 —Corno Clarion 4 feet. 18 — Cromorne 8 feet tone. Swell, 12 Stops. 1 9 — Tenoroon Diapason . . 16 feet. 20 — Bourdon,'to meet No.l. 16 feet tone. 21 — Principal Diapason . . 8 feet. 22 — Stopped Diapason, Treble 8 feet tone. 28 — Stopped Diapason,Bass 8 feet tone. 24 — Principal Octave .... 4 feet. 25— Suabe Flute 4 feet. 26 — Flageolet 2 feet. 27— Doublette, II ranks . 2 feet. 28 — Echo Dulciana Cornet, V ranks . 1| foot. 29— Oboe 8 feet. 30 — Cornopean 8 feet. Pedal, 6 Stops. 31 — Open Diapason .... 16 feet. 82 — Bourdon 16 feet tone. 33— Principal 8 feet Accessory Stops, Movements, &c 34— Fifteenth 4 feet. 35 — Mixture, . . V ranks 3^ feet. 36— Posaune 16 feet. 1 — Coupler, Swell to Great. 2— Great to Pedal. 3— Swell to Pedal. 4 — Octave Pedal. 6 to 7 — Three Composition Pedals. Compass. Great and Swell, CC to f^ in alt. Pedal, CCC to Tenor d. K K 2 500 APPENDIX. 218. Kidderminster. The new Organ for the Town Hall at Kidderminster is being built by Messrs. Ilill and Co. It is to contain 28 Sounding Stops, of which the following is a list: Great, 10 Stops. 1 — Double Open and Bour- don. . . . • • 10 feet. 2 — Open Diapason 8 feet. 3 — Cone Gamba 8 feet. 4 — Stopped Diapason ... 8 feet tone 5 — Principal 4 feet. Choir, G Stops 6— Wald Flute 4 feet. 7— Twelfth 2f feet. 8— Fifteenth 2 feet. 9 — Sesquialtera, III rnks. 10 — Posaune 8 feet. 11 — Dulciana 8 feet. 12 — Stopped Diapason . . 8 feet tone. 13 — Gemshorn 4 feet. 14— Flute , 4 feet. 15 — Piccolo... 2 feet. 16 — Cromorne 8 feet tone. 17 — Double Diapason. ... 16 feet. 18 — Open Diapason .... 8 feet. 19 — Gamba 8 feet. 20 — Stopped Diapason ... 8 feet tone. Pedal, 4 Stops. 25 — Open Diapason .... IG feet. 26— Violone IG feet. Swell, 8 Stops. 21 — Principal 4 feet. 22— Fifteenth 2 feet. 28 — Cornopean 8 feet. 24— Oboe 8 feet. 27 — Principal 8 feet. 28 — Posaune IG feet. Accessory Stops, Movements, &c. -Coupler, Swell to Pedal. 6, 7 — Three Composition Pedals. 1 — Coupler, Swell to Great. 2 — Coupler, Great to Pedal. 3 — Coupler, Choir to Pedal. Compass. All the Manuals, CC to gs in altissimo. I Pedal, CCC to Tenor d 219. 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 forty-feet ; it is thirty-five feet wide, and fifteen feet deep. The bellows contains 300 square feet of surface, and upwards of three tons weight upon the bellows are required to give the necessary pressure. The trackers, if laid out in a straight line, would reach above five miles. The principal metal pipe, standing in front of the Organ, is thirty-five feet three inches long, and five feet eight inches in circumference. The largest wood-pipe, CCCC, 32 feet, is twelve feet in circumference, and its interior measure- ment is two hundred and twenty-four cubic feet. Originally the Great and Choir Organs were of 16-feet compass ; but on the occasion of the instrument l>eing re- modelled, they were altered to the CC or 8-feet range ; the Great being at the same time converted into a "16-feet ]\Ianual," in the German acce])tation 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 Combination or Solo Organ, upon which, by an ingenious contrivance, can be played any Stop or Stops out of the Swell or Choir Organs, without interfering with their previous arrangement on their separate Manuals. There are two Octaves and five Notes of Pedals. The timber alone used AN ACCOUNT OF COUNTRY ORGANS. 501 in tliis instrument weighs between twenty and thirty tons ; and tlie metal and other materials employed in its formation raise it to a total weigiit ol' ut least forty tons. The Birmingham Organ has 53 Sounding Stops, of which the following is a Ust : Great, 19 Stops. 1 — Double Open Diapason lO feet. 2 — Open Diapason . • . . 8 feet. 3 — Open Diapason .... ii feet. 4 — Open Diapason 8 feet. 5 — Stopped Diapason . . 8 feet tone. G — Quint T) J feet tone. 7 — Principal 4 feet. 8 — Principal 4 feet. !)— Twelfth 2|feet. 10— Fifteenth 2 feet. 11 — Doublette, II ranks . 2 feet. 1 2 — Sesquialtera, V ranks 13 — Mixture . . V ranks 14 — Fourniture. .V ranks 15 — Contra or Double Trumpet IG feet. IG — Posaune 8 feet. 17 — Clarion 4 feet. 1 8 — Octave Clarion .... 2 feet. 19 — Great Ophicleide, on a heavy pressure of wind 8 feet. Swell, 10 Stops. 20 — Double Diapason ... IG feet. 21 — Open Diapason . . ■ . 8 feet. 22 — Stop Diapason 8 feet tone. 23 — Principal 4 feet. 24 — Fifteenth 2 feet. 25 — Sesquialtera, V ranks If foot. 2G— Horn 8 feet. 27 — Trumpet 8 feet. 28 — Hautboy 8 feet, 29 — Clarion 4 feet. 30 — Open Diapason .... 8 feet. 31 — Dulciana 8 feet. 8 feet tone. 4 feet. 82 — Stopped Diapason 33 — Principal 34— Flute 4 feet Pedal, 15 Stops 39 — Contra- Open Diapa- son (metal) 32 feet. 40 — Contra-Open Diapa- pason (wood) .... 32 feet. 41 — Open Diapason (metal) IG feet. 42 — Open Diapason (metal) IG feet. 43 — Open Diapason(wood) IG feet. 44 — Stopped Diapason .. IG feet tone. Choir, 9 Stops. 35— Oboe Flute 4 feet. 3G— Wald Flute 4 feet. 37— Fifteenth 2 feet. 38 — Cornopean 8 feet. 45 — Principal 8 feet. 46— Twelfth 6 feet. 47— Fifteenth , 4 feet. 48 — Sesquialtera, V rnks. 49— Mixture, . . V rnks. 50 — Contra Posaune. ... 32 feet. 61 — Posaune IG feet. 52 — Trumpet 8 feet. 53 — Clarion 4 feet. 1 — Open Diapason. 2 — Cornopean. 3 — Dulciana. 4 — Stopped Diapason. 9 — Hautboy. 10 — -Clarion. 11 — Trumpet. 12— Horn. 13— Fifteenth. Combination or Solo Organ. Choir, 8 Stops. 5 — Harmonica. 6— Flute. 7 — -Cremona. 8— Bells. Swell, 9 Stops. 14— aaribella. 1 5 — Principal. IG — Stopped Diapason. 17 — Open Diapason. 602 APPENDIX. 1— Swell to Great. 2 — Choir to Great. 3 — Pedals to Great. 4 — Pedals to Choir. Accessory Stops, Movements, &c. 5 — Pedals only 6 — Combination Choir. 7 — Combination Swell. 8 to 14 — Seven Composition Pedals. All four Manuals, CC to in alt. Compass. Pedal, CCC to Tenor f. 220. Lichfield. Schwarbrook's Organ that stood in Lichfield Cathedral was removed in 1789, to make way for the present instrument, by Green, which has 23 Sounding Stops. Great, 11 Stops. Compass from GG, including GGJt, to E in alt. 1 — Open Diapason. 2 — Open Diapason. 3 — Stopped Diapason. 4 — Principal. 5_Twelfth. 6— Fifteenth. 7 — Tierce. 8 — Furniture. ... II ranks. 9 — Sesquialtera. .Ill ranks. 1 0 — Trumpet. 11 — Cornet to middle c^, IV ranks. Choir, 5 Stops. 15— Flute. 10— Fifteenth. 12 — Stopped Diapason. 13 — Dulciana to Gamut G. 14 — Principal. Swell, 7 Stops — down to Fiddle g. 17 — Open Diapason. 18 — Stopped Diapason. 19 — Dulciana. 20 — Principal. 21 — Cornet. .Ill ranks. 22 — Trumpet. 23— Hautboy. N. B. No Pedal Pipes. 221. Shrewsbury. The Organ in St. Mary's, Shrewsbury, is a fine instrument, and was built by Harris and Byfield, in 1729. In 1847, it was enlarged and improved by Gray and Davison, and now contains 23 Sounding Stops. Great, 8 Stops — From CC to E, 53 Notes. Pipes. 1 — Open Diapason 53 2 — Stopped Diapason 53 3 — Principal 53 4_Twelfth 63 5— Fifteenth 53 C — Sesquialtera, III ranks 7 — Mixture. ... II ranks 8 — Trumpet . ; 9 — Stopped Diapason 63 10 — Dulciana to Tenor C . . . . 41 11 — Principal 63 Choir, 5 Stops. Pipes. 12— Flute... 13— Fifteenth Pipes. 147 65 53 530 Pipes. 53 53 253 AN ACCOUNT OF COUNTUY ORGANS. 603 14 — Double Diapason 41 15 — Open Diapason 41 IG — Sto[ipod Diai)ason 41 17 — Principal 41 1»— Fifteenth 41 Swell, 9 Stops — From Tenor C. Pipes. 1 !) — Sesquialte ra 123 20 — Hautboy 41 21 — Cornopean 41 22— Clarion 41 451 Pedal, 1 Stop. 23— Open Diapason, from CCC to D 27 Total number of Pipes 12G1 Couplers. 1— Swell to Great. | 2— Pedals to Great. | 3— Pedals to Choir. 222. Shrewsbury. The Organ in St. Chad's, Shrewsbury, was built by Gray, in 1704 ; and enlarged and improved by Gray and Davison, in 1848. 1 — Stopped Diapason 54 2 — Open Diapason 5i 3 — Open Diapason to Tenor c, in place of Il-rank Mix- ture , 4— Claribella to Middle ci, in place of IV-rank Cornet . Great, 9 Stops— From CC to F, 54 Notes. Pipes. 42 30 Pipes. 64 5 — Principal C_Twelfth 54 7— Fifteenth 54 8 — Sesquialtera, III ranks ... 150 9 — Trumpet 54 546 Choir, 8 Stops Pipes. 54 1 0 — Stopped Diapason, treble \ 11 — Ditto Ditto, bass J 12 — Keraulophon 42 13 — Dulciana 42 14 — Principal 54 Swell, 9 Stops— From Tenor C. Pipes. 15— Flute 42 IG — Cremona 42 17— Bourdon, CCC to BB 12 Pipes. 24— 2.5— . . . 42 26 — Pedal, 1 Stop. 27 — Open Diapason, from CCC to E ... 288 Pipes. -Clarion 42 462 Total number of Pipes. .1325 1 — Swell to Great. 2— Pedals to Great. 3— Pedals to Choir. Couplers, &c. 4 to 8- -Five Composition Pedals ; viz. 3 to the Great Organ, 2 to the Swell. 504 APPENDIX 223. Chester Cathedral. This Organ was built by Messrs. Gray and Davison, in 1844, and is a very fine one. It contains 30 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. 1 6 — Dulciana. 17 — Stopped Diapason. 18 — Principal. 22 — Double Diapason. 23 — Open Diapason. 24 — Stopped Diapason. 25 — Principal. 26 — Fifteenth. 9— Fifteenth. 10 — Sesquialtera, III ranks. 11 — Furniture .. II ranks. 12 — Mixture. ... II ranks. 13 — Trumpet. 14 — Clarion. Choir, 7 Stops— GG to F. 19— Flute. 20— Fifteenth. 21 — Clarionet. Swell, 9 Stops— FF to F. 27 — Sesquialtera, III ranks. 28 — Hautboy. 29 — Cornopean. 30 — Clarion. 31 — Open Diapason IG feet. 32 — Stopped Diapason .... 16 feet. 33 — Principal 8 feet. 1 — Swell to Great. 2— Swell to Choir. 3 — Choir to Great. Pedal, 6 Stops— CCC to D. 34— Fifteenth 4 feet. 35— Tierce Si feet. 36 — Sesquialtera, II ranks. Couplers. 4 — Great to Pedals. 5 — Choir to Pedals. 224. Chester. The Organ in St. John's, Chester, built by HiO, has three rows of keys, fi-om CC, the 8-feet pipe, to F in alt, and a small Pedal Organ of two octaves, from CCC, 16 feet, to C, 4 feet. Although the Pedal Organ consists of only three Stops, the upper octave, by means of a copula, is connected to the lower octave, thus doubling its power ; for in- stance, the foot being placed on the lowest pedal key, a double Open Diapason pipe of 1 0 feet, a double Stopped Diapason of 8 feet, a double Trumpet of 1 6 feet (similar to the one in the Birmingham Organ), and a Trumpet of 8 feet, speak together. Also an Open Diapason of 8 feet, and a Stopped Diapason of 4 feet. Great, 9 Stops. 1 — Open Diapason. 6 — Fifteenth. 2 — Open Diapason. 7 — Sesquialtera, IV ranks, bass. 3 — Stopped Diapason. 8 — Cornet .... IV ranks, treble. 4 — Principal. 9 — Trumpet. 5— Twelfth. AN ACCOUNT OF COUNTRY ORGANS. 605 10 — Double Stopped Diapason, bass. 11 — Open l)ia}Kisuii. 1 2 — Diilciunu. 13 — Stopped Diapason, bass. Choir, 8 Stops. 1 4— Claribella. 1 5 — Principal. 10 — Fifteenth. 17 — Cremona. Swell, 8 Stops— From Tenor C to F. 18 — Double Stopped Diapason. 19 — Open Diapason. 20 — Stopped Diapason. 21 — Principal. Pedal, 2 G— Double Trumpet IG feet. 27 — Double Stopped Diapason 8 feet. Couplers 22— Fifteenth. 23 — Sesquialtera, III ranks. 24 — Trumpet. 25 — Hautboy. 3 Stops. 28 — Double Open Diapason, metal IG feet. 1 — Swell to Great. 2 — Choir to Great. 3 — Pedal keys to Choir. 4 — Pedal keys to Great. 5 — Octave Copula. 225. Liverpool. The largest Organ yet constructed in England is that recently erected in the magnificent new Hall (St. George's) at Liverpool. It was built by Mr. Willis, under the direction of Dr. S. S. Wesley, and contains 100 Sounding Stops. The following account of this immense instrument is copied from a description compiled from particulars furnished by Dr. Wesley and Mr. Willis. The instrument consists of four rows of keys, from G to A, i. e. GG to A in altissimo, 63 notes ; and two octaves and a half of Pedals, from C to F, i. e. CCC to F, 30 notes. There are 108 Stops, and 8,000 Pipes, varying in length from 32 feet to 3-8ths of an inch, ten octaves apart. 1 — Double Diapason, ... IG feet. 2 — Open Diapason 8 feet. 3 — Open Diapason 8 feet. 4 — Open Diapason 8 feet. 5 — Open Diapason (wood) 8 feet. G — Stopped Diapason ... 8 feet. 7 — Principal 4 feet. 8 — Principal 4 feet. 9 — Principal 4 feet. 10— Flute 4 feet. 11— Twelfth 3 feet. 12— Twelfth 3 feet. 13— Fifteenth 2 feet. Great, 25 Stops. 14— Fifteenth 2 feet. 15 — Doublette, .. II rks. 1 6 — Sesquialtera, VI rks. 17 — Mixture,. . . IV rks. 18 — Fourniture, IV rks. 19 — Cymbalo, .. Vrks. 20 — Posaune 16 feet. 21 — Ophicliede 8 feet. 22 — Trombone 8 feet. 23 — Trumpet 8 feet. 24 — Clarion 4 feet. 25— Clarion 4 feet. 26 — Double Diapasonfopen, wood) 32 feet. 27 — Double Diapason(open, metal) 32 feet. 28 — Open Diapason (wood) IG feet. 29 — Open Diapason (metal) 16 feet. 30— Salcional (open, metal) IG feet. 31 — Bourdon (closed.wood) IG feet. 32 — Principal (wood). ... 8 ieet. 33 — Principal (metal) ... 8 feet. Pedal, 17 Stops. 34— Quint. . . . „ 6 feet. 35 — Fifteenth 4 feet. 36 — ]\Iixture, III ranks. 37 — Fourniture, V ranks. 38 — Posaune 32 feet. 39 — Trombone ......... 16 feet. 40 — Ophicliede 16 feet. 41 — Trumpet 16 feet. 42 — Clarion 8 feet. 606 APPENDIX. Solo, 15 Stops. 43 — Double Diapason (closed, wood) . , . . 44 — Open Diapason (wood) 45 — Stopped Diapason . . 46 — Flute (orchestral) . . 47— Flageolet 48 — Oboe (orchestral mid C) 49 — Clarionet (tenor C) . . 58 — Double Diapason. . . . 69 — Open Diapason . . . 60 — Open Diapason .... 61 — Stopped Diapason. . . 02 — Dulciana 03 — Principal 04 — Principal Go — Flute (open, wood) CO — Flute (closed, wood). . 07— Twelfth 68— Fifteenth 09— Fifteenth 70 — Doublette, II ranks. 83 — Double Diapason (closed, wood) .... 84 — Open Diapason .... 85 — Dulciana 86— Viol di Gamba .... 87 — Claribella 88 — Stopped Diapason . . 89 — Dulcimer 90 — Principal 91 — Celestiana. The Couplers or IMechanical Connexions are : Swell to Great Organ. Choir to Great Organ. Solo to Great Organ. Solo to Choir Organ. Great to Swell Organ. 50- — Corno di Bassetto . . ft foof 10 leet. D 1 - — Harmonic Flute .... 4 leet. 8 feet. 62- 8 feet. 8 feet. 53 8 feet. 4 feet. 54 — Trumpet (Harmonic) 8 feet. 2 feet. 55- — Vox Humana 8 feet. 50- 8 feet. 8 feet. 57- — Contra Fagotto .... 16 feet. 8 feet. Swell, 2 16 feet. 8 feet. 8 feet. 8 feet. 8 feet. 4 feet. 4 feet. 4 feet. 8 feet. 2 feet. 2 feet. 5 Stops. 71 — Piccolo (open, wood) 72 — Sesquialtera, Illrks. 73— Mixture, . . Illrks. 74 — Furniture, . .IV rks. 75 — Trombone 70 — Contra Hautboy . . . 77 — Horn 78 — Trumpet 79— Oboe 80— Ophicleide 81 — Clarion 82 — Clarion 2 feet. 10 feet. 10 feet. 8 feet. 8 feet. 8 feet. 8 feet. 4 feet. 4 feet. Choir, 18 Stops. 92— Flute. 1 0 feet. 93— Flageolet 2 feet. 8 feet. 94— Twelfth 3 feet. 8 feet. 95— Fifteenth 2 feet. 8 feet. 90— Mixture, III ranks. 8 feet. 8 feet. 8 feet. 8 feet. 4 feet. 99— Orchestral Oboe 4 feet. 8 feet. 4 feet. Choir to Pedals. Great to Pedals. Swell to Pedals. Solo Organ to Pedals. The grand source of wind is from two immense Bellows, each having three feeders, placed in the vaults below the floor of the Hall. These are blown by a steam-engine, consisting of a pair of oscillating cylinders. There are, besides, twelve other bellows, or reservoirs, each giving its own appropriate pressure of air to those Stops or Pipes which it supplies. The Pneumatic Lever is applied to each of the Manuals distinctly, and also dis- tinctly or separately to the Manual Couplers. To the Pedal Organ there is a double set of Pneumatic Levers ; but the most elaborate use of this power is found in its application to the combination of Stops ; here we have it exhibited in a compound form to each Organ individually, and to the whole collectively, where by one opera- To face pa()e 606. THE ORGAN, ST. GEORGE'S HALL, LIVERPOOL. Note. — Since the preceding specification was first published (in the Musical Transcript), the following alterations in it have been made. In the Great Organ, a Quint of (5 feet has been substituted for one of the three Principals ; and a Tenth has been inserted in lieu of one of the two Twelfths. In the Solo Organ, a Horn of 8 feet occupies the place of the Harmonic Flute of -4 feet (No. 51) ; the Trumpet (No. 54) is not " Harmonic ;" and instead of a Vox Humana (No. 55), there is a Harmonic Trumpet of 4 feet. In the Choir Organ, there is an Octave Gamba in place of the " Dulcimer" (No. 89) ; and the 4-feet Flute (No. 92) is " Harmonic." The Trumpet and Clarion in the Pedal Organ (Nos. 41 and 42 j are of 8 and 4 feet respectively; and the Orchestral Oboe in the Solo Organ (No. 48J descends to Tenor C. The above facts have been communicated by Mr. Henry Willis, together with several particulars relating to the mechanism of the instrument, which, however, arrived too late to be inserted in the present edition. AN ACCOUNT OF COaNTllY ORGANS. 607 tioM tlie player is enabled to jirodiice a combination of Stops upon the entire instrument at once. This movement appears in a series of six handsome guld-gilt knobs, placed inunediately under each set of Manuals, at about two keys' distance from each other, occupying a central position, always within reach of one or other of the performer's thumbs. The Pneumatic Lever is also applied to the opening and shutting of the Swell louvres, and some other less important purposes. The very extensive use Mr. Willis has made of this extraordinary power seems to have rendered any deviation from the ordinary valves, in immediate connection with the Pipes, unnecessary, excepting in the Pedal Organ, where the large Pipes have a very peculiar valve for their supply, which is quiet, sound, and free from the resistance resulting from the compressed air. Space, however, will not permit us to describe this curious mechanism. The Pedal-board is a most ingenious contrivance of Dr. Wesley's. The Pedals radiate to a point some distance behind the player, when seated at the instrument ; and are circular on plan, and conically segmental in elevation. The mode of drawing the Stops is different from most Organs that we have seen — each knob, which is of solid ivory, presenting itself at an angle of about 80 degrees. By this arrangement, with that of the Pedals and the combination movement, the player has remarkable control over the instrument. The improvements in the mechanism of this noble Organ are patent, and consist : 1st. Of the cylindrical valve. 2nd. The exhausting valve to the pneumatic lever, which would, by engineers, be called an opposition surface valve, its object being to facilitate the exhaustion of the bellows, and thus to enhance the reiteration of the touch. 3rd. The throttle valve to the same, whereby the noise always perceptible in Pneumatic Levers, without this application, is entirely overcome. This is simply a valve placed over the aperture through which the wind must pass to inflate the Pneumatic Lever ; and, although the machine retains all the im- pulsiveness necessary to insure punctuality, its impetus is gradually checked by the Pneumatic Bellows closing this valve, which is admirably contrived to have no connexion with the movement. 4th. The combination movement, and the application of Pneumatic Levers in a compound form, by which we under- stand one acting upon another. 5th. An improved method of centring or hinging such movements as lead from Draw-stops to Slides, &c. 6th. (not patent). A most valuable contrivance in the coupling of the Pedals with the Manuals, whereby the four Couplers in reality become eight. This is effected by two Pedals on the left of the performer ; one Pedal produces the connexion in unison with the Pedal Organ, the other in octaves with the same. They can be used sepa- rately or together, and stand in such a position as to enable the performer by one operation to detach the whole coupling movement, though the Stop be drawn. This is a mechanical contrivance so unique, and of such importance and utility, that we cannot help thus expatiating upon it. Some delay had been experienced in the final arrangements for the erection of this Organ ; but the result has justified the propriety of maturely considering the best plans before proceeding with the instrument. To the combined exertions of Dr. Wesley and Mr. Willis the Town Council and the inhabitants are indebted 508 APPENDIX. for an unrivalled instrument ; and while the opulence of the Corporation has justified such a large expenditure, the result is both satisfactory and creditable to the gentle- men who have conducted its erection. 226 Liverpool. The Organ in Great George Street Chapel is a magnificent and well-balanced instrument. It was built by Hill, hi 18il, and contains 52 Sounding Stops, of which the following is a list : 1 — Tenoroon to Tenor key 2 — Bourdon, to meet No. 1 16 3 — Open Diapason .... 8 4 — Open Diapason .... 8 6 — Stopped Diapason 6 — Quint Great, 16 Stops. 8— Flute ■ 16 feet. feet tone, feet. 1 feet, feet tone, feet. 7 — Principal 4 feet. 9— Tenth 10— Twelfth 11— Fifteenth 12 — Sesquialtera, III rnks 13 — Mixture, . , III rnks 14 — Doublette, . .11 rnks 1 5 — Posaune 16— Clarion 17 — Tenoroon to Tenor c key 18 — Bourdon to meet No. 17 16 19 — Open Diapason .... 8 20 — Dulciana 8 21 — Stopped Diapason ... 8 22 — Quint 5j 23 — Principal 4 24— Suabe Flute 4 25— Twelfth 22 Swell, 20 Stops. 26 — Fifteenth 16 feet. 27 — Flageolet 28 — Sesquialtera, III mks feet tone. 29 — Mixture. ... II rnks feet. 30 — Echo Cornet V rnks feet. 31 — Contra Fagotto .... feet tone. 32 — Cornopean feet. 33 — Trumpet feet. 34— Oboe feet. 35 — Corno Flute feet. 36— Clarion 4 feet. 3i feet. 2t feet. 2 feet. Ig foot. 1 foot. 2 feet. 8 feet. 4 feet. 2 feet. 2 feet. foot. Choir, 8 Stops. 37 — Open Diapason .... 8 38 — Dulciana 8 30 — Stopped Diapason . . 8 40— Clarabella 8 41 — Principal 4 46- 42 — Stopped Flute 43— Wald Flute . . 44_Oboe Flute. .. 45 — Cremona . . . . feet, feet. feet tone, feet, feet. Solo Organ, 1 Stop. -Tuba Mirabilis 8 feet. Pedal, 6 Stops. f foot. 16 feet. 8 feet. 8 feet. 8 feet. 8 feet. 4 feet. 4 feet tone. 4 feet. 4 feet. 8 feet tone. 47 — Open Diapason .... 16 feet. 48 — Bourdon 16 feet tone. 49 — Principal 8 feet. Accessory Stops 1 — Swell to Great. 2 — Choir to Great. 3 — Great to Pedal. 50 — Fifteenth 4 feet. 51 — Sesquialtera, V rnks 3i feet. 52 — Trombone 16 feet. Great, CC to f ^ in alt. Choir, CC to f 3 in alt. Movements, &c. 4— Swell to Pedal. 5 — Choir to Pedal. 6 to 10 — Five Composition Pedals. Compass. Swell, CC to f 2 in alt. Pedal, CCC to Ttnor d. AN ACCOUNT OP COUNTRY ORGANS. 509 227. Liverpool. The line Organ in the Collegiate Institution, Liverpool, was built by Mr. .lack- son, of Liverjiool, in Ui.'iO. It contains the 40 Sounding Stops mentioned below. Great, 13 Stops — IG ranks. 1 — Tenoroon 2 — Bourdon, to meet No. 1 3 — Great Open Diapason 4 — Small Open Diapason .5 — Stopped Diapason G — Principal 14 — Open Diapason .... lb — Stopped Diapason .. 1 (! — Claribella 1 7 — Keraulophon 18 — Dulciana 19 — Principal 16 feet. 1 6 feet tone. » feet. 8 feet. 8 feet tone. 4 feet. 7— Twelfth 21 feet. 8— Fifteenth 2 feet. 9 — Sesquialtera, III ranks. 10 — Mixture ... Ill ranks. 11 — Sharp twentieth. 1 2 — Trumpet 8 feet. 1 o — Clarion 4 feet. Choir, 11 Stops. 8 feet. 8 feet. 8 feet. 8 feet. 8 feet. 8 feet. 4 feet. 25 — Double Diapason . 2G — Open Diapason . . 27 — Stopped Diapason 28 — Principal 29— Fifteenth Swell, IG feet. 8 feet. 8 feet. 4 feet. 2 feet. 9 Stops. 30 — Echo Dulciana Cornet, III ranks. 31 — Cornopean 8 feet. 82— Oboe 8 feet. 33 — Clarion 4 feet. Pedal, 7 Stops. 38— Fifteenth 4 feet. 39— Mixture, VI ranks. 40 — Posaune IG feet. 34 — Great Open Diapason 16 feet. 35 — Bourdon 16 feet. 36 — Principal 8 feet. 37_Twelfth 5i feet. Accessory Stops, Movements, &c. 5 — Choir to Pedals. 6 — Great to Pedals. 7 — Super-octave to Pedals. 8 to 13 — Six Composition Pedals Compass. All the IManuals, CC to g^ in altissimo. | Pedal, CCC to Fiddle g. 1 — Swell to Great. 2— Choir to Swell. 3 — Sub-octave Choir to Great. 4— Swell to Pedals. 228. Manchester. The Cathedral at Manchester contains two Organs ; one at the West End, con- sisting of Great and Swell Organs, and no Choir ; the other over the screen, consisting of a Choir Organ only, and without Pedals. The West End Organ was made about seventy years ago, and paid for by the parish. The name of the builder is not known. At the first Musical Festival, in 1828, it was removed from the centre of the building, where it was originally erected, to the west end of the Church, where it still remains, and is used for the Sunday services, which are only parochial. The following is a list of the Stops in the West End Organ : 510 APPENDIX. Great, 15 Stops — Compass from GG to F in alt. 1 — Double Stopped Diapason to GGG. 2 — Open Diapason. 3 — Ditto Ditto. 4 — Diilciana. 5 — Claribella. 6 — Stopped Diapason. 7 — Principal. 8— Ditto. 9— Flute. 10— Twelfth. 11 — Fifteenth. 12 — Sesquialtera, IV ranks throughout. 13 — Trumpet. 14 — Clarion, bass. 15 — Cremona. Swell, 7 Stops- 16 — Double Diapason. 17 — Open Diapason. 18 — Stopped Diapason. 1 9 — Principal. -Compass ft-om C to F in alt. 20 — Fifteenth. 21 — Hautboy. 22 — Trumpet. Pedal, 1 Stop. 28 — One Octave of Pedal Pipes, very small scale, from CCC to BB. Two Octaves and a half of Pedal keys. Pedal Coupler, Swell Coupler, old shifting movement, and the old " lifting door" to the swell box. Tho entire scale is small, therefore very shrill, and the bass remarkably thin. The Choir Organ is a little gem. It was built by Father Smith, and remains in its original state. It contains 8 Stops, of which the following is a list : 1 — Open Diapason, to Middle ci. 2— Hohl-flote, to Middle ci. 3 — Stopped Diapason throughout. 4 — Principal throughout. 5 — Flute throughout. 0 — Fifteenth throughout. 7 — Vox Humana, Treble. 8 — Bassoon, Bass. Compass. GG with GG» to d^ in alt. 229. Manchester. The fine Organ in St. Luke's, Manchester, was built by Hill, in 1840. Great, 10 Stops— CC to F in alt. 1 — Double Open Diapason 16 feet. 2 — Open Diapason 8 feet. 3 — Stopped Diapason ... 8 feet. 4 — Principal 4 feet. 5— Fifteenth 2 feet. Choir, 10 Stops 11 — Open Diapason 8 feet. 1 2 — Stopped Diapason ... 8 feet. 13 — Claribella 8 feet. 14 — Principal 4 feet. 15 — Dulciana ........ 8 feet. 6— Twelfth 8 feet. 7 — Sesquialtera, III ranks. 8 — Mixture. ... II ranks. 9 — Octave Fifteenth. 1 foot. 10 — Posaune 8 feet. -CC to F in alt. 16— Fifteenth . . 17— Oboe Flute. 18— Wald Flute 1 9 — Piccolo . . . . 20 — Cremona . . Swell, 7 Stops— Tenor C to F. 21 — Double Open Diapason 16 feet. 22 — Open Diapason .... 8 feet. 23 — Stopped Diapason . . 8 feet. 24 — Principal 4 feet. 25 — Doublette, II ranks. 26 — Cornopean 27— Oboe 2 feet. 4 feet. 4 feet. 2 feet. 8 feet. 2 feet. 8 feet. 8 feet. AN ACCOUNT OP COUNTRY ORGANS. \\M, ;? Stops— One Octave, CCC to CC. 2n — Open Diapason 29 — Bourdon k; foot. l(i feet. 30— Trombone 10 feet. Couplers. 1 — Choir to Great. 2 — Swell to Great. ;3 — Great to Pedals. 4 — Choir to I'edals. 6 — Swell to Pedals. 6, 7 — Two Composition Pedals to Swell. 8, 9, 10 — Three Composition Pedals to Great. 230. Manchester. The Organ in Holy Trinity Church, Manchester, was built in 1852, by Kirt- land and Jardine, of Manchester. It has 4 Manuals, Great Organ, Choir, Swell, and Solo, besides an independent Pedal, and contains 49 Stops, of which the follow- ing is a list : Great, 14 Stops— CC to P, 54 notes. 1 — Bourdon 16 feet. 2 — Open Diapason 8 feet. 3 — Salcional 8 feet. 4 — Stop Diapason, bass . . ) off 5— Clarabella } ^ G— Quint 6i feet. 7 — Principal 4 feet. Choir, 11 Stops- *15 — Bourdon IC feet. 1 6 — Dulciana 8 feet. 17 — Stop Diapason, bass . | ^ ^^^^ 18 — Stop Diapason, treble j 8— Clear Flute 4 feet. 9— Twelfth 2 5- feet. 10 — Fifteenth 2 feet. 11 — Sesquialtera, III ranks. If foot. 12 — Mixture. . . .Ill ranks. 1 foot. 13 — Trumpet 8 feet. 14 — Clarion 4 feet. CC to F, 54 notes. 21— Rohrflute, Tenor c. . . 4 feet. 1 9 — Viola di Gamba, Tenor c 8 feet. 20— Principal 4 feet. Swell, 10 Stops 26 — Bourdon 16 feet. 27 — Open Diapason 8 feet. 28 — Stop Diapason 8 feet. 29 — Principal 4 feet. 30— Twelfth 2f feet. Solo, 5 Stops — Tenor C to F, 42 notes *3 6— Gamba 8 feet *37 — Vox Angelica 8 feet *38— Flauto Traverso .... 4 feet, Pedal, 9 Stops— CCC to F, 30 Notes 23— Fifteenth 2 feet. 24 — Flageolet, Tenor c . . . 2 feet. 25 — Bassoon and Clarinet . 8 feet. CC to F, 54 notes. 31 — Fifteenth 2 feet. 32 — Mixture, III ranks . . If foot. 33 — Cornopean 8 feet. 34 — Hautboy 8 feet. 35 — Clarion 4 feet. *39 — Flute harmonique ... 4 feet. *40— ^oline 8 feet. 41 — Open Diapason 16 feet. 42 — Stopped Diapason .... 16 feet. 43— Quint 10| feet. 44 — Principal 8 feet. 45— Twelfth 5^ feet. Couplers 6 | Ventlls . 46— Fifteenth 4 feet. 47 — Mixture (19—22 — 26 — 29). *48 — Posaune 16 feet. *49— Clarion 8 feet. 4 I 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. 512 APPENDIX. 233. Manchester. The new Organ now being built for St. Peter's Church, Manchester, by Kirtland and Jardine, is to contain 47 Stops, of which the following is a hst : Great, 12 Stops — CC to g^ in altissimo. Feet. Pipes. Feet. Pipes. 1 — Double Open Diapason 1 (5 .. 5G 7- -Clear Flute . . 4 . . 66 2 — Open Diapason .... f? .. 56 8- -Twelfth , . . 2f. . 56 3 — Ganiba 8 . . 66 9- 2 . . 66 4 — Stopped Dapason .... 8 .. 56 10- —Full Mixture, V rnks. 2 . . 60 5 — Flute Harmonique . . 8 .. 35 11- —Sharp Ditto . . V rnks. 1 . . 56 .. 56 12- 8 . . 60 Feet. Pipes. 13— Bourdon 10 .. 50 14 — Open Diapason 8 . . 50 15 — Stopped Diapason ... . 8 .. 50 10— Hohl Flute 8 . . 50 17 — Principal 4 .. 50 18— Gedact Flute 4 . . 56 Swell, 12 Stops — CC to g3 in altissimo. Feet. 19— Twelfth 2|.. 20— Fifteenth 2 .. 21 — Mixture, V ranks. . . 2 .. 22 — Cornopean 8 .. 23— Hautboy 8 .. 24— Clarion 4 .. Feet. Pipes. .. 66 .. 56 . . 56 . . 66 ... 8 . . 56 . . 56 Choir, 12 Stops — CC to g^ in altissimo. 31 — Flauto traverse . . 32— Rohi-flote 4 33— Fifteenth 2 34 — Mixture, IV ranks.. U 35 — Bassoon 16 30— ^oline 8 Pipes. 4 .. Pipes 56 66 56 56 50 60 Feet. 50 44 56 66 44 60 Pedal, 11 Stops- 37 — Sub-Bass wood 32 feet tone. 38 — Open Diapason, metal 10 feet. 89 — Open Diapason, wood 10 feet. 40 — Stopped Diapason, wood 10 feet tone. 41 — Quint-Gedact . .wood lOf ft. tone. -CCC to Tenor f. 42 — Principal metal 8 feet. 43 — Violoncello . . . .wood 8 feet. 44— Twelfth metal 6^- feet. 45 — Fifteenth metal 4 feet. 46 — Posaune metal 10 feet. 47 — Trumpet. . . . .metal 8 feet. Accessory Stops, Movements, &c. 1 — Coupler, Swell to Great, unison. 2 — Coupler, Swell to Great, octave. 3 — Coupler, Swell to Great, sub-octave 4 — Coupler, Swell to Pedal. 5 — Coupler, Great to Pedal. 6— Coupler, Choir to Pedal. 7 — Sforzando Pedal, Great to Swell. 8 — Great Organ to Pedals. 9 — Tremulant. 10 to 16 — Six Composition Pedals; viz. 2 to Great Organ. 2 to Choir Organ. 2 to Swell Organ. Summary. Draw Stops, Great Organ 12 Draw Stops, Choir Organ 12 Draw Stops, Swell Organ. 12 Draw Stops, Pedal Organ 11 Composition Pedals 0 Copulte 6 Clochette 1 Total number of Draw Stops . . 00 Other Copulaj 3 AN ACCOUNT OF COUNTRY ORGANS. 613 2,32. ASHTON-UNDER-LlNE. The magnificent Organ, in the Parish Church at Ashton-under-line 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 () Stops. The following is its disposition : Pipes. 1 — Tenoroon Diapason 42 . 2— Bourdon, CCC to BB 12 . 3 — Open Diapason . . 54 . 4 — Open Diajiason . • 64 . 6 — Stopped Diapason to Tenor c . . , . 42 . 6 — Stopped Diapason, Bass 12 . 7— Quint , - - 54 . 8 — Principal 54 . 9— Wald Flute, to Tenor c 42 . 10— Tenth 54 Pipes. 22 — Tenoroon Dulciana 42 . 23— Bourdon,CCCtoBB 12 24 — Open Diapason . . 54 , 25 — Echo Dulciana, to Tenor c 42 , 26 — Stopped Diapason, Treble 42 , 27 — Stopped Diapason, Bass 12 . 28— Principal 64 , 29— Suabe Flute, to Tenor c 42 . 30 — Twelfth 54 . Pipes. 40 — Open Diapason.. . . 64 41 — Claribel, to Tenor c. 42 42 — Viol de Gamba, to Tenor c 42 43 — Stopped Diapason, Bass 12 44 — Principal 54 Pipes. 60 — Open Diapason . 27 61 — Bourdon 27 52 — Principal 24 Great, 21 Stops Feet. 10 10 tone. 8 8 8 tone. 8 tone. 5* 4 Pipes. 11— Twelfth 64 12— Fifteenth 64 13— Tierce 54 1 4 — Sesquialtera, Illrnks. 1G2 16— Mixture, III rnks. 162 16 — Doublette, Ilrnks. 108 17 — Tenoroon Trumpet 42 18 — Double Trumpet, CCCtoBB 12 19 — Posaun 54 20 — Clarion 54 21 — Octave Clarion .. 54 Swell, 18 Stops. Feet. 16 16 tone. 8 tone. 8 tone. 4 92 -5 Pipes. 81— Fifteenth 64 32 — Flageolet, Tenor c. 33 — Sesquialtera, III ranks. 34 — Mixture, II ranks. 35 — .Echo Dulciana Cornet, to Tenor c, .... V ranks. 8 6 — Tenoroon Trumpet to Tenor c. . . . 37 — Cornopean .... 88— Oboe 42 162 108 210 42 . 54 . 64 . 39— Clarion 54 Choir, 10 Stops. Feet. Pipes. , 8 . 8 tone. . 4 Pedal, Feet. 16 1 6 tone. 3 45— Ob7)e Flute,to Tenor c 42 46 — Stopped Flute, to Tenor c ...... 42 47— Fifteenth 54 48 - Piccolo, to Tenor c. . 42 49 — Cremona, to Tenor c 42 Stops. ' Pipes. 53— Fifteenth 27 . 64— Mixture, V ranks 135 . 55 — Trombone 27 . Accessory Stops, Movements, &c. Feet. 21 2 If 4 .5 2 16 16 8 4 2 Feet. . 2 , 2 If 16 8 Feet. .4 4 tone. 2 2 8 tone Feet. 4 H 16 1 to 8 — Eight Couplers. 9 to 14 — Six Composition Pedals. 15 — Sforzando PedaJ. 5U APPENDIX. Great Organ, CC to f ^ in alt. Swell Organ, CC to f 3 in alt. Compass. 54 notes. 54 notes. Choir Organ, CC to f ^ in alt. 54 notes. Pedal Organ, CCC to Tenor d, 27 notes. Summary of Pipes and Stops. Pipes. Stops. Great Organ 1230 21 Swell Organ 1134 18 Choir Organ 426 10 Pedal Organ 270 6 Total 8060 65 233. Stockport. The Organ in the large room of the Stockport Sunday School was built in 1853, by Kirtland and 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 gentle- man. The instrument contains 23 Sounding Stops, distributed among 2 complete Manuals and Pedal in the following manner : Great, 12 Stops. Feet. Pipes. 1— Open Diapason, 8 . . 54 2- Open Diapason, 8 . . 59 3- -Stopped Diapason . . 8 tone. 54 4- 8 . . 54 5- -Wald Flute 4 . . 54 6- 4 . . 54 7- -Twelfth 21 .. 54 Swell, 1 Feet. Pipes. 13- -Double Stopped 16 . . 54 14- -Open Diapason • . . . 8 . . 54 15- -Stopped Diapason . . 8 .. 54 16- -Keraulophon, to 8 . . 42 17- 4 54 Feet. Pipes. 8- —Fifteenth 2 .. 54 9- — Sesquialtera, IVrnks n .. 216 10- 8 . . 54 11- 4 . . 54 12- — Cremona, to Fiddle 8 . . 85 Number of Pipes. ... 636 Feet. Pipes. 18- 4 . . 54 19- 2 . 54 20- — Sesquialtera, III rnks. If ■ . 162 21- 8 . . 54 22- 8 . . 54 • Pedal, 1 Stop. 28 — Open Diapason, 16 feet. Accessory Stops, Movements, &c. 1 — Swell to Great, Unison. 2 — Swell to Great, Sub-Octave. 3 — Swell to Great, Octave. 6 to 9 — Four Composition Pedals to Great Organ. 10 and 11 — ^Two Composition Pedals to Swell Organ. 12— Pedal, Sub-Octave-Swell. -Great to Pedal. -Swell to Pedal. Great, CC to f ^ in alt. Swell, CC to f 3 in alt. 13 — Pedal, Unison Octave Swell. 14— Pedal, Octave Swell. 15 — Sforzando Pedal, acting simultane- ously upon the three Swell Cou- plers. Compass. Pedal, CCC to Tenor f AN ACCOUNT OP COUNTRY ORQANS. 515 The arrangement of the Pedal Swell Couplers enables tlie 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 ochestral 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 10 feet G inches high, by 1 0 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, enabUng 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 Diapasoyi, Principal, Twelfth, and Fifteenth, at Treble c^. By this arrangement, the portion of a Alanual 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; briUiancy meanwhile being secured by the acute pitch of the notes themselves. This is the first Organ in England in which this Composi- tion (adopted at the suggestion of the writer) was tried with so few ranks of Com- pound-work ; and it has since been followed by Robson, in his Belfast and other Organs ; and by Walker, in his Prestbury Organ. 234. Oldham. The Organ in the Parish Church at Oldham was built in the year 1830, by Elliott and Hill, of London, and is a very fine instrument. It contains 3 1 Sounding Stops, of which the following is a list : Great, 14 Stops. 1 — Double Diapason, Treble. 2 — Double Diapason, Bass. 8 — Open Diapason, No. 1 . 4 — Open Diapason, No. 2. 5 — Stopped Diapason. 6 — Principal, No. 1. 7 — Principal, No. 2. 15 — Open Diapason. 16 — Stopped Diapason. 17 — Principal. 18— Flute. 23 — Double Diapason. 24 — Open Diapason. 25 — Stopped Diapason. 26 — Dulciana. 8— Twelfth. 9— Fifteenth. 10 — Sesquialtera, IV ranks. 11 — Mixture, .. Ill ranks. 12 — Trumpet, Treble. 13 — Trumpet, Bass. 14 — Clarion. Choir, 8 Stops. 19— Fifteenth. 20 — Flageolet. 21 — Cremona. 22 — Bassoon. Swell, 8 Stops. 27 — Principal. 28 — Mixture, III ranks. 29 — Trumpet. 80 — Hautboy. Pedal, 1 Stop. 31— Pedal Pipes. 616 APPENDIX. Accessory Stops, Movements, &c. 1 — Cou})ler, Swell to Great. 2 — Coupler, Great to Pedal. Great, GG to f 3 in alt. Choir, GG to P in alt. Swell Organ, Tenor c to f 3 in alt. 3 — Coupler, Choir to Pedal. 4, 5, G — Three Composition Pedals. Compass. Swell Clavier, down to GG, and act- ing on Choir Organ below Tenor c. Pedal Clavier, GG to Tenor d. 235. 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 defective either in range, number of Stops, or both) is of ample and corresponding proportions. The Organ contains 40 Sounding Stops, of which the following is a list : Great, 15 Stops. Compass, CC to C altissimo. (Gl notes.) 1 — Double Open Diapa- son, metal through out . 16 feet. 2 — Large Open Diapason. 8 feet. 3 — Open Diapason .... 8 feet. 4 — Stopped Diapason. . - 8 feet tone 6 — Quint G feet. 6 — Principal 4 feet. 7— Wald Flute 4 feet. Choir, 4 Stops. Compass, CC to C altissimo. 8— Twelfth 3 feet. 9 — Fifteenth 2 feet. 10 — Piccolo 2 feet. 11 — Sesquialtera, III rnks. 1| foot. 12 — Mixture,. . . .II rnks. i foot. 18 — ^^Furniture, . .Ill rnks. 14 — Trumpet 8 feet. 15 — Clarion 4 feet. (Gl notes.) 16 Stopped Diapason and Claribella 8 feet tone. 17 — Dulciana 8 feet. Swell, 12 Stops. Compass, CC to C altissimo. 18 — Viol di Gamba 19 — Principal 8 feet. 4 feet. (61 notes.) 20 — Double Diapason ... 16 feet tone. 21 — Open Diapason. ... 8 feet. 22 — Stopped Diapason. . . 8 feet tone. 23 — Viol di Gamba .... 8 feet. 24 — Principal 4 feet. 25— Fifteenth 2 feet. 2G — Sesquialtera,III ranks 1| foot. 27 — Contra Fagotto, metal 16 feet. 28 — Clarionet, and Corni di Bassetto 8 feet. 29 — Hautboy 8 feet. 30— Horn 8 feet. 31 — Clarion 4 feet. Pedal, 9 Stops. The Compass of the Pipes, CCC 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 1 8 Stops is gained throughout the Pedal range. 32 — Open Diapason .... 16 feet. 33 — Violone 16 feet tone. 34 — Principal 8 feet. 35 — Quint 6 feet. 3G — Fifteenth 4 feet. 37 — Sesquialtera, V ranks 3^ feet. 38 — Posaune, metal .... 16 feet. 39 — Trumpet 8 feet. 40 — Clarion 4 feet. AN ACCOUNT OP COUNTRY ORGANS. 517 ! — Swell to Great. 2 — Great to Pedals. Couplers, &c. -Choir to I'edals. -Octave Pedals. 6 to 10, Six Com{iosition Pedals. Siiininary of" Stops and Pipes. Choir Organ Pedal Organ Copulas . . . stops. Pipes. 15 1282 12 854 4 220 1) 546 4 2852 44 236. HUDDERSFIELl). The Organ in Highfield Chapel, Huddersfield, was built by Walker in 1854. It is enclosed in an elegant Case, made from a design by Messrs. Perkin and Back- house, of Leeds, and measures 23 feet in height, and 22 feet in width. The in- strument contains 34 Sounding Stops, of which the following is a list : Great, 14 Stops. Feet. 1 — Double Open Diapa- son, metal through 10 2 — Open Diapason,metal, large 8 8 — Open Diapason, metal, small 8 4 — Stopped Diapason, wood bass, metal treble 8 tone. 5 — Quint-gedact, wood . 6 tone. 6 — Principal, metal .... 4 Pipes. oG 56 56 56 56 56 Feet. 7 — Flute, wood 4 8— Twelfth 8 9 — Piccolo, metal 2 10 — Fifteenth, metal. ... 2 1 1 — Sesquialtera, III rnks 12 — Mixture ... .II rnks 13 — Trumpet 8 14 — Clarion 4 If 2 Pipes. 56 56 56 56 168 112 56 56 Pipes in Great Organ 952 Swell, 11 Stops — every Stop throughout. 15 Double Diapason, wood. Stopped. . . 1 6 — Open Diapason,metal 1 7 — Keraulophon, metal.. 18 — Stopped Diapason, wood 1 9 — Principal, metal . . . 20— Flute, metal Treble . 16 8 8 8 4 4 Feet. 8 Pipes. 56 56 56 21— Fifteenth 2 22 — Sesquialtera, III rnks 24— Oboe 26 — Dulciana, metal 27 — Viol di Gamba, metal. Tenor c 8 28 — Stopped Diapason, Bass 56 56 56 Choir, 6 Stops. 80 — Flute, metal . . . . 31 — Cremona, Tenor c Pipes. 56 29 — Stopped Diapason, f Treble I 8 44 56 32 — Open Diapason, wood 16 33 — Bourdon, wood. Stopped 16 Pedal, 8 Stops. Pipes. . 29 29 84 — Octave, metal 35 — Spare for Trombone. Feet. Pipes. 2 . 56 If . 168 8 . 56 8 . 56 4 . . 56 718 Feet. Pipes . 4 . . 66 8 . . 54 256 Feet. Pipes. 8 . 29 . 87 518 APPENDIX. 1 — Swell to Great. 2 — Swell to Great, Sub Octave. 3 — Swell to Great, Super Octave. 4— Swell to Pedal. 5— Choir to Pedal. Couplers, &c. 6— Choir to Swell. 7— Swell to Choir. 8 — Great to Pedal. 9 — Pedals, Super Octave. 10 to 13 — Four Composition Pedals. Summary. stops. Pipes. Couplers 9 44 2013 Great Organ ...... 14 . . 952 Swell 11 .. 718 Choir 6 . . 256 Pedal Organ 4 . . 87 Compass. All the Manuals, CC to g3 in altissimo. | Pedal, CCC to Tenor e. 237. Halifax. The Parish Church at Halifax contains one of Snetzler's 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 Church, for keeping the Organ in repair, and for providing a salary for the Organist. The amount raised was upwards of £l200. 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 their 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 sub- scription 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 £l94 : 5s. when the law suit was happily terminated; and, on the 11th of July, 17GG, the faculty for playing the Organ was granted by the Archbishop of York, and the Oi'gan was accordingly opened on the 28th and 29th of August following. This event was announced in the Leeds InteUigencer 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, York- shire, on Thursday and Friday, the 28th and 29th of this instant, August, will be performed, with the assistance of a very numerous band of the most eminent per- formers, 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 Morn- ing 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, 1766, Mr. Herschell (afterwards Dr. Herschell, the celebrated astronomer) was unanimously elected Organist, but only held the appointment till 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. AN ACCOUNT OP COUNTRY OROANS. The Organ has received several additions since then, the first of which was an octave and a half of Pedals — GG to Tenor c — by Greenwood, of Leeds. In 18.3G, Gray addod an octave and a half of Double Open Diapason I'ipes ; put in a Dulciana to Gamut G, in lieu of the Vox Humana ; also a new Bellows, and several Com- position Pedals. In 1842, Hill extended the Swell down an octave, namely, from P^iddle 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 GG. After these improvements, the Organ was re-opened on the 30th of January, 1843, by the present Organist, Mr. Frobisher, with a performance of Organ Music. The Organ now contains 2G Sounding Stops, of which the following is a Ust: Great, 11 Stops. 1 — Open Diapason, through 8 feet. 2 — Open Dia{)ason, through 8 feet. 3 — Stopped Diapason . . 8 feet tone. 4 — Principal 4 feet. 5— Twelfth 2f feet. G— Fifteenth 2 feet. Swell, 7 1 2 — Double Diapason .... 1 C feet tone. 13 — Open Diapason .... 8 feet. 14 — Stopped Diapason . . 8 feet tone. 15 — Principal 4 feet. Choir, 19 — Open Diapason, through 8 feet. 20 — Stopped Diapason . - 8 feet tone. 21 — Dulciana to Gamut G 8 feet. 22 — Principal 4 feet. Pedal, 1 Stop. 26 — Great Open Diapason, wood, DD down to GGG 7 — Sesquialtera, IV ranks 2 feet. 8 — Mixture . . Ill ranks 1 foot. 9 — Mounted Cornet, to Middle c^, V ranks 8 feet tone. 10 — Trumpet 8 feet. 11 — Clarion 4 feet. Stops. IG — Sesquialtera, III ranks 2f feet. 17 — Cornopean 8 feet. 18— Oboe 8 feet. ' Stops. 23— Flute 4 feet tone. 24— Fifteenth 2 feet. 2- 1 Bassoon, Treble \ Bassoon, Bass . . 8 feet. 21i feet length. 288. Halifax. The Organ in Hamson Road Chapel, Halifax, was built by Messrs. Holt (then of Halifax, now of Bradford), in 1838. It has 3 sets of keys ; namely. Great Organ and Choir from GG, including GGS, to F in' alt, and Swell from Tenor C to F in alt. Si octaves, with 2 octaves of Pedals, CCC to Tenor C, and Pedal Pipes from GGG to CC. Great, 10 Stops. 6— Fifteenth. 1 — Open Diapason. 2 — Open Diapason. 3 — Stopped Diapason. 4 — Principal. 5— Twelfth. 11 — Stopped Diapason, 12 — Dulciana. 13 — Principal 7 — Sesquialtera. 8 — Cornet 9 — Trumpet, Treble. 10 — Trumpet, Bass. Choir, 6 Stops. 14— Flute. 15— Fifteenth. 16 — Cremona. 520 APPENDIX. 17 — Double Stopped Diapason, 18 — Stopped Diapason. 19 — Dulciana. Swell, C Stops. 20 — Principal. 21 — Hautboy. 22 — Trumpet. Pedal, 1 Stop. 23 — Double Open Diapason down to GGG. . 21^ feet length. Pedal Clavier down to CCC. Couplers. 3 — Swell to Great Organ. 4 — Swell to Choir. 1 — Pedals to Great Organ. 2 — Pedals to Choir. 239. Bradford. The Organ in Eastbrook Chapel, Bradford, was built by Hill, in 1844-5. It has 3 Manual Organs of complete compass ; a Pedal of 7 Stops ; and 44 Stops, of which the following is a Ust : Great, 15 Stops. 1- IG feet. 2- 16 feet. 3- — Open Diapason .... 8 feet. 4- — Open Diapason .... 8 feet. 5- — Stopped Diapason . . 8 feet tone. 6- bi feet. 7- 4 feet. 8- -Wald Flute 4 feet. 9— Tenth 3^ feet. 1 6 — Tenoroon 1 7 — Bourdon 18 — Open Diapason . . . . 1 9 — Stopped Diapason . . . 20 — Dulciana, to Tenor c 21 — Principal 22— Flute Swell, 16 feet. 16 feet. 8 feet. 8 feet tone. 8 feet. 4 feet. 4 feet. 10— Twelfth 21 feet. 11— Fifteenth 2 feet. 12 — Sesquialtera, V ranks If foot. 18 — Mixture . . Ill ranks f foot. 14 — Posaune 8 feet. 15 — Clarion 4 feet. 14 Stops. 23— Twelfth 2| feet. 24— Fifteenth 2 feet. 25— Flageolet 2 feet. 26 — Sesquialtera, III rks. If foot. 27 — Cornopean 8 feet. 28 — Hautboy 8 feet. 29 — Clarion 4 feet. 30 — Open Diapason . . 31 — Stopped Diapason 32 — Viol de Gamba , . 33 — Principal Choir, 8 Stops. 38 — Open, wood, to GGG 39 — Open, metal 40 — Principal 41— Twelfth 8 feet. 8 feet tone. 8 feet. 4 feet. • Pedal, 32 feet. 16 feet. 8 feet. 6 feet. 34_Wald Flute 4 feet. 35— Fifteenth 2 feet. 36 — Cremona 8 feet tone. 37 — Bassoon 8 feet. Stops. 42— Fifteenth 4 feet. 43 — Sesquialtera, V ranks 3} feet. 44 — Trombone 16 feet. Accessory Stops, Movements, &c. 1 — Coupler, Swell to Great. 2 — Coupler, Great to Pedal. 3 — Coupler, Swell to Pedal. 4 — Coupler, Choir to Pedal. 5, 6, 7 — Three Composition Pedals. Compass. Great, CC to f3 in alt, 54 Notes. Swell, the same. Choir, the same. Pedal, CCC to Tenor d, 27 Notes. AN ACCOUNT OF COUNTRY ORGANS. 521 240. Lkeds. The Organ in St. Peter's Chapel, Leeds, was built by the late Mr. Joseph Booth, of Wakefield, and contains 30 Sounding Stops. Great, 1 1 Stops— CCC to F, CG Notes. 1 — Double Open Diapason, metal, meets the Pedals. 2 — Open Diapason, metal. 8 — Open Diapason, metal. 4 — Stopfied Dia])ason. 5 — Principal. 6 — Principal. 7_Twelfth. « — Fifteenth. 9 — Sesquialtera. 10 — Trumpet. 1 1 — Trombone. 12 — Open Diapason, metal. 13 — Stopped Diapason. 14 — Dulciana. Choir, 6 Stops— GG to F. 15 — Principal. 1 6— Flute. 17 — Bassoon and Cremona. Swell, 11 Stops— CC to F. 18 — Double Open Diapason, metal. 24 — Twelfth. 19 — Open Diapason, metal. 25 — Fifteenth. 20— Stopped Diapason. 26 — Cremona. 21 — Dulciana. 27 — Hautboy. 22 — Principal. 28 — Trumpet. 23 — Principal. Pedal, 3 Stops — 2 Octaves. 29 — Double Open Diapason down to GGG 21^ feet 1 — Great Organ to Pedals. 2 — Swell to Great. 30 — Open Diapason. 31 — Principal. Couplers, &c. 3— Choir to Great. 4 to 7 — Four Composition Pedals. 241. Leeds. The Organ in Brunswick Chapel, Leeds, was also built by the late Mr. Joseph Booth, of Wakefield. Great, 11 Stops- 1 — Double Open Diapason, metal 213- feet. 2 — Open Diapason, metal . lOf feet. 3 — Open Diapason, metal . lOf feet. 4 — Stopped Diapason. 5 — Principal. -GG to F in alt. 6— Twelfth. 7— Fifteenth. 8 — Sesquialtera, IV ranks. 9 — Cornet V ranks. 10 — Trumpet. 11 — Clarion. Choir, 8 Stops — GG to F in alt. 1 2 — Double Dulciana, metal . . 16 feet. 13 — Open Diapason, metal. .lOf feet. 14 — Viol di Gamba. 15 — Stopped Diapason. 16 — Principal. 17— Flute. 18 — Bassoon. 1 9 — Cremona. Swell, 12 Stops— CC to F in alt. 20 — Double Open Diapason, metal 16 feet. 21 — Open Diapason, metal 8 feet. 22 — Stopped Diapason. 23 — Dulciana .... metal 8 feet. 24 — Claribelia 8 feet. 26— Viol di Gamba 8 feet. 26 — Principal.. . ...... 4 feet. 27 — Cornopean 8 feet. 28 — Hautboy 8 feet. 29 — Trumpet 8 feet. 30 — Cremona 8 feet tone. 31 — Clarion 4 feet. 622 APPENDIX. Pedal, 4 Stops— CCC, 2 Octaves. 32 — Double Open Diapason, wood 32 feet. 33 — Open Diapason . .wood 16 feet. 34 — Principal 8 feet. 36 — Trombone metal 10 feet. Couplers. 1 — Swell to Great. 2 — Choir to Great. 3— Choir to Pedal. 4 — Great to Pedal. 242. Preston. The Organ in Preston Parish Church was originally built by Davis, of London, in 1802, and had a Great Organ from GG to P 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 and Da^^son, of London, at the cost of S. Horrocks, Esq. Guild Mayor ; but, unfortunately, the Great Organ, and Swell, and Pedals received no addition. In 1850. The Organ was entirely rebuilt; a new Pedal Organ added; the Swell extended to 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 it Twentieth at his own expense. Two spare Slides were prepai'ed on the Great Organ Sound-board for a wood Principal and a wood Fifteenth. The Organ has now 30 Sounding Stops, of which the following is a hst: 1 — Double Diapason, bass ") . 2— Double Diapason, treble j ^"^^^^ 3 — Stopped Diapason. 4 — Open Diapason, large scale. 5 — 0{ien Diapason. () — Principal, metal. 7 — Principal, wood. 8— Twelfth. 17 — Stopped Diapason. 18— Clarabella. 1 9 — Dulciana. 20 — Principal. 24 — Double Diapason. 25 — Stopped Diapason. 26 — Open Diapason. 27 — Keraulophon . 28 — Principal. 33 — Open Diapason . . 34 — Principal 8 feet. Great, 10 Stops. 9 — Fifteenth, metal. 10 — Fifteenth, wood. 11 — Sesquialtera, III ranks. 12 — Mixture. ... II ranks. 13— Twentieth. 14 — Trumpet, bass. 15 — Trumpet, treble. 1 6 — Clarion. Choir, 7 Stops. 21 — Flute. 22 — Fifteenth. 23 — Cromorne. Swell, 9 Stops. 29— Fifteenth. 30 — Mixture. 31 — Hautboy. 32 — Cornopean. Pedal, 16 feet. Stops. 35 — Fifteenth .... . . . . 36 — Sesquialtera, III ranks. 4 feet. AN ACCOUNT OK COUNTRY OROAN8. 523 1 — Coupler, Pedals to Great. 2 — Coupler, Pedals to Choir. 3 — Coupler, Swell to Great. 4 — Coupler, Choir to Swell. Accessory Stops, Movements, &c. 5 — Coupler, Octave Coupler Swell. G, 7 — Three Comjwsitioii Pedals for Great Organ Stops. Great and Choir Organs, from CC to f in alt. Swell, from Tenor C to f in alt. Compass. Pedal, CCC to Tenor e. 243. Preston. The Organ in St. Walburgh's Catholic Church, Preston, was built by Messrs. Hill and Co. in 1855. It contains 30 Sounding Stops, distributed among 2 Manuals and Pedal, in the following manner: Great, 15 Stops. Every Stop throughout. 1 — Double open Diapason IG feet. 2 — Open Diapason 8 feet. 3 — Gamba 8 feet. 4 — Stopped Diapason ... 8 feet tone. 5 — Quint 5j feet. G — Octave 4 feet. 7_Wald Flute 4 feet. 8— Twelfth 2 f feet. 9— Fifteenth 2 feet. 10 — Piccolo 2 feet. 11 — Sesquialtera, Illranks IJ foot. 12 — Mixture.. . Illranks. 13 — Posaune 8 feet. 14 — Clarion 4 feet. 15 — Cremona 8 feet tone. Swell, 12 Stops. IG — Double Open Diapason 16 feet. 1 7 — Open Diapason 8 feet. 18 — Salicional 8 feet. 19 — Stopped Diapason ... 8 feet tone. 20 — Octave 4 feet. 21 — Suabe Flute 4 feet. 22— Twelfth 2 f feet. 23— Fifteenth 2 feet. 24 — Sesquialtera, Illranks If foot. 25 — Oboe 8 feet. 2G — Cornopean 8 feet. 2" — Clarion 4 feet. 28 — Open Diapason 16 feet. 29 — Octave 8 feet. Pedal, 3 Stops. 30 — Trombone. 16 feet. Couplers. 1— Swell to Great. 2 — Great to Pedal. 3— Swell to Pedal. Compass. Great, CC to P in alt. Swell, CC to f3 in alt. Pedal, CCC to Tenor e. 244, 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 and Paley, the Architects. 52i APPENDIX The Pedal Clavner 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 : Great, 11 Stops. Feet. Pipes. 1 — Open Diapason . . .. 54. 2 — Open Diapason . . .. 54. 3— Clarabella 64. 4 — Stop Diapason 64-, 6 — Principal 54. 6— Twelfth 54., 7_Fifteenth 54., Pipes. 12 — Dulciana, through . . 54. 13 — Keraulophon 42. 14 — Stop Diapason, Treble 42 . 1 5 — Stop Diapason, Bass . 12., 16 — Principal 54. 1 7 — Celestiana 54 . Pipes. 8 8 8 8 tone. 4 21- 2 Choir, Feet. . 8 , 8 , 8 tone. 8 tone. 4 , 4 Swell, 11 Stops. Feet. Pipes. 8 — Sesquialtera, III rks. 1G2. , 9 — Mixture.. . .II rks. 108. . 10— Trumpet 54.. 11— Clarion 54.. 756 9 Stops. Pipes. 18— Flute 54. 19— Ottevena 54, 2 0 — Cremona 35.: 401 21 — Double Diapason CCC 54.. 16 22 — Open Diapason.. ., 64.. 8 23 — Stop Diapason.... 54.. Stone. 24 — Principal 54.. 4 25— Twelfth 54..2f 26 — Fifteenth 54. 27- 28- Pipes. Mixture — III ranks 162. . Feet. If 8 4 Feet. 4 2 8 tone. Feet. II -Horn , 54. 29 — Trumpet 54. . 8 80 — Hautboy 54. 31 — Clarion , . 54. , 8 .10 Pipes. 3 2 — Grand Open Diapason 29. 33— 34— Bourdon Principal . 29. 29, . 2 Pedal, 4 Stops. Feet. .16 . 1 6 tone. . 8 702 35— Pipes. Grand Mixture, III ranks 87 174 Couplers. Great Organ to Pedals. Choir Organ to Pedals. Swell Organ to Pedals. Pedal Organ in Octaves. Swell to Great. Making a total of 2033 pipes. Swell to Choir. Swell and Choir to Great. Great to Swell Sub-octave. Great to Choir Sub-octave. 245. Carlisle. The old Organ in the Cathedral at Carlisle had but 1 Manual, ranging from GG to es in alt, and furnished with the following 9 Stops : INIanual. Pipes. Pipes. 1 — Open Diapason 25 2 — Stopped Diapason 63 3 — Principal 63 4 — Recorder 53 6_Twelfth 53 g^Fifteenth 53 7 — Tierce 63 8 — Sesquialtera, III ranks. . . .159 9 — Cornet, IV ranks 100 602 AN ACCOUNT OP COUNTRY OUUANS. The above instrument was removed in 1 to make way for tlie present one by Avery, containing 17 Stojis ; and which was opened on the Easter Sunday of the year just mentioned. The following is a list of the contents of the present Organ: Great, 8 Stops. 5— Fifteenth. 1 — Open ] )iapason. 2 — Stopped Diapason. 3 — Principal. 4_Tweiah. 9 — Sto]iped Diapason. 10 — Dulciana to Fiddle g, grooved into Stopped Diapason below. Swell, 13 — Open Diapason. 1 4 — Stopjied Diapason. 1 5— Principal. G — Sesquialtera, III ranks. 7 — Cornet, III ranks. 8 — Trumpet. Choir, 4 Stops. 1 1 — Princijial, 1 2— Flute. Stops. IG — Cornet, III ranks. 17 — Hautboy. Couplers. Great and Choir, GG to d^ in alt. Swell, Fiddle g to d3 in alt. An Octave and a half of Pedals. 24C. 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 the Manuals, GG to C, 53 notes. The Great Organ contained Open and Stopped Diapasons, 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, 12th treble to c, and 16th. In 1767, the Swell was added by Snetzler, and contained Dulciana, Stopped Diapason, Hautboy, Trumpet, and Cornet (III ranks) : Compass, down to G below middle C. In August, 1814, the Organ was taken down by Wood, Small, and Co. of Edin- burgh, who added a Double Diapason on the Keys from fiddle G downwards ; a new set of Keys, extending the Manuals up to F; 1^ Octave Pedals; and repaired the whole instrument. In December, 1889, Mr. Bruce, who succeeded Wood, Small, and 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 placed 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, 12th and 15th, and added a new bellows. In December, 1845, Mr. Nicholson, of Newcastle-on-Tyne, made the greatest alterations ; the Organ was cut through the centre, and the west-front moved about 3 feet, to make room for a new pedal wind-chest, to contain 3 Stops. He made an entirely new Swell box ; replaced the piipes added by Bruce with new ones more in character with those of Snetzler, adding an Open Diapason and Cornopean. The 52G APPENDIX. 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 12th 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 : 1 — Open Diapason. 2 — Open Diapason. 8 — Stopt Diapason. 4 — Principal. 5_Twelfth. 6— Fifteenth. 13 — Open Diapason. 14 — Stopped Diapason. 15— Flute. Great, 12 Stops. 7 — Tierce. 8 — Sesquialtera . . .II ranks. 9 — Mixture Ill ranks. 10 — Cornet V ranks. 11 — Trumpet, treble. 12 — Trumpet, bass. Choir, 5 Stops. IG— Fifteenth. 1 7 — Cremona. 1 8 — Dulciana. I'J — Open Diapason (to be made into Tenoroon). 20 — Stopped Diapason. 21 — Principal. - Swell, 9 Stops. 22 — Twelfth (to be made into a Mixture, II ranks). 23— Fifteenth. 24 — Hautboy. 25 — Cornopean. 26 — Trumpet (to be made into a Clarion). Pedal, 2 Stops. 30— Open Diapason, CCC to E. | 31— Trumpet, CCC to E. 1 — Swell to Great. 2 — Choir to Great. Copulas. 3 — Pedals to Great. 4 — Pedals to Choir. 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 Trumpet in the bass requires an octave of new pipes, the old ones being much broken. The whole of the Swell is exceedingly good, and the instrument altogether most effective. The whole of the later alterations and additions were made at the suggestion and under the direction of the present Organist, Dr. Ions. 147. Durham. The Organ in Durham Cathedral was built by Father Schmidt, in 1G84-5, and, as left by him, had 2 Manuals, GG to d^ in alt, and 17 Stops, 10G8 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, Nicholls. 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 AN ACCOUNT OV COUNTRY ORGANS. seventeen dwarf Pedals and the same number of Pedal Pipes. Tlie Organ was again repaired by Mr. Buckingluun, in 182.'] ; and in 1840 he put in a Venetian Swell Movement, new Bellows, and a Coupler Movement. In 1844, Rlr. 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 Scsquialtera, Mixture, Twelfth, and Tierce ; a new Stopped Diapason and Dulciana in the Choir Organ ; a Claribella 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 G 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. 8— Fifteenth. 9 — Tierce. 1 — Open Diapason. 2 — Open Diapason. 3 — Stopped Diapason. 4 — Claril iella, in place of V-rank Cornet. 5 — Principal. 6— Flute. 7— Twelfth. 10 — Sesquialtera, III ranks. 1 1 — Trumpet. 12 — Double Diapason, GG to Fiddle g, two octaves above. 13 — Dulciana. 14 — Stopped Diapason. 15 — Principal. 16 — Dulciana Principal. Choir, 7 Stops. 17 — Flute, metal throughout. 1 8— Fifteenth. 19 — Cremona. 20 — Open Diapason. 21 — Stopped Diapason. 22 — Principal. Swell, fJ Stops. 23 —Trumpet. 24— Hautboy. 25 — Clarion. Pedal, 1 Stop. 2G — Double Open Diapason, two Octaves. Accessory Stops, Movements, &c. 1 — Coupler, Swell to Great. 2 — Great to Pedal. Great, CC to e ^ in alt. Choir, GG to e 3 in alt. 3— Choir to Pedal. 4 to 7 — Four Composition Pedals. Compass. Swell, Tenor c to e ^ in aJt. Pedal, two octaves. 248. York. The Organ in York Cathedral, originally built by Messrs. Elliott and Hill, from the plans of Dr. Camidge, has undergone several alterations, additions, and transpo- sitions since its first erection in 1829. It contains 80 Stops and 8,000 Pipes ; and cost about £5,000, including the original gift of £3,000 by the late Earl of Scar- borough, who was the senior Prebendary of the Cathedral at the time the first fire occurred. His Lordship dying before the instrument was completed, the remainino- £2,000 were furnished by the Chapter, assisted by subscriptions from the neigh- bouring Nobility, Clergy, and Gentry. The Great Manual contains 4,818 Pipes; the Swell Organ, 1,856 ; the Choir Organ, 1,399 ; and the Pedal Organ, 200 Pipes. 528 APPENDIX. The Pipes of all the Stops are of metal, excepting those particularized as being of wood. By means of a Couj)ler, the two lowest octaves of the Swell Organ form the upper portion of the Pedal Organ. Great Manual, CCC to CCC. The West Organ, G Octaves. 1 — Bourdon, wood, stop- ped 16 feet. 2 — Bourdon, large, open 16 feet. 3 — Open Diapason .... 8 feet. 4 — Large metal Principal 8 feet. 5 — German Flute, wood, open 8 feet. 6 — Octave Open Diapason 8 feet. 7 — Principal 8 feet. 8— Twelfth G feet. 9— Fifteenth 4 feet. 10 — Sesquialtera, III ranks, ") „ , and Mixture of IV ranks, j ' 11 — Flute Principal 8 feet. 12— Fifteenth 4 feet. 13— Tierce 3* feet. 14 — Larigot 8 feet. 1.5 — Super Octave 2 feet. 16 — Octave Principal . . 4 feet. 17 — Cymbal, VII ranks. 1 8 — Posaune 1 G feet tone. 19 — Trumpet 16 feet. 20 — Shawn 8 feet. 1 — Bourdon, wood, stop- ped 2 — Great Open Diapason 3 — Open Diapason .... 4 — Octave Open Diapason 5 — Harmonica, wood, open 6 — Great Principal .... 7 — Octave Principal .... 8— Twelfth , 9— Fifteenth 10 — Sesquialtera, III ranks and Mixture of IV ranks The East Organ, 6 Octaves. 1 2 — Principal . IG feet. 16 feet. 16 feet. 8 feet. 8 feet. 8 feet. 4 feet. 6 feet. 4 feet. > 7 ranks. 12— Fifteenth 13 — Tierce 14 — Larigot 1 0 — Super Octave 16 — Flute, Plincipal 17 — Great Cornet of X, IX, and VIII ranks. 18 — Bassoon 19 — -Clarionet 20 — Clarion Tuba Mirabilis Organ. 1 — Grand Ophicleide . . 16 feet. Swell, 3— Viola 8 feet. 4 — Dulciana 8 feet. 5 — Open Diapason .... 8 feet. 6 —Philomela, wood, open 8 feet. 7 — Celestina 8 feet. 8 — Octave Diapason .... 8 feet. 9 — Dulcet, wood, open . . 4 feet. 10 — Principal 4 feet. 11 — Flageolet 4 feet. 2 — Cornopean. Octaves. 12— Twelfth . ., 13— Fifteenth . , 1 4 — Cornet . . . 1 5 — Scherp . . . 16— Horn 17 — Cremona . 1 8 — Trumpet . , 19 — Hautboy. . 20 — Dulciana . 8 feet. 4 feet. H feet. 3 feet. 2 feet. 8 feet. 16 feet. 16 feet. 8 feet. 16 feet. 3 feet. 2 feet. b feet. 3 feet. 8 feet. 8 feet. 8 feet. 8 feet. 8 feet. Choir, 6 Octaves. 1 — Stopped Diapason, wood 16 feet. 2 — Dulciana 16 feet. 3 — Claribella, wood, open 8 feet 4 — Open Diapason . . . . 16 feet. 5 — Principal 4 feet. 6 — Ophicleide Diapason. . 16 feet. 7— Wald Flute 8 feet. 8— Octave 4 feet. 9 — Corno Bassetto 16 feet. 10 — Keraulophon 8 feet. 11— Twelfth, . . Mixture, V ranks. 15— Fifteenth, Mixture, IV ranks. AN ACCOUNT OP COUNTRY ORGANS. 529 Pedal— two Octaves, CCCC to CC. 1 — Bombarde (4-ft. dia- gonal) 32 feet. 2 — Bombarde (2^-ft. dia- gonal) 10 feet. S — Double Diapason (2-ft. diameter) 32 feet. 4 - Double Principal (16 inches diameter) . . 1 G feet. .5— Sub-bass (wood, 2i-ft. diagonal) 32 feet. (! — Double Bass (wood, 2-ft. diagonal) IG feet. 7— Sacbut(wood) 32 feet. 8 — Trombone 16 feet. 249. DONCASTER. 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 work of the younger Harris and Byfield, which was remarkable alike for the freshness and the beauty of its tone. It originally consisted of 23 Stops, all of whicli 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, penetrating, 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. Buck- ingham, 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 tipie 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 principle was carried out in its amplitude and integrity, of placing three complete 16-feet or Double Stops, and a Quint of 5^ 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 Don- caster Organ had .50 Sounding Stops, distributed among four distinct departments ; the Great Organ was a " 16-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, IG feet. 2 — Double Stopped Dia- pason IG feet tone. *3 — Open Diapason, front. 8 feet. *4 — Open Diapason .... 8 feet. *5 — Stopped Diapason . . 8 feet tone. 6— Quint 5i feet. *7 — Principal 4 feet. 8 — Principal 4 feet. *0— Twelfth 2i feet. *10— Fifteenth 2 feet. If foot. *11— Tierce. .. , ... *1 2 — Sesquialtera, V rnks. 1 i foot. 13 — Mixture.. II rnks. 14 — Furniture, II rnks. 1.5 — Sharp. . . .IV rnks. * 1 G — Cornet, mounted, V rnks. 17— Doulile Trumpet . . 16 feet. Trumpet 8 feet Trumpet 8 feet. *20— Clarion 4 feet. *18 *19 APPENDIX. *21 — Stopped Diapason. 22 — Dulciana *23 — Principal *2 4— Flute Choir, 8 Stops. 8 feet tone. 8 feet. 4 feet. 4 feet. *2. 5— Fifteenth. 2 feet. 2() — Cremona 8 feet tone. *27 — Bassoon 8 feet. *28 — Vox Humana .... 8 feet tone. Swell, 16 Stops. 29 — Bourdon 16 feet tone. *30 — Open Dia})ason. ... 8 feet, *31 — Stopped Diapason. . 8 feet tone. *32 — Principal 4 feet. 33— Flute 4 feet. 34— Twelfth 2f feet. 35 — Fifteenth 2 feet. 3G — Sesquialtera, III rnks. Pedal, 44 — Great Open Bass Diapason, wood . . 32 feet. 45 — Open Diapason, wood 1(3 feet. 4G — Sub-bass, wood .... 16 feet tone. 37 — Mixture, III rnks. 38 — Double Trumpet . . 3i) — Horn, large scale. . 40 — Cornopean *41 — Trumpet *42— Hautboy 4.'5 — Clarion Great, old work, GG to f ^ in alt. Great, new work, CC to f ^ in alt. Choir, GG to f 3 in alt. Stops. 47 — Principal, metal .... 48 — Fifteenth, metal . 49 — Posaune, metal . . . . 50 — Trumpet, metal. . . . Compass. Swell, CC to f 3 in alt. Pedal, CCC to Tenor d. 10 feet. 8 feet. 8 feet. 8 feet. 8 feet. 4 feet. 8 feet. 4 feet. 1(5 feet. 8 feet. As the new Parish Church is being rebuilt on a scale of even greater magnifi- cence than that which rendered the former structure so famous, owing to the muni- ficence of the residents of the town and neighbourhood, it is fully anticipated that the townspeople of Doncaster will exhibit the same generous spirit in regard to their new Organ, by securing at least as fine an instrument for their Organist; who, in expending the funds which their liberality placed at his disposal from time to time, spared neither his own trouble nor private means in bringing their former noble instrument to such perfection. 250. Lincoln Cathedral. The Organ in Lincoln Cathedral was built in 182G, by W. Allen ; and extended by his son, Charles Allen, in 1851. Great, 1 1 Stops. Compass of Great and Choir Organs, from GG to F in alt. 1 — Large Open Diapason. 2 — Small Open Diapason. 3 - Stopped Diapason. 4— Clarabella. 5 — Principal. G — Twelfth. 2 — Stopped Diapason. 8 — Dulciana. 4 — Viol di Gamba. 7 — Fifteenth. 8 — Cornet, treble, .... IV ranks. 9 — Sesquialtera, bass. III ranks. 10 — Trumpet, treble. 11 — Trumpet, bass. Choir, 5 Stops. 15 — Principal. IG— Flute. 17— Fifteenth. AN ACCOUNT Ol'' COUNTllY' ORGANS. 18 — Double Diapason. 19 — Open Diapason. 20 — Stopped Diapason. 21 — Principal. 22— Flute. Swell, 7 Stops — Gamut to F in alt. 23— Twelfth. 24 — Fifteenth. 25 — Hautboy. 2G— Horn. Pedal, 7 Stops. ,31— Fifteenth 4 feet. 82 — Sesquialtera. 38 — Trombone IG feet. 27 — Sub-Bourdon 32 feet tone 28 — Open Diapason . , . . 10 feet. 29 — Principal 8 feet. 30— Twelfth G feet. Accessory Stops, Movements, &c. 4— Swell to Choir 1 — Swell to Great. 2— Swell to Choir. 3— Pedal to Great. Great, GG to in alt. Choir, GG to f 3 in alt. Swell, Gamut G to f ^ in alt. Pedal Clavier, CCC to Fiddle g. 5 to 9 — Five Composition Pedals. Compass. Pedal Stops, Nos. 27 and 28, CCC to Fiddle g: Nos. 29 to 33, CCC to FFFtt, seven semi- tones, to meet Great Organ at GG. 251. Boston. The large Organ in the Centenary Chapel, Boston, Lincolnshire, was built by Gray and Davison, in the year 1 850. 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 new and effective Sforzando Pedal. The sides, as well as the front of the Case, contain Speaking Pipes ; and the dimensions of the instrument are — twenty-six feet high, twenty-three feet wide, and eighteen feet deep. There are forty-nine Stops, and two thousand four hundred and ninety Pipes. Great, 14 Stops. 1 — Double Open Diapason IG feet. 2 — Open Diapason .... 8 feet. 3 — Open Diapason .... 8 feet. 4 — Stopped Diapason . . 8 feet. 5 — Quint 6 feet. G — Octave 4 feet. 7 — Flute 4 feet. 8 — Octave Quint 3 feet. 9 — Sujier Octave 2 feet. 10— Flageolet 2 feet. ] 1 — Sesquialtera, III ranks. 12 — Furniture.. Ill I'anks. 1 8 — Posaune 8 feet. 14 — Clarion 4 feet. 1 5 — Open Diapason .... 8 feet. IG — Gamba 8 feet. 17 — Keraulophon 8 feet. 18 — Stopped Diapason, bass 8 feet. 19 — Clarionet Flute . - . 8 feet. 20 — Octave 4 feet. Choir, 12 Stops. 21 -Flute 4 feet. 22 — Gemshorn 4 feet. 23 — Super Octave 2 feet. 24 — Flageolet 2 feet. 25 — Sesquialtera, III ranks. 26 — Corno di Bassetto ... 8 feet. M M 2 532 APPENDIX. Swell, 10 Stops. 27 — Bourdon 1(! feet. 28 — Open Diapason .... 8 feet. 29 — Stopped Diapason ... 8 feet. 30— Octave 4 feet. 31 — Super Octave 2 feet. ;52 — Sesquialtera, III ranks. — Contra Fagotto .... 16 feet. 34 — Cornopean 8 feet. 35 — Oboe 8 feet. 86 — Clarion 4 feet. Pedal, 6 Stops. 37 — Grand Open Diapason 1 G feet. 38 — Grand Violon 16 feet. 39 — Grand Bourdon .... 16 feet. 43 — Swell to Great Manual. 44 — Choir to Great Manual. 45 — Swell to Choir Manual. 46 — Swell Manual to Pedals. 40 — Grand Octave 8 feet. 41 — Grand Super Octave . 4 feet. 42 — Grand Trombone ... 16 feet. Couplers. 47 — Great Manual to Pedals. 48 — Choir Manual to Pedals. 49 — Sforzando Pedal. 252. Newark. The fine Organ in the Church of Newark-upon-Trent was originally built by G. England, in the year 1804; and was at first of FFF compass. The Great Manual, however, has recently been reconstructed, to the German compass, by Foster and Andrews, of Hull ; who have, to a great extent, re-modelled the instru- ment, under the direction of the present Organist, Dr. Dearie. All the Stops that the Organ is designed to contain are not yet in ; but, when they are so, the Specifi- cation will be as follows : Great, 13 Stops. 8— Twelfth 2f feet. 9— Fifteenth 2 feet. 16 feet. 1 — Bourdon f or Double 2 — Tenoroon ( Diapason. 3 — Small Open Diapason . 8 feet. 4 — Large Open Diapason . 8 feet. 5 — Stopped Diapason ... 8 feet tone. 6~Clari!jella 8 feet. 7 — Principal 4 feet. Choir, 8 Stops. 10 — Sesquialtera, III ranks. 1 1 — Mixture. . . . II ranks. 12 — Trumpet 8 feet. 13 — Clarion 4 feet. 14 — Dulciana 8 feet. 1 5 — Stopped Diapason ... 8 feet. 16 — Principal 4 feet. 1 7— Flute 4 feet. 18— Fifteenth 2 feet. 1 9 — Mixture . . II ranks . . 1 ^ foot. 20 — Bassoon 8 feet. 21 — Cremona 8 feet tone. Swell, 11 Stops. 22 — Double Diapason . 23 — Open Diapason . . 24 — Stopped Diapason 25 — Viol di Gamba . . 26 — Principal 27 — Fifteenth. 16 feet. 8 feet, 8 feet tone. 8 feet. 4 feet. 2 feet. 28 — Sesquialtera, III ranks. 29— Horn 8 feet. 30 — Trumpet 8 feet. 31 — Cornopean 8 feet. 32 — Clarion 4 feet. Solo, 6 Stops. 33 — Harmonic Flute , 34 — Clarionet Flute . 35— Claribella , 8 feet. 8 feet tone. 8 feet. 36 — Hautboy 37 — Corno di Bassetto , 38— Tuba Mirabilis . . 8 feet. 8 feet tone. 8 feet. AN ACCOUNT OP COUNTRY ORGANS. 533 Pedal, G Stops. no— Largo Open Hi feet. 40 — Bourdon 1 0 t'oet tone. 41 — I'rincipal 8 feet. Accessory Stops, Movements, &c. 42— Kiftocnth 4 feet. 43 — Mixture. 44 — Trombone 10 feet. 1 to 7 — Seven Couplers. Great, CC to f^ in alt. Choir, FFF to f3 in alt. Swell, CC to P in alt. 8 to 11 — Four Pneumatic Composition Pedals. Compass. Solo, Tenor c to f in alt. Pedal, CCC to Tenor f 253 — Southwell. The Organ in Southwell Collegiate Cliurch was originally built by Father Schmidt ; but, having been (Jamaged by fire, it was admirably repaired and com- pleted by Snetzler, vi^hose bill, dated January, 17G6, 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, GG 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. 16 — Principal. 17— Fifteenth. 254. 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 GG. The following is a list of its Stops : Great, 10 Stops. G— Fifteenth. 1 — Open Diapason. 2 — Open Diapason. 3 — Stopped Diapason. 4 — Principal. 5— Twelfth. 1 1 — Open Diapason. 12 — Stopped Diapason. 13 — Principal. 7 — Sesquialtera IV ranks. 8 — Cornet to Middle ci . . V ranks. 9 — Trumpet. 10 — Clarion. Choir, G Stops. 14— Flute. 15 — Fifteenth. 16 — Bassoon. 53-1 APPENDIX. IV — Open Diapason. 18 — Stopped Diapason 1 1) — Principal. Swell, G Stops. 20 — Cornet. .Ill ranks. ■11 — Trumpet. 22 — Hautboy. Pedal, 1 Stop. 23 — Open Diapason, Gamut G to CCC. .10 feet length. Compass. Great, GG to es in alt. Choir, GG to e^ in alt. Swell to Great. Great to Pedal. Couplers. Swell, Tenor c to in alt. Pedal Clavier, GG to Fiddle g. Choir to Pedal. 255. Nottingham. The Organ in the Mechanics' Hall, Nottingham, was built by Bevington and 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 principle ; i. e. 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 enume- ration of the Stops. Great, 18 Stops. 1- Tenoroon IG feet. 2 — Bourdon, to meet No. 110 feet tone. 3 — Open Diapason 8 feet. 4 — Open Diapason .... 8 feet. 5 — Stopped Diapason ... 8 feet tone. 6 — Clarabella 8 feet. 7— Hohliiute 8 feet. 8 — Quint 5t feet. 0 — Principal 4 feet. Choir, Double Stopped Dia- pason 10 feet tone. 20 — Open Diapason .... 8 feet. 21 — Stopped Diapason. . . 8 feet tone. 22— Dulciana 8 feet. 23 — VioldiGamba 8 feet. 24 — Keraulophon 8 feet. Swell, 15 Stops. •Waldflute 4 feet. Decinia 3} feet. 19 10- 11- 12— Twelfth 25- feet. 13 — Fifteenth 2 feet. 14 — Sesquialtera, III rnks. If foot. 15 — Mixture. . . Ill rnks. f foot. 10 — Posaune 8 feet. 17 — Trumpet 8 feet. 1 8 — Octave Trumpet .... 4 feet. 13 Stops. 25 — Clarabella 8 feet. 20 — Principal 4 feet. 27— Flute 4 feet. 28 — Flageolet 2 feet. 29 — Double Bassoon 10 feet. 80 — Oboe 8 feet. 31 — Clarionet 8 feet tone. 32 — Great Double Dia- pason 32 feet tone. 33 — Double Diapason. ... 10 feet tone. 34 — Open Diapason 8 teet. 35 — Ofien Diapason 8 feet. 3G — Stopped Diapason ... 8 feet tone. 37 — Quint 5^ feet. 38 — Octave 4 feet. 39_Wa!d Flute 4 feet. 40— Fifteenth 2 feet. 41 — Piccolo 2 feet. 42 — Octave Fifteenth 1 foot. 43 — Furniture, V ranks. . 1| foot. 44 — Trombone. .... . . 10 feet. 45 — Cornopean 8 feet. 40 — Plautboy 8 feet. 47 — Clarion 4 feet. 48 — Octave Clarion 2 feet. AN ACrOUNT OF COITNTRY ORfiANS. 636 Pedal, 6 Stops. 40 — Ofien Diapason, wood KJ feet. 50 — Open Diapason, metal 1(! feet. 61- l'rinei}ial wood 8 feet. 62— Fifteenth 4 feet. — Trombone Di feet. Accessory Stops, Movements, &c. 1 to 4, Four Couplers. | 6 to 12, Eight Composition Pedals. Compass. Great, CC to g'' in altissimo. Choir, CC to g^ in altissimo. Swell, Tenor c to gs in altissimo. Pedal, CCC to Tenor d. 25G. Peterborough. The present Organ in Peterborough Cathedral was built by William Allen, of London, and was opened in June, HiOD. It cost 500 guineas and the old Organ; of which the Case and both Open Diapasons from middle d' downwards were re- tained. 1 — Open Diapason. 2— — Open Diapason. 3 — Stopped Diapason. 4 — Principal. 5— Flute. 11 — Stopped Diapason. 1 2 — Dulciana. 13 — Principal. 17 — Open Diapason. 18 — Stopped l3iapason. 19 — Principal. Great, 10 Stops. 0— Twelfth. 7 — Fifteenth. 8 — Sesquialtera, Bass, IV ranks. 9 — Cornet IV ranks. 1 0 — Trumpet. Choir, 6 Stops 14— Flute. 15— Fifteenth. IG — Cremona. Swell, G Stops. 20— Twelfth. 21 — Fifteenth. 22 — Trumpet. 257. Lynn Regis. The old Organ at St. Margaret's, Lynn Regis, Norfolk — [lartly 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 III -rank Furniture in the 'Great Organ, in addition to the IV-rank Sesquialtera (as at Halifax) ; also a separate Tierce, and a Bourdon, in metal, to CC, 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 Clai abella has also been inserted in the Choir Organ, in place of the Vox Humana. In the Swell, there were originall}' three unison Reeds (Hautboy, Trumpet, and French Horn) ; but there are now but two. The Organ v.-as repaired in 17fG, by Lincoln; and underwent a second renovation 536 APPENDIX. in 1816. About eiglit years since, it received the important addition of a Pedal Diapason, to GGG, which was added by Hoklich, of London, The Organ now contains 27 Sounding Stops, of which the following is a list : Great, 12 Stops. 7 — Fifteenth. 1 — Open Diapason. 2 — Open Diapason. 3 — Stopped Diapason. 4 — Principal. 5 — Principal. C— Twelfth. 13 — Dulciana. 14 — Stopped Diapason. 15 — Clarabella. 1 6 — Principal. 20 — Open Diapason. 21 — Stopped Diapason. 22 — Principal. 23 — German Flute. 8 — Fifteenth. 9 — Sesquialtera 10 — Cornet to c', 11 — Trumpet. 12— Clarion. . IV ranks. . V ranks. Choir, 7 Stops. 17— Flute. 1 8— Fifteenth. 19 — Bassoon up to middle gi. Swell, 7 Stops. 24 — Cornet. .IV ranks. 25 — Trumpet. 2 C— Hautboy. Pedal, 1 Stop. -Open Diapason, to GGG. .21^ feet length. Couplers. Swell to Great. Pedals to Great. Pedals to Choir. Great, GG to e' in alt. Choir, GG to e^ in alt. Swell, Tenor f to e"' in alt Pedals, down to GG. Compass. The Swell Clavier descends to GG, and acts on the Bass of the Choir Stopped Diapason, Dulciana, and Flute, below Tenor f, which are made to draw separately and independ- ently 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 GG in metal. 268. Norwich. The Organ in Norwich Cathedral has an elaborately carved Gothic oak case ; it stands over the screen, and consequently has a double fi'ont, 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, in 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 unseen from the Choir. At this time. Double Diapason Pedal Pipes, down to GGG, were added by Bishop, and located on the north side of the building, under AN ACCOUNT OP COUNTRY OKUANS. 637 the trifbriuni, luiviiig separate bellows and a king movement, contains : Great, 10 Stops. The instrument 1 — Open Diapason. 2 — Open Diapason. 3 — Stoppeil Diapason. 4 — Clarabella, inplaceof V-rank Cornet 5 — Princii)al. 11 — Dulciana to Tenor C. 12 — Stopped Diapason. 13 — Principal. 17 — Open Diapason. 18 — Stopped Diapason. 1 9 — Principal. G_Twelfth. 7 — Filleenth. 8 — Tierce. 0 — Sesquialtera. 10 — Trumpet. Choir, G Stops. 14— Stopped Flute. 15 — Fifteenth. 1 (j — Cremona to Tenor f. Swell, 5 Stops. 20 — Hautboy. 21 — Trumpet. Pedal, 1 Stop. 22 — Open Diapason to GGG . . 21g^ feet length. Accessory Stops, Movements, &c. 1 — Coupler, Swell to Great. 2 — Coupler, Great to Pedal. Great, GG to fa in alt. Choir, GG to f3 in alt. Swell, Tenor c to f ^ in alt. 3 — Coupler, Choir to Psdal. 4, 5, 6 — Three Composition Pedals. Compass. Swell Clavier to GG, acting on Choir Organ below Tenor c. 259. 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 list of its Stops, as drawn up by the late Mr. Russell. Great, 12 Stops. 8 — Sesquialtera, III ranks. 1 — Open Diapason. 2 — Stopped Diapason. 3 — Principal. 4_Twelfth. 5 — Fifteenth. 6 — Tierce. 7 — Larigot. 13 — Dulciana to Gamut G. 14 — Open Diapason to Tenor d. 1 5 — Stopped Diapason to Tenor d 1 6 — Principal to Tenor d. 21 — Open Diapason. 22 — Stopped Diapason. 23 — Principal. 9 — Mixture. ... II ranks. 10 — Furniture. . Ill ranks. 11 — Cornet, mounted, to Middle c', V ranks. 12 — Trumpet. Choir, 8 Stops. 17— Flute. 18— Fifteenth. 19 — Vox Humana throughout. 20 — Bassoon throughout. Swell, G Stops. 24 — Cornet, III ranks. 25 — Hautboy. 2G — Trumpet. The Open Diapason, Stopped Diapason, and Principal in the Choir Organ, ai-e borrowed from the corresponding Stops of the Great Organ, from Tenor d downwards. 638 APPENDIX. 200. Great Yarmouth, The Organ in St. Nicholas Church, Great Yarmouth, is a particularly fine instru- ment. It was built by Jordan, Bridge, and Byfield, at a cost of £900, and was opened about the middle of December, 1783. It is enclosed in a handsome oak Case, 18 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 GG to d^ in alt. omitting the low GGtt ; 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 1 5 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 16 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 f^ in alt. ; laid down an octave and a half of Pedals, from GG to Tenor c, with 17 Pipes connected with them — viz. 4 Unison Pipes from GG to BB t], then 13 Double Pipes from CC to c ; removed the old rattling Choir movement, consisting 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 GGG, 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 Sesquialtera 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 improvements, Mr. Gray received £350. Great, 13 Stops. All the Stops throughout, except the Cornet. 1 — Front Open Diapason. 2 — Inside Open Diapason. 3 — Stopped Diapason, metal Treble. 4 — Principal. 5_Twelfth. (5 — Fifteenth. 7 — Tierce. 8 — Sesquialtera . . V ranks. •J — Mixture .... Ill ranks. 10 — Mounted Cornet, V ranks. 11 — Trum})et. 12 — Trumpet. 13 — Clarion. Choir, 7 Stops All the Stops throughout, except the Cremona. 14 — Open Diapason, metal to Gamut G, wood from FF to GG. 15 — Stoyipcd Diapason, metal Trelile. 16 — Principal. 17 — Sto])ped Flute, metal Treble. 1 8 — Fifteenth. 19 — Mixture, II ranks. 20 — Cremona to Fiddle a. AN ACCOUNT OF COUNTRY ORGANS. 539 Swell, 21 — Open Diapason. 22 — Stopped Diapason, metal down to Tenor c. 23 — Principal. 7 Stops. 24 — Sesqnialtera, III ranks. 25 — French Horn. 2G — Trumpet. 27 — Clarion. Pedal, 2 Stops. 28 — Great Open Diapason, down to GGG, in wood 20| feet length. 29 — Small Open Diapason, to CCC, in wood 16 feet length. Accessory Stops, Movements, &c. 1 — Coupler, Swell to Great. 2— Coupler, Great to Pedal. 3 — Coupler, Choir to Pedal. 4, 5, 6 — Three Conii)osition Pedals. The GG Ojien, in front, is 7 inches in diameter ; the inside GG 7i inches. England's CCC Pipe measures 7i inches by 9. Gray's GGG, 21 inches by 19 ; the CC, 8 inches by 7- 261. Ely. The Organ in Ely Cathedral, erected by Hill, in 1851, is placed in the triforium, and projects out from the arches about six 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 Diapasoa 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. 11 — Posaune 8 feet. 12 — Trumpet 8 feet. 13 — Clarion 4 feet. Choir, 7 Stops. 14 — Open Diapason 8 feet. 1 5 — Clarabella, throughout .... 8 feet. 16 — Stopped Diapason 8 feet. 1 7 — Octave , , , 4 feet. 18— Flute 4 feet. 19 — Super Octave 2 feet. 20 — 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. 80 — Super Octave 4 feet. 31 — Sesquialtera, III ranks. 32 — Trombome 16 feet. 1 — Swell to Great. 2 — Choir to Great Great, CC to f * in alt. Choir, CC to 9 in alt. Accessory Stops, Movements, &c. j 3 — Pedals to Great. I 4 — Pedals to Choir. Compass. I Swell, Tenor c, to f^ in alt. ! Pedal, CCC to Tenor d. 540 APPENDIX. 262. 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, Christopher Schrieder, in 1708. A Swell was afterwards added l)y Byfield, and a set of Pedal Pipes by Avery. Subsequently, Messrs. Flight and Robson effected considerable repairs, and also raised the pitch of the instrument, which had previously been very flat. An apparatus was also 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 GG or lOf feet compass, to the CCC, or 16-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 present 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 CC key. 2 — Open Diapason, down to CCC. 3 — Stopped Diapason .... to GG. 4— Gamba to CC. 5 — Salicional to CC. G— Quint to the CC key. 15 — Open Diapason. IG — Stopped Diapason. 1 7 — Dulciana. 7 — Principal, throughout. 8_Wald Flute. 9 — Twelfth, throughout. 10 — Fifteenth throughout. 11 — Sesquialtera . .Ill rks. throughout. 12 — Mixture .... II rks. throughout. 1 3 — Trumpet throughout. 1 4 — Clarion throughout. Choir, G Stops. 18 — Principal. 19— Flute. 20 — Cremona. 21 — Double Stopped Diapason. 22 — Open Diapason. 23 — Stopped Diapason. 24 — Principal. Swell, 8 Stops. 25 — Sesquialtera, III ranks. 26— Oboe. 27 — Trumpet. 28 — Clarion. Pedal, 1 Stop. 29 — Sub Bourdon 32 feet tone. Accessory Stops, Movements, &c. 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, CCC to P in alt Choir, GG to f* in alt. 5 — Swell to Great. G — Tremulant. 7, 8, 9, 10 — Four Composition Pedals. Compass. SweD, Pedal, Gamut G to fs in alt. CCC to Tenor c, two octaves. AN ACCOUNT OF COUNTRY ORGANS. 541 2G3. Cambridge. Tlie Organ in the Chapel of St. John's College, Cambridge, was built by Hill, in 18;U). It is not completed, preparation being made for five more Stops, which will be added when the new Chapel is built. Great, 10 Stops. Compass, FFF to f^ in alt. 6— Claribclla. 1 — Open Diapason. 2 — Stojiped Diapason. 3 — Double Dulciana. 4 — Principal. 5— Flute. 7 — Tweltlh and Fifteenth on one slide. 8— Filleenth (No. 2). 9 — Sesquialtera. 1 0 — Trumpet. Choir, G Stops— FFF to F in alt. 11 — Open Diapason, throughout, 12 — Stopped Diapason. 13 — Dulciana. 17 — Open Diapason. 18 — Stopped Diapason. 19 — Dulciana. 20 — Principal. 21 — Harmonica. 14— Flute. 1 .5 — Principal. 1 G — Cremona. Swell, 0 Stops— FF to f in alt. 22 — Sesquialtera, IV ranks. 23 — Hautboy. 24 — French Horn. 25— Clarion. 1— Swell to Great. 2 — Octave Swell to Great. Pedal, 1 Stop. 2G — Open Diapason, to FFF. Couplers. 3 — Choir to Great. 264. TURVEY. The Organ in Turvey Church, Bedfordshire, is an admirable instrument, and was built by Hill, in the early part of the present year, 1855. It contains 27 Sounding Stops, of which the following is a list : Great, 9 Stops. 1 — Double Open Diapa 3 — Stopped Diapason 10 — Double Diapason . 11 — Open Diapason . 12 — Stopped Diapason , 13 — Dulciana 18 — Open Diapason. . 19 — Stopped Diapason 21 — Principal , 16 feet. 6— Twelfth 21 feet. 8 feet. 2 feet. 8 feet tone. 8 — Sesquialtera, III rks. 4 feet. 8 feet. 4 feet. Swell, 8 Stops. 16 feet. 4 feet. 8 feet. 1.5 — Fifteenth 2 feet. 8 feet tone. 8 feet. 8 feet. 8 feet. Choir, 6 Stops. 8 feet. 22— Flute 4 feet. 8 feet tone. 8 feet tone. 8 feet. 8 feet. 4 feet. Solo, 1 Stop. 24 — Tuba Mirabihs, on a fourth Manual 8 feet. 542 AT'PENDIX. Pedal, 8 Stops. 25 — Sub Bourdon 32 feet tone. 26 — Open Diapason IG feet. Couplers l~t — Trombone IG feet. 1 — Great to Pedal. 2 — Swell to Pedal. 3— Choir to Pedal. Manuals, CC to f^ in alt, 54 notes. 4 — Solo to Pedal. 5 — Swell to Great. G — Tuba to Great. Compass. I Pedal, CCC to Tenor d, 27 notes. 265. Northampton. The Organ in All Saints' Church, Northampton, is a very fine instrument. It was built by Mr. Hill, about 10 years since ; a great portion of the previous 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 instru- ment as left by Mr. Hill : Great, 16 Stops— CC to F. 1 — Double Open 16 feet. 2 — Double Stopped through- out ]G feet. 3 — Open Diapason .... 8 feet. 4 — Open Diapason .... 8 feet. 5 — Stopped Diapason. . . 8 feet. 6 — Quint C feet. 7 — Principal 4 feet. 8 — Twelfth 3 feet. Choir, 6 17 — Dulciana 8 feet. 1 8 — Stopped Dulciana . . 8 feet. 19 — Principal 4 feet. 9— Fifteenth 2 feet. 10 — Sesquialtera, III rks. If foot. 11 — Doublette .. II rks. 2 feet. 12 — Furniture, . . IV rks. -f foot. 13 — Double Trumpet. ... 16 feet. 14 — Posaune 8 feet. 1 5 — Trumpet 8 feet. 16 — Clarion 4 feet. Stops— CC to F. 20— Flute..., 4 feet. 21 — Fifteenth 2 feet. 22 — Cremona 8 feet. Swell, 15 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 rks. Pedal, 7 Stops— CCC to Tenor d. 31 — Mixture, . . II rks. 32 — Contra Fagotto .... 16 feet. 33 — Cornopean 8 feet. 34 — Trumpet 8 feet. 35— Oboe 8 feet. 36 — Clarion 4 feet. 37— Flute 4 feet. 38 — Open, wood 16 feet. 39 — Sub Bass 16 feet. 40 — Principal 8 feet. 41 — Fifteenth 4 feet. 3 Pedal Couplers. 266. 42 — Sesquialtera, V rks. 43 — Trombone o . . IG feet. 44 — Trumpet 8 feet. 1 Manual Coupler. Northampton. The Organ in the Exchange Room, at Northampton, is the German instrument that was ])laced in the Great Exhibition building of 1851, by Schulze, of Paulinzelle, near Erfurt. It is an admirable Organ, and presents varieties of tone, 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 : AN ACCOUNT Ol' COUNTItY OlKiANS. 5l;j 1 — Bourdon Ki feet tone. 2 — 0[ion Diapason .... ti ibet. 3 — Ganiba 8 feet. 4— Holil-flote « feet. 6 — Gedact ii feet tone. Great, 8 Stops. 0 — Octave ^ ( Quint and | drawing ' I Super-octave j together ii — Mixture, V ranks. . . . 8 — Lieblich Gedact, to Ganuit G key (GG Pipe) IG feet tone. 10 — Geigen Principal. ... 8 feet. 11 — Lieblich Gedact. ... 8 feet tone. Choir, 6 Stops. 12 — Flauto Traverse 13 — Geigen Principal . . . 1-1 — Flauto Traverse and Lieblich Gedact, on 1 slider 4 feet. 2 if feet. 2 feet. 2 feet. 8 feet. 4 feet. 4 feet. Pedal, 2 independent Stops, and 2 by cotnmunication. a — Sub-bass, borrowed from Manual Bourdon 16 feet tone. 15 — Octave Bass (wood) . 8 feet. 1 — Great to Pedal Great, CC to f=* in alt. Choir, CC to P in alt. b — Flute Bass, borrowed from Manual Gedact .... 1(5 — Posaune, Free Reeds . . 1 Couplers. I 2 — Choir, Sub-octave to Great. Compass. Pedal, CCC to Tenor d. 8 ft. tone. G ft. tone. The Pedal Clavier is concave in section, consequently the extreme keys are much more within convenient reach than usual. 267. Rochester. The Organ in Rochester Cathedral was built by Samuel Green. In 1835, it was considerably enlarged by Hill. It contains 24 Stops, of which the following is a list : Great, 10 Stops. 1 — Open Diapason. 6— Twelfth. 7 — Fifteenth. 8 — Sesquialtera, III ranks. 9 — Mixture. ... II ranks. 10 — Trumpet. 2 — Open Diapason. 3 — Stopped Diapason. 4 — Claribella, in place of IV-rank Cornet. 6 — Principal. Choir, 5 Stops. 1 1 — Open Diapason, through, in place of 13 — Dulciana. Bassoon. 14 — Principal. 12 — Stopped Diapason. 15 — Fifteenth. Swell, 8 Stops. 16 — Open Diapason. 17 — Stopped Diapason. 18 — Dulciana. 19 — Principal. Pedal, 20 — Dulciana Principal. 21 — Cornet, III ranks. 22 —Trumpet. 23 — Hautboy. 1 Stop. 24— Open Pipes, CC down to CCC. . IG feet length. Accessory Stops, Movements, &c. 1 — Coupler, Swell to Great. 2 — Coupler, Great to Pedal. Great, GG to e^ in alt. Choir, GG to e^ in alt. 3 — Coupler, Choir to Pedal. 4 to 7 — Four Composition Pedals. Compass. Swell, Tenor c to e^ in alt. Pedal Clavier, GG to Tenor d. 54-1 APPENDIX. 268. CANTERBTJRy. It is not known who was the original builder of the Organ in Canterbury Cathedral; but it was re-built by Samuel Green, in 1784, who put in new Dia- pasons and enlarged the scale of the Pipes. It was removed, in 1827, from above the screen, by Longhurst, sen. In 1 842, Mr. Hill enlarged the Organ, by putting in new keys and a long movement of upwards of 90 feet ; he also re-built 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 8 sets of keys ; Compass, from GG to E ; two octaves of Pedals, and one octave of Pedal Pipes from CCC to CC. 1 — Open Diapason. 2 — Open Diapason. 3 — Stopped Diapason. 4 — Claribella, Treble, in place of V-rank Cornet. 5— Principal. 6 — Fifteenth. Great, 12 Stops. 7— Twelfth. 8 — Sesquialtera, III ranks. 9 — Mixture. ... II ranks. 10 — Trumpet, Treble, in place of Tierce. 11 — Great Trumpet (throughout). 12 — Clarion (throughout). 13 — Stopped Diapason. 1 4 — Dulciana. 1.5 — Stopped Flute. 19 — Stopped Diapason. 20 — Double Open Diapason. 21 — Unison Open Diapason. 22 — Principal. 23— Fifteenth. 29 — Stopped Diapason (wood) 1 — Swell to Great. | Choir, 6 Stops. 16 — Open Flute. 17 — Principal. 18 — Cremona. Swell, 10 Stops. 24— Twelfth. 25 — Sesquialtera, III ranks. 2G — Cornopean. 27 — Trumpet. 28 — Hautboy. Pedal, 2 Stops. I 30 — Open Diapason (wood). Couplers. 2 — Pedal to Great. I 3 — Pedal to Choir. 269. 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. 9 — Stopped Diapason. 10 — Open Diapason. 11 — Principal. 6— Twelfth. 6— Fifteenth. 7 — Sesquialtera, III ranks. 8 — Trumpet. Choir, 6 Stops— GG to F in alt. 12— Fifteenth. 13— Flute. 1 4 — Cremona to Fiddle G. AN ACCOUNT OP COUNTRY OROANS. 545 Swell, 5 Stops — Compass, from Tenor C to F in alt. 15 — Open Diapason. 1 (? — Stopped Diapason. 17 — Principal. 1 8 — Trumpet. 1 9 — Hautboy. Pedal, 1 Stop. 20 — Open Diapason, CC to CCC, one octave. . 16 feet length. Two Octaves and a note of German Pedals, from CCC. Coupler to Great Organ. Four Composition Pedals. 270. Cranbrook. The Organ in the Parish Church at Cranbrook, Kent, is a most excellent instru- ment. It was built by Mr. Willis, in 1854, and consists of two complete rows of Keys, of the Compass from CC to P in alt, fifty-four notes, and two Octaves and a half of Pedals, of the Compass CCC to P, thirty notes. It contains the following Stops : Great, 1 1 Stops. 1 — Double Diapason, closed wood IG feet. 2 — Large Open Diapason, metal 8 feet. 3 — Small Open Diapason, metal 8 feet. 4 — Stopped Diapason and Claribella, wood 8 feet. 5 — Dulciana, metal 8 feet. 6 — Flute (Harmonic) metal 4 feet. 7 — Principal, metal 4 feet. 8— Twelfth, metal 3 feet. 9— Fifteenth, metal 2 feet. 10 — Sesquialtera, Vrnks.met. If foot. 11 — Trumpet, metal 8 feet. 12 Double Diapason, closed wood 16 feet. 13 — Open Diapason, metal. . 8 feet. 14 — Stopped Diapason, wood. 8 feet. 1 5 — Gamba (to Tenor C), met. 8 feet. 16 — Principal, metal 4 feet. Swell, 10 Stops. 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, 1 Stop. 22 — Grand Open Diapason, wood 16 feet. Couplers. 1 — Swell to Great. 2— Swell to Pedals. 3 — Great to Pedals. 271. Chichester. The Organ in the Cathedral at Chichester was built by Renatus Harris, in 1678, and originally had but 1 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 built the Swell. In 1806, England considerably improved the Organ, by introducing new and larger sound-boards ; at the same time making the Great and Choir Manuals long Octaves ; putting a Il-rank Mixture into the Great N N 646 APPENDIX. Organ ; placing a Hautboy in the room of the Swell Trumpet, and a Dulciana to Gamut G, in lieu of the Choir Cremona. The old Pi}>es were at the same time rounded out and repaired. For these repairs and improvements, England received 200 guineas. A Pedal Clavier, of the compass GG to Tenor e, 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 FFF 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 £lOO. In 1844, a set of Double Open Pedal Pipes from FFFF to CC, and a separate Bellows, were added by Gray and 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 GG, 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 £218. In 1861, 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 Cornet. 6 — Principal. 6— Twelfth. 7 — Fifteenth. 8 — Sesquialtera . .Ill ranks. 9 — Mixture II ranks. 10 — Trumpet, draws in halves. 1 1 — Dulciana to Gamut G. 12 — Stopped Diapason. 13 — Principal. 17 — Double Diapason. 18 — Open Diapason. 19 — Stopped Diapason. 20 — Principal. Choir, 6 Stops. 14— Flute. 15 — Fifteenth. 1 6 — Cremona to Fiddle g. Swell, 8 Stops. 21— Fifteenth. 22 — Sesquialtera, III ranks. 23 — Hautboy. 24 — Cornopean. Pedal, 2 Stops. 25— Great Open Bass, to FFFF, 24 feet. | 26— Open Diapason, to FFF. . 12 feet. Accessory Stops, &c. 1 — Swell to Great. 2— Great to Pedal. Great, GG to d3 in alt. Choir, GG to d3 in alt. Swell, Tenor c to d^ in alt 3— Choir to Pedal. 4, 5, Two Composition Pedals. Compass. Swell Clavier, GG to d^ in alt. Pedal, FFF to Tenor c, 20 notes. AN ACCOUNT OP COUNTRY ORGANS. 547 272. Winchester. The fine new Organ in Winchester Cathedral was built by Willis, under the direction of Dr. S. S. Wesley. It comprises i Manuals, an independent ,3 2 -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. 1 — Double 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 — Principal 4 feet. 7— Twelfth 2 1 feet. 8 — Fifteenth 2 feet. 9 — Sesquialtera. 10— Mixture. 11 — Trombone 8 feet. 12— Trumpet 8 feet. 13 — Clarion 4 feet. Swell, 13 Stops. 14 — Double Diapason ... 16 feet. 15 — Open Diapason 8 feet. 16 — Stopped Diapason. . . 8 feet tone. 1 7 — Principal 4 feet. 18— Flute 4 feet. 19_Twelfth 2 1 feet. 20 — Fifteenth 2 feet. 21 — Sesquialtera. 22— Mixture. 23— Trumpet 16 feet. 24— Trumpet 8 feet. 25 — Hautboy 8 feet. 26 — Clarion 4 feet. 27 — Open Diapason. . . 28 — Stopped Diapason 29 — Dulciana 30 — Principal Choir, 8 Stops. 8 feet. 31 — Flute 4 feet. 8 feet tone. 8 feet. 4 feet. 32— Fifteenth 2 feet. 38 — Sesquialtera. 34— Cremona 8 feet tone. Solo, 6 Stops. 35- 36- 37- 41 -Harmonic Flute. -Harmonic Flute. -Piccolo 8 feet. 4 feet. 2 feet. 38 — Horn 8 feet. 39 — Orchestral Hautboy . 8 feet. 40 — Corno di Bassetto. . . 8 feet tone. Double Double Dia- pason 32 feet. 42 — Double Open Diapa- son 16 feet. 43 — Double Dulciana ... 16 feet. Pedal, 8 Stops. 44 — Open Diapason 8 feet. 45 — Principal 4 feet. 46 — Mixture. 47 — Trombone 16 feet. 48 — Tromba 8 feet. Compass of all the Manuals, CC. Couplers. Pedal, CCC. Swell to Great. Choir to Great. Great to Pedal. Choir to Pedal. Swell to Pedal. 273. Salisbury. The Specification of the Organ that Harris built for Salisbury Cathedral, with its " Fifcy Stops, four sets of Keys, and eleven Stops of Echos," is sufficiently curious to warrant its insertion here ; particularly as it has never before been N N 2 548 APPENDIX. 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 (1) 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 independently, as though composed of entirely distinct sets of pipes ; (2) by making every rank of the Chorus- wrork 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 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 instrument, however, under consi- deration, 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 principle 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 agree- ment for the Doncaster Organ, contracted for 23 Stops, " without any communica- tion, 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, IG Stops. 1 — Open Diapason. ... 2 — Open Diapason. . . . 3 — Stopped Diapason . . 4 — Principal 6— Flute , 6_Twelfth 7— Fifteenth 8 — Tierce 8 feet. 8 feet. 8 feet tone. 4 feet. 4 feet tone. 2 1 teet. 2 feet. If foot. 9 — Larigot \^ foot. 1 0 — Sesquialtera, IV rnks. 11 — Cornet V rnks. 8 feet tone. 12 — Trumpet 8 feet. 13 — Clarion 4 feet. 14 — Cromhorn 8 feet tone. 1.5 — Vox Humana 8 feet tone. IG — Spare Stop. Borrowed Great, 14 Stops. 17 — Open Diapason. . . 18 — Stopped Diapason. 1 9 — Principal 20 — Flute 2i_Twelfth 22 — Fifteenth 23 — Tierce 31 — Open Diapason to Ga- mut G . . 32 — Stopped Diapason . . 33 — Principal 34— Flute 8 feet. 8 feet tone. 4 feet. 4 feet tone. 2f feet. 2 feet. If foot. Choir, 8 feet. 8 feet tone. 4 feet. 4 feet tone. 24 — Larigot 1^ foot. 25 — Sesquialtera, IV ranks. 26— Trumpet. 8 feet. 27 — Clarion 4 feet. 28 — Cromhorn 8 feet tone. 29 — Vox Humana 8 feet tone. 80 — Spare Stop. 8 Stops. 35_Twelfth 2| feet. 36— Fifteenth 2 feet. 87 — Bassoon 8 feet. 38 — Spare Stop. * Historical Introduction, page 93. AN ACCOUNT OF COUNTRY ORGANS. 549 Echo, to Middle c\ 11 Stops 8 foet. 45 — Tierce IJ foot. 4(5 — Larigot H toot. 47 — Trumpet 8 ieet. 48 — Vox Humana 8 feet tone. 49 — Croinhorn 8 feet tone. 39 — Open Diapason . . 40 — Stopped Diapason . . 8 feet tone. 41 — Principal 4 feet. 42 — Flute 4 feet tone. 43— Tvvolflh 2| feet. 44— Fitleenth 2 feet. 50— Drum Pedal, tuned to CC*. 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 Salisbuiy, and, hearing that the means depended on the contributions of the gentlemen of Wiltshire and Berkshire, said to Bishop Barington, " I desire that you will accept a new Organ for your Cathedral, being my contribution as a Berkshire gentleman." The present instrument 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. 7 — Sesquialtera, III ranks. 8 — Furniture . . II ranks. 1 — Open Diapason. 2 — Open Diapason. 3 — Stopped Diapason. 4 — Principal 5— Twelfth, 6— Fifteenth. 11 — Stopped Diapason. 12— Dulciana to Tenor c. 13— Flute. g I Trumpet, Bass. I Trumpet, Treble. —Cornet, V ranks to Middle c^. Choir, G Stops. 14 — Principal. 15 — Fifteenth. 16 — Bassoon Swell, 8 Stops — Compass from Gamut G to E in alt. 17 — Open Diapason. 18 — Stopped Diapason. 19 — Dulciana. 20 — Principal. 25- 1— Swell to Choir. 2 — Swell and Choir to Great 3 — Pedals to Great. 21 — Trumpet. 22— Hautboy. 23 — Cornet, III ranks. 24 — Vox Humana. Pedal, 1 Stop. Double Diapason Pipes to FFF. Couplers. 4 — Octave Coupler to the Double Diapasons. There is a tradition that part of Harris's Organ went to Abingdon Church, Berkshire. The Choir Organ, with additions, was re-erected at Helston, in Corn- wall, by Green and Blythe, where it was opened December 8, 1799. * The Drum Pedal was made with two Pipes, tuned at lialf tones fi-om each other. There were such devices in existence, at the commencement of the present century, in the following Organs ; Christ Church, Spitalfields .... timed to C . St. Botolph, Aldgate tuned to D. St. John's, "Wapping tuned to D. St. Nicholas, Deptford tuned to D. Abingdon, Berks. 550 APPENDIX. 274. Bristol. The Organ in Bristol Cathedral was built by Renatus Harris, in 1C85. Great, 12 Stops. 1 — Open Diapason. 2 — Open Diapason. 3 — Stopped Diapason 4 — Principal. 5 — Principal. G— Twelfth. 1 3 — Open Diapason, in place of Principal 14— Stopped Diapason. 17 — Open Diapason. 18 — Stopped Diapason 1 9 — Principal. 7— Fifteenth. 8 — Sesquialtera, IV ranks. 9 — Tierce. 10 — Trumpet. 11 — Clarion. 12 — Cornet, V ranks. Choir, 4 Stops. 15— Flute. 16— Fifteenth. Swell, 6 Stops. 20 — Hautboy. 21 — Trumpet. 22 — Cornet, III ranks. Pedal, 1 Stop. 23 — Double Diapason Pipes, one octave. Couplers. 1 — Swell to Great. 2 — Pedals to Great. One Octave of Pedal Keys. 275. Bristol. The Organ in St. James's Church, Bristol, was built in 1824, by Smith, of that city, under the direction of Dr. (then Mr.) Hodges. It has 4 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 England that had a Covered Stop on the Pedal down to CCCC, the 3 2 -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. . . 8 feet tone. 4 — Principal 4 feet. 6 — Principal 4 feet. 6— Twelfth 2 1 feet. 7— Fifteenth 2 feet. 8— Fifteenth 2 feet. Inside Choir, 5 Stops. Chiefly borrowed, by communication, from Great Organ. 9 — Tierce 1^ foot. 10 — Larigot H foot. 11 — Twenty-second .... 1 foot, Sesquialtera, III ranks. 12 — Mixture. .. . II ranks. 13 — Trumpet 8 feet. 14 — Octave Bassoon 4 feet. 1 5 — Open Diapason .... 8 feet. 16 — Stopped Diapason. . . 8 feet tone. 17 — Principal 4 feet. 18— Flute 4 feet. 19 — Clarionet 8 feet tone. AN ACCOUNT OP COUNTRY ORGANS. 551 20 — Open Diapason .... 8 feet. 21 — Stopped J)iapason .. Jlt'eet tone. 22— Principal -i feet. 23— Twelflii 2f feet. 24— Fifteenth 2 feet. Swell, 9 Stops. Pedal, 29— Double Stopped Dia- pason 32 feet tone. 30 — Open Diapason .... 16 feet. Accessory Stops, Movements, &c 1 — Coupler, Swell to Great. 2 — Coupler, Swell Octave to Great. 3— Coupler, Swell to Choir. 4 — Coupler, Choir to Great. 26— Tierce If foot. Cornet, III ranks. 2(5 — Hautboy 8 teet. 27— Trumpet « feet. 28 — Cremona 8 feet tone. Stops. 31 — Stopped Diapason. . . 16 feet tone. 32 — Principal 8 feet. 33— Bassoon 16 feet. 6 — Coupler, Great to Pedal. 6 — Coupler, Choir to Pedal. 7 to 10 — Four Wind-trunk Valves. Great, CC to e^ in alt. Choir, CC to e3 in alt. Inside Choir, CC to e' in alt. Compass. Swell, Tenor c to c* in aJtissimo. Pedal, CCC to Tenor c. The dimensions of the Case are as follow; viz. height, 28 feet; width, 16 feet; depth, 1 0 feet ; and the Choir Organ is in front. 276. Wells. The Organ in Wells Cathedral was originally built by Father Smith, in 1664 ; and was 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. Compass of the Great and Choir Organs, GG to e^ in alt. The instrument contains 23 Sounding Stops, of which the following is a list : Great, 11 Stops. 7 — Tierce. 8 — Sesquialtera, III ranks. 9 — Furniture .. II ranks. 1 0 — Trumpet. 11 — Cornet .... IV ranks. Choir, 5 Stops. 1 5— Flute. 16— Fifteenth. Swell, 6 Stops. 20 — Cornet III ranks. 21 — Trumpet. 'Z2 — Hautboy. Pedal, 1 Stop. 23— Open Diapason, CC to GGG. . 2U feet length. 1 — Open Diapason. 2 — Open Diapason. 3 — Stopped Diapason. 4 — Principal. 6— Twelfth. 6— Fifteenth. 12 — Stopped Diapason. 13 — Dulciana. 14 — Principal. 17 — Open Diapason. 18 — Stopped Diapason. 1 9 — Principal. 277. Exeter. The Organ in Exeter Cathedral was originally built by John Loosemore, in 1665 ; but it has since received many improvements from Schrider, Jordan, 552 APPENDIX. Miclieau ; also from Robson, Lincoln, and, lastly, from Gray. On the east front of the Case, along the impost, is the following inscription : " John Loosemore 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. Great, 11 Stops. 1 — Double Diapason throughout. 2 — Open Diapason. 3 — Open Diapason. 4 — Stopped Diapason. 5 — Principal. 6— Twelfth. 7— Fifteenth. 8 — Sesquialtera, V ranks. 9 — Bassoon. 10 — Trumpet. 11 — Comet to c\ V ranks. 12 — Stopped Diapason. 13 — Dulciana to Tenor c. 1 4 — Principal. 17 — Open Diapason. 18 — Stopped Diapason. 19 — Principal. Choir, 5 Stops. 15— Flute. 16 — Cremona. Swell, 6 Stops. 20 — Sesquialtera, III ranks. 21 — Hautboy. 22 — Trumpet. Pedal, 1 Stop. 23 — Open Diapason to GGG . . 2li feet length. Couplers, &c. 1 — Swell to Great. 2— Swell to Choir. 3 — Pedals to Great. Great and Choir, GG to d'' in alt. Swell, Gamut G to f^ in alt. 4 — Pedals to Choir. 5 — Octave Pedal. 6 to 9 — Four Composition Pedals. Compass. I Pedal, two octaves. 278. RiPON. There is a fine Organ in Ripon Cathedral, built by Father Schmidt. About twenty years since, some new Stops were added by Wren and Boston, of Manchester ; 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, 13 Stops. 1 — Double Stopped Diapason. 2 — Open Diapason. 3 — Open Diapason. 4 — Open Diapason Treble, by Wren and Co. Manchester. 6 — Stopped Diapason. 6 — Principal. 14 — Open Diapason. 15 — Stopped Diapason. 16 — Dulciana. 7— Twelfth. 8— Fifteenth. 9 — Tierce. 10 — Sesquialtera. 11 — Mixture. 12— Cornet. 13 — Trumpet. Choir, 6 Stops. 1 7 — Principal. 18— Flute. AN ACCOUNT OP COUNTHY ORGANS. 19 — Open Diapason. 20 — Stopped Diapason 21 — Dulciana. 22 — Principal. Swell, 7 Stops. 23 — Cornet. 24 — Trumpet. 25 — Hautboy. Pedal, 1 Stop. 26 — Open Diapason, CC down to GGG. .21^ feet length. Couplers. Swell to Great. I Great to Pedal. I Choir to Pedal. 279, Bangor. The Organ in Bangor Cathedral was built by Samuel Green, in 1779. No alterations or improvements have been made, except a few pedals which pull down the keys of Great Organ, which were added by Bucher and Fleetwood, of Liver- pool, in 1826. Great, 7 Stops. 5 — Sesquialtera, treble. 1 — Open Diapason. 2 — Stopped Diapason. 3 — Principal. 4— Fifteenth. 8 — Stopped Diapason. 11 — Open Diapason. 12 — Stopped Diapason. 13 — Principal. 6 — -Sesquialtera, bass. 7 — Trumpet. Choir, 8 Stops. 9 — Dulciana. | 10 — Principal. Swell, .5 Stops. 14 — Hautboy. 1 5 — Cornet. 280. St. Asaph. The Organ in St. Asaph's Cathedral was built by Hill, in 1834. Compass, from GG. The Pedal Pipes are placed at a distance from the instrument, imme- diately behind the stalls, and the whole effect is considered truly magnificent, the Cathedral being so well adapted for sound. The Organ contains : Great, 12 Stops. 1 — Open Diapason (lowest notes wood). 2 — Open Diapason (lowest notes metal) 3 — Stopped Diapason, treble. 4 — Stopped Diapason, bass. 5 — Dulciana. 6 — Principal. 13 — Stopped Diapason, treble. 14 — Stopped Diapason, bass. 15 — Open Diapason. 16 — Viol da Gamba. Wald Flute. 8— Flute. 9— Twelfth. 10— Fifteenth. 1 ] — Sesquialtera. 12 — Trumpet. Choir, 7 Stops. 17 — Principal. 18— Suabe Flute. 19 — Cremona. Swell, 5 Stops. 23 — Trumpet. 24 — Hautboy. 20 — Open Diapason. 21 — Stopped Diapason. 22 — Principal. 25 — An Octave and a half of Pedals and Pedal Pipes. Couplers. Swell Coupler. [ Pedals to Great. I Pedals to Choir. 554 APPENDIX. 281. St. David's. 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 ten years ago. The Compass of the Great Organ is from CC to F in alt, Mr. Lincoln having added five notes to the original range, which was CC 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, 11 Stops. 1 — Double Diapason (i. e. Bourdon and Tenoroon). 2 — Open Metal Diapason (Schmidt's). 3 — Open Wood Diapason. 4 — Quint. 5 — Principal. 6— Wald Flute. 13 — Double Diapason. 14 — Diapason, metal. 15 — Diapason, wood. 16 — Principal. 1 7 — Piccolo. Swell, 9 Stops- 7— Twelfth. 8— Fifteenth. 9 — Sesquialtera. 10— Mixture. 11 — Posaune (very fine). 12 — Clarion (no pipes as yet). •From Tenor C. 18 — Doublette. 19 — Cornopean. 20 — Hautboy. 21 — Clarion. Pedal, 1 Stop. 22 — Open Diapason from CCC. Couplers. Swell to Great. | Pedals to Manuals. 16 feet. Two Octaves of Pedals. ORGANS IN SCOTLAND AND IRELAND. 282. Glasgow. The large and fine Organ in the City Hall, Glasgow, containing fifty-five Stops, and upwards of three thousand Pipes, is, by many degrees, the most complete instru- ment yet erected in Scotland. Each nianual has a range of five complete octaves, or sixty-one notes, extending fi-om CC to C in alt, thus affording facility for the just execution of any known orchestral music, without the distortion, inversion, and con- sequently 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, commands an independent Organ of its own. The general con- tents of the instrument are as follow : Great, 15 Stops. 1 — Bourdon 16 feet. 2 — Open Diapason .... 8 feet. 3 — Stopped Diapason ... 8 feet. 4 — Gamba 8 feet. 6 — Octave 4 feet. 6 — Piccolo 4 feet. 7 — Twelfth 3 feet. 8 — Fifteenth 2 feet. 9 — Ottavina 2 feet. 10 — Sesquialtera, III rks. 11 — Mixture ... Ill rks. 12 — Flute Harmonique. • 8 feet. 13 — Flute Harmonique. . 4 feet. 14 — Posaune 8 feet. 15 — Clarion 4 feet. AN ACCOUNT OF OHQANS IN SCOTLAND AND IRELAND. 555 Swell, 1 16 — Bourdon IG feet. 17 — Open Diapason .... 8 feet. 18 — Keraulophon 8 feet. 19 — Stopped Diapason Bass 8 feet. 20— Clarionet Flute .... 8 feet. 21 — Octave 4 feet. 22— Flute 4 feet. 23— Fifteenth 2 feet. Choir, 1 32 — Open Diapason (tin) 8 feet. 33 — Clarionet Flute .... 8 feet. 34 — Stopped Diapason Bass 8 feet. 35— Salcional 8 feet. 3G— Octave 4 feet. Coupling 48 — Swell to Great Manual, Unison. 49 — Swell to Great Manual, Super- Octave. 50 — Swell to Great Manual, Sub-Octave. 61 — Choir to Great Manual, Sub-Octave. G Stoj)S. 24— Flageolet 2 feet. 26 — Sesquialtera, III rks. 2G — Mixture II rks. 27 — Contra- Fagotto. . .. IG feet. 28 — Cornopean 8 feet. 29 — Oboe 8 feet. 30 — Voix-Humaine. . .. 8 feet. 31 — Clarion 4 feet. 0 Stops. 37— Flute 4 feet. 38— Fifteenth 2 feet. 39— Piccolo 2 feet. 40 — Conio dl Bassetto. . 8 feet. 41— Voix- Celeste 8 feet. 8 feet: 4 feet. IG feet. Stops, &c. 52 —The Reeds and Harmonic Flutes of Great to Swell, Unison,by a Pedal. 58 — Swell Manual to Pedals. 64 — Great Manual to Pedals. 56 — Choir Manual to Pedals. 42 — Contra Bourdon . . . . 43 — Open Diapason .... 44 — Bourdon Pedal, 6 Stops. 32 feet. 45— Octave. . IG feet. 46— Fifteenth . 16 feet. 47 — Trombone There is a tremulant 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 mechanical 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. 283. Edinburgh. The Organ in 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. 1 — Tenoroon 16 feet. 2 — Bourdon, to meet No. 1 16 feet tone. 8 — Unison open 8 feet. 4 — Unison closed. Treble 8 feet tone. 6— Unison closed, Bass . 8 feet tone, fi— Quint 5_l feet. 7 — Octave 4 feet. 8— Wald Flute 4 feet. 9 — Duodecima. 2| feet. 10 — Super Octave 2 feet. 11 — Sesquialtera, III rks. If foot. 1 2— Mixture . . . . II rks. t foot. 13— Douhlette . . .II rks. 2 feet. 14 — Posaune .......... 8 feet. 55G APPENDIX. 15— Claribella 8 feet. 16 — Unison closed, Bass . 8 feet tone. 17 — Salicional 8 feet. 18 — Viol di Gamba .... 8 feet. 1 9 — Closed Flute 4 feet tone. 20 — Celestina 4 feet. Choir, 11 Stops. 21— Oboe Flute 4 feet. 22 — Piccolo 2 feet. 23 — Cremona 8 feet tone. 24— Corno Flute 8 feet. 25 — Cornopean, Bass. ... 8 feet. 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. Swell, 10 Stops. 31— Flageolet 2 feet. 32 — Doublette . . II ranks 2 feet. 33— Echo Cornet, IV ranks. 34— Oboe 8 feet. 35 — Cornopean 8 feet. 36 — Contra Bass, open 37 — Bourdon, stopped . 16 feet. 16 feet tone Pedal, 3 Stops. 38 — Trombone, of wood . 16 feet. 1 — Coupler, Swell to Great. 2 — Coupler, Choir to Great, 3 — Coupler, Great to Pedal Accessory Stops, Movements, &c. 4 — Coupler, Choir to Pedal. 5, 6, 7 — Three Composition Pedals. Great, CC to f ^ in alt. Choir, CC to f3 in alt. Compass. Swell, Tenor c to f ^ in alt. Pedal, CCC to Tenor d. The Case is 35 feet in height, and 17| feet in width. 284. 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. Tlie Dean and Chapter agree 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, Sexquialtra 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 £,65 for same." " 11th March, 1697- Organ erected and examined by the several Vicars." "10 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 : AN ACCOUNT OP ORGANS IN SCOTLAND AND IRELAND. 557 1 — Open Diapason. 2 — Large Open Diapason. a — Stopped Diapason. 4 — Principal. 5— Tweiflli. G — Fifteenth. Great, 1 1 Stops, OG to F in alt. 7 — Tierce. 8 — Sesquialtera Ill ranks. 9 — Furniture Ill ranks. 1 0 — Cornet from Tenor C, V ranks. 11 — Great Trumpet. 12 — Stopped Diapason. 13 — Dulciana. 14— Flute. IG — Double Diapason. 17 — Open Diapason. 18 — Stopped Diapason. 19 — Principal. Choir, 4 Stops, GG to F in alt. 15 — Large Principal, stopped and open, borrowed from the Great Organ by means of tubes. Swell, 8 Stops, from Gamut G. 20— Twelfth. 21— Fifteenth. 22 — Hautboy. 23 — Trumpet. Pedal, 2 Stops, from CCC to E, two Octaves and two Notes. 24 — Double Diapason, 10 feet. | 25 — Stopped Diapason, 8 feet, unison. Couplers. Great to Swell. | Pedals to Great. 285. 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 2^ rows of keys. Great and Choir Organs, GG long octaves to d^ in alt, Swell fi-om fiddle g to d^ in alt. An excellent Swell was added in 1846, 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 £500, for Wolverhampton Church. This Organ originally contained a Double Bassoon to the DD key (DDD Pipe), which appears to have been the first double Reed introduced into any British Organ. Great, 10 Stops, GG to F in alt. 1 — Double Open Diapason. 2 — Open Diapason, No. 1 3 — Open Diapason, No. 2. 4 — Stopped Diapason. 5 — Principal. G— Twelfth. 7 — Fifteenth. 8 — Doublette, 8ve, 15th, and 22nd. 9 — Sesquialtera, III ranks (useless). 10 — Trumpet (entirely useless). Choir, 5 Stops, GG to F in alt. 11 — Open Diapason, from middle D upwards. 12 — Dulciana. Swell, 11 Stops, 16 — Double Stopped Diapason. 17 — Open Diapason. 18— Dulciana. 19 — Stopped Diapason. 20 — Principal. 21— Twelfth. 13 — Stopped Diapason. 14 — Principal. 15— Flute. CC to F in alt. 22— Fifteenth. 23 — Doublette, 8ve, 15th, and 22nd. 24 — Sesquialtera. 25— Oboe. 26— Trumpet. 5 58 APPENDIX. Pedal, 2 Stops, CC to D, two Octaves and two Notes. 27 — Open Diapason .... IG feet. | 28 — Principal Coupling Actions. Swell to Great. I Great to Pedals. Swell to Pedals. 8 feet. 286. Dublin. The greater portion of the Organ in Trinity College Chapel, Dublin, 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. 1 — Open Diapason. 2 — Open Diapason. 3 — Stopped Diapason. 4 — Principal. 9 — Stopped Diapason. 10 — Dulciana. G— Fifteenth. 7 — Sesquialtera. 8 — Trumpet. Choir, 4 Stops, GG to E in alt. 11 — Principal. 12— Fifteenth. Swell, 9 Stops, C, 4 feet, to F in alt. 13 — Double Stopped Diapason. 14 — Open Diapason. 15 — Dulciana. 16 — Stopped Diapason. 17 — Principal. 18 — Principal. 19— Fifteenth. 20— Oboe. 21 — Trumpet. 22 — Unison. 23 — Principal. 24— Twelfth. Pedal, 5 Stops, GG to C, Octave and a half. 25— Fifteenth. 26 — Trumpet. Swell to Great. Coupling Actions. I Great to Pedals. 287. Dublin. The Organ in the Roman Catholic Church of St. Nicholas, Dublin, was built by Telford, of Dublin. Great, 12 Stops, FFF 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 4 feet. Choir, 7 13 — Open Diapason, metal 8 feet. 14 — Dulciana, metal. ... 8 feet. 15 — Stopped Diapason, wood 8 feet. 16 — Principal, metal .... 4 feet. 7— Twelfth, metal .... 2| feet. 8 — Fifteenth, metal ... 2 feet. 9 — Sesquialtera, III rks. 10— Mixture. ... II rks. 11 — Trumpet 8 feet. 12 — Clarion 4 feet. Stops, FFF to F. 17 — Flute, wood 4 feet. 1 8 — Fifteenth, metal .... 2 feet. 1 9 — Cremona, metal .... 8 feet. AN ACCOUNT OK OKGAN.S IN SCOTI.AND AND IRKLANI). Swell, 10 S 20 — Double Stopped Dia- pasdu, wood .... 1(! i'eet. 21 — Open Diajiasoii, metal 8 feet. 22 — Dulciaiui, metal 8 feet. 23 — Stopped Diapason, wood 8 feet. 24 — Principal, metal .... 4 feet. Pedal, 5 30 — Double, ojien, wood IG feet. 31 — Unison, open, metal . 8 feet. 32— Octave . , 4 feet. to\)s, Gamut G to F. 25— Twelfth, metal .... 2^ feet. 2() — Fifteenth, metid 2 feet. 27 — Sesquialtera, III rks. 28— Trumpet 8 feet. 29 — Hautboy 8 feet. Stops, FFF to F. 33— Twelfth 2| feet. 34— Fifteenth 2 leet. 288. Dublin. The Organ in tlie Roman Catholic Church of St. Francis Xavier, Gardener Street, Dublin, was built by Fliglit and Robson, and finished and erected by Gray and Son. Great, 13 Stops, FFF to G in alt. Pipes. Keet. 1 — Double Diapason, metal and wood. . 2 — Great Open Diapason, metal 3 — Small Open Diapason, metal 4 — Stopped Diapason, wood 5 — Quint . . metal. . . . Feet. IG 51 63 61 63 51 G — Principal . . . .metal 7 — Twelfth .... metal 8 — Fifteenth .... metal 9 — Twenty-second,metal 10 — Sesquialtera, III rks. metal 11 — Mixture II rks. 12 — Trumpet . . . .metal 1 8 — Clarion metal 4 2t 2 1 1 1 Choir, 8 Stops— FFF to G. 34 — Double Open pason, wood 1 to 8- Pedal, 2 Stops— FFF to F. Dia- 35 — Unison Open Dia- .... 16 . . 25 pason 8 Accessory Stops, Movements, &c. 8 Composition Pedals. | 9 to 12 — 4 Coupling Actions. Pipes. 63 63 63 63 189 126 63 63 Feet. Pipes. Feet. Pipes _ 14- — Open Diapason, metal 8 63 1 7 — Keraulophon . metal 8 . . 44 15- — Dulciana, wood and 1 8 — Principal . . . . metal 4 . 63 51 19— Flute 4 . 51 16- — Stopped Diapason, 20 — Fifteenth . . . .metal 2 . 63 63 2 1 — Cremona . . . .metal 8 . 39 Swell, 12 Stops- -FF to G in alt. Feet. Pipes. Feet. Pipes. 22- — Double Stopped Dia- 4 . 51 pason, bass, wood 16 51 28— Fitleenth . . . .metal 2 . 51 23- —Double Open Dia- 29— Sesquialtera, III rks. . 153 pason, treb. metal 16 51 30 — Cornopean . . .metal 8 . . 51 24- —Open Diapason, metal 8 51 31 — Trumpet . . . .metal 8 . . 51 25- —Stopped Diapason, 32 — Hautboy , . . .metal 8 . 51 51 4 . . 51 26- —Principal, metal. ... 4 51 25 560 APPENDIX. 28t). 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 CC to F in alt, and a Pedal, from CCC to E — two Octaves and four Notes ; also 33 Sounding Stops, of which the following is a list : Great, 13 Stops— CC to F in alt. 1 — Bourdon, wood .... 16 feet. 2 — Tenoroon, metal. ... IG feet. 3 —Great Open Diapason, metal 8 feet. 4 — Small Open Diapason, metal 8 feet. 5 — Stopped Diapason, wood 8 feet. 6 — Principal . . . .metal 7— Twelfth metal 8 — Fifteenth . . . .metal 9 — Doublette . . . .metal 10 — Sesquialtera 11 — Mixture . . 1 2 — Posaune metal 13 — Clai'ion metal 4 feet. 2| feet. 2 feet. 1 foot. . metal, III ranks, .metal, II ranks. Chou-, 7 Stops— CC to F in alt. 8 feet. 8 feet. 8 feet. Viol di Gamba, metal Principal metal wood metal • metal .metal 17— 18— 19— Wald Flute 20— Fifteenth . . ■CC to F in ah. 26— Fifteenth . 27 — Doublette . 14 — Dulciana . . .metal. 15 — Stopped Diapason, wood 16 — Claribella, wood.., Swell, 10 Stops 21 — Double Stopped Dia- pason wood 16 feet. 22 — Open Diapason, metal 8 feet. 23 — Dulciana .... metal 8 feet. 24 — Principal .... metal 4 feet. 25 — Twelfth metal 2f feet. Pedal, 3 Stops— CCC to E, 29 Notes. 31 — Grand Double Open 32 — Double Trombone Diapason 16 feet. 33 — Unison Trombone Couplers, &c. 8 feet. 4 feet. 8 feet. 4 feet. 4 feet. 2 feet. 2 feet. 1 foot. 28 — Sesquialtera, metal. III ranks. 29 — Cornopean . . . .metal 8 feet. 30 — Hautbois metal 8 feet. 16 feet. 8 feet. 4 — Great Organ to Pedals. 5 to 8 — Four Composition Pedals. 1 — Swell Organ to Great Manual. 2 — Swell Organ to Choir ]\Ianual. 3 — Swell Organ to Pedals. The largest Pipe is 1 6 feet long ; the smallest, f of an inch, 290. Belfast. The Organ in St. Patrick's Roman CathoUc Chapel, Belfast, was built by Gray and Son, in 1840. Great, 10 Stops— GG to F. 6— Fifteenth. 1 — Open Diapason. 2 — Open Diapason. 3 — Stopped Diapason. 4 — Principal. 5— Twelfth. 11 — Stopped Diapason, treble. 12 — Stopped Diapason, bass. 13 — Dulciana. 14 — Principal. 7 — Cornet Ill ranks. 8 — Sesquialtera. . Ill ranks. 9 — Mixture .... II ranks. 1 0 — Trumpet. Choir, 7 Stops. 1.5— Flute. 1 6 — Claribella. 17 — Cremona. AN ACCOUNT OP OIKIANS IN SCOTLAND AND IRELAND. 601 18- Open Diapason 10 — Double Diapason, treble 20 — Double Diapason, bass. 2 1 — Stopped Diapason. 22 — Principal. Swell, 10 Stops — 3 Octaves and a halt". 23— Twelfth. 1 — Swell to Great Organ. 2 — Choir Organ to Pedals. 3 — Great Organ to Pedals. 4 — Double Diapason to Pedals 2-1— Fifteenth. 2.5 — Ses((uialtera. 26— Trumpet. 27— Oboe. Pedal, 1 Stop— CCC, 2 Octaves. 28 — Double Open Diapason. . IG feet. Couplers, &c. 6 — Coupler for combining Double Dia- pasons, to produce mysterious and other effects. G to 9 — Four Composition Pedals. 291. Cashel. The Organ in Cashel Cathedral, Tipperary, was built by Samuel Green, of Lon- don, in 178G ; and, although small, is a very good one. It contains 17 Stops. Great, 8 Stops. 5 — Fifteenth. 1 — Open Diapason. 2 — Stopped Diapason. 3 — Principal. 4— Twelfth. 9 — Dulciana. 10 — Stopped Diapason. 13 — Open Diapason. 14 — Stopped Diapason. 15 — Dulciana. 6 — Sesquialtera. 7 — Trumpet. 8 — Cornet. Choir, 4 Stops. 11 — Principal. 12— Fifteenth. SvFell, 6 Stops. IG — Principal. ] 7 — Hautboy. Octave and a half of Pedals. Couplers for Great and Choir Organs. 292. Cashel. The Organ in Cashel Roman Catholic Cathedral, Ireland, was erected, in 184G, by Bevington and Sons. It is one of the largest Organs in the South of Ireland. Great, 11 Stops— FFF to F Pipes. GO 1 — Tenoroon, metal , 2— Bourdon, bass, FFFF . , 3— Open Diapason, FFF, metal ' GO 4 — Stopped Diapason 60 5 — Principal GO 6— -Twelfth 60 7— Fifteenth GO Pipes. 8 — Sesquialtera, IV ranks, ... 240 9— Mixture .. .Ill ranks 180 10— Trumpet 60 11 — Clarion 60 12 — Open Diapason, FFF, metal GO 13— Dulciana, FF 49 14 — Stopped Diapason, treble. • • 1 gQ 16 — Stopped Diapason,bass,FFF j 16— Principal, FFF 60 17_Flute, FFF 60 Choir, 9 Stops. Pipes. 900 Pipes. 18— Fifteenth 60 19 — Clarionet = 42 20— Bassoon, bass, FFF . . . . 18 409 o o 562 APPENDIX. Swell, 8 Stops— Tenor C to F. Pipes. 21 — Double Diapason 42 22— Open Diapason 42 23 - Stopped Diapason 42 24 — Principal 42 25 — Flute, open wood. ^ 42 Pedal, 1 Stop. 29— Open wood, CC to FFFF Tipes. 26— Cornet, III ranks 12G 27 — Cornopean 42 28— Oboe 42 420 24 feet. Accessory Stops, Movements, &c. 1 to 6— Six Composition Pedals. | 7 to 10— Four Coupling Movements. Pipes. Pipes. Great Organ 900 Choir 409 Swell 420 Pedal 20 Total. .1749 293. Cork. St Mary's Roman Catholic Church, Cork, contains 25 Stops, of which the following is a list : Great, 9 Stops. G— Twelfth. 1 — Double Diapason, metal. 2— — Bourdon, metal. 3 — Open Diapason. 4 — Stopped Diapason. 5 — Principal. 10— Dulciana. 11 — Stopped Diapason, treble. 12 — Stopped Diapason, bass. 13 — Principal. 17 — Double Diapason, wood. 18 — Open Diapason. 1 9 — Stopped Diapason. 20 — Principal. 7 — Fifteenth. 8 — Sesquialtera, III ranks. 9 — Trumpet. Choir, 7 Stops. 14— Flute. 15— Fifteenth. IG — Cremona. Swell, 7 Stops. 21— Fifteenth. 22 — Sesquialtera, III ranks. 23 — Hautboy. 24 - Open Diapason, CCC. 1 — Pedals to Great. Pedal, 2 Stops. I 25— Principal, CC. An Octave and a half of Pedal keys. Copulse. I 2 — Pedals to Choir. | 3,4,5 — Three Composition Pedals. 294. Cloyne. The Organ in Cloyne Cathedral was erected in the year 1813. The Diapasons on the Great Organ are particularly good ; to the Great Organ there has been added an octave and a half of Pedals. Great, 9 Stops. 1 — Open Diapason. 2 — Stopj)ed Diapason. 3 — Principal. 4 — Flute. 5 — Twelfth. 0— Fifteenth. 7 — Sesquialtera, half stop. 8 — Cornet, half stop. 9 — Trumpet. AN ACCOUNT OK ORGANS IN SCOTLAND AND IRELAND. Chiiir, 3 Stops. 5G3 10 — Stopped Diapason. 13 — Open Diapason. I 11 — I'rincipal. | 1 2— Flute. Swell, 3 Stops. I 1 4— I'rincipal. ( 15— Trumpet. The Cathedral of Cloyne is situated in a retired valley, within about two miles of the southern coast of the county of Cork, and twenty miles of the city, and about eight miles from Queenstown to the east. It is built in the shape of a cross ; the choir part is small, and the chancel large ; there is a splendid eastern window of stained glass, and two cross aisles off the chancel, formerly belonging (as private chapels) to two great families of the county, being at that time in the possession of the Roman CathoUcs. There is a perfect round tower, of a hundred feet high, one of the most perfect in Ireland, within al)out twenty feet of the walls. It is stated to have been built in the year 604, and, taking it altogether, nothing can exceed it as an ancient piece of architecture. 295. Kilkenny. The Organ in the Cathedral Church of St. Canice, Kilkenny, was first erected in the Great Exhibition building 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. Great, 11 Stops— CC to F in alt, 54 Notes. No. of Pipes. -Sesquialtera, III ranks. . . 162 No. of Pipes. 54 54 64 1 — Open Diapason, No. 1 2 — Open Diapason, No. 2 . 3 — Stopped Diapason ' 4— Claribel 6 — Principal 54 6— Twelfth 54 7— Fifteenth 54 8- 9 — Mixture II ranks ... 108 10 — Trumpet 54 11 — Clarion 64 Swell, 8 Stops— Tenor C to P in alt, 42 Keys. No. of Pipes. 17 — Double Trumpet 42 18 — Cornopean 42 19— Clarion 42 12 — Double Diapason 42 13 — ^Open Diapason 42 14 — Stopped Diapason ...... 42 15 — Principal 42 16— Doublette (15, 22d) .... 84 Choir, 8 Stops— CC to F in alt, 54 Notes No. of Pipes. 20 — Double Diapason, Bass — closed wood 21 — Double Diapason, Treble — closed wood 22 — Stopped Diapason 54 23 — Dulciana Tenor c 42 Pedal, 1 Stop— CCC to D, 27 Notes. 28 — Great Open Diapason (16 feet) . . 27 Pipes. Coupling Actions, 6. 4 — Pedals to Choir. 702 No. of Pipes. 378 54 24 — Viol de Gamba . 25 — Principal CC . . 26— Flute Tenor c 27 — Cremona G . . No. of Pipes, Tenor c 42 64 42 35 323 1 — Swell to Great. 2— Swell to Choir. 3 — Pedals to Great. 5 — Pedals to Swell. This Organ contains 1,430 Pipes. 31 Stops. 0 0 564 APPENDIX. 296. TUAM. The Organ building for Tuam Cathedi-al, by Bevington, will consist of : Great, 11 Stops. No. of Pipes. 1 — Double Diapason 54 2 — Open Diapason, No. 1 . . . . 54 3 — Open Diapason, No. 2. — 54 4 — Stopped Diapason 54 5 — Principal 54 6— Twelfth 54 7— Fifteenth 54 No. of Pipes. 8 — Sesquialtera, III ranks ... 162 9— Mixture II ranks ... 108 10— Trumpet 54 11— Clarion 54 Total No. of Pipes in Great Organ, 756 Choir, 8 Stops. No. of Pipes. 12 — Bourdon (8 feet Stopped) . 12 13 — Double Diapason (Treble) . 42 14 — Dulciana 42 15 — Stopped Diapason 54 16 — Viol di Gamba 42 No. of Pipes. 17 — Principal 54 18— Flute 42 19 — Cremona 35 Total No. of Pipes in Choir Organ, 323 20 — Double Diapason 42 21 — Open Diapason 42 22 — Stopped Diapason 42 28 — Principal 42 24— Mixture, II ranks 84 Swell, 8 Stops — Tenor C. No. of Pipes 2.5- 20- 27- No. of Pipes. -Double Trumpet 42 -Cornopean 42 -Hautboy 42 Total No. of Pipes in Swell Organ, 378 28 — Open Diapason (16 feet). • 29— Principal (8 feet). . 1 — Pedals to Great. 2— Pedals to Choir. Pedal, 3 Stops. No. of Pipes. 27 27 No. of Pipes. 30 — Great Posaune (16 feet) 27 Total No. of Pipes in Pedal Organ, 8 1 Copulas. 3 — Swell to Great. 4 — Swell to Choir. 3 Composition Pedals. 2 Octaves and 2 Notes (CC to D) of German Pedals. Number of Pipes in Great Organ 756 Number of Pipes in Choir Organ 323 Number of Pipes in Swell Organ 378 Number of Pipes in Pedal Organ 81 Total Number of Pipes 1538 Total Number of Stops ... 33 Total Number of Copulas. , 4 37 AN ACCOUNT OF AN OKOAN IN NEWFOUNDLAND. 665 297. Newfoundland. The Organ in St. John's Cathedral, Newfoundland, was built by Robson, in 1853. It conttiins iG Sounding Stops, of which the following is a list : (Jreat, Hi Stops — Compass, CC to G, 5G Notes Feet. ripe.s. 1 — Double Diapason, Buss 2 — Double Diapason 3 — Open Diapason, Large 8 4 — Open Diapason .... 8 5— Stopped Diapason.. 8 tone 6 — Quint 6 . . 7 — Principal 4 8— Tenth 3+ . . 9— Twelfth 3 . . IG tone. 5G r)G 5G 6G 56 56 6G 5G Feet. 2 10— Fifteenth 11 — Sesquialtera, 1 12 — Mixture. . . I X ranks 1 3 — Furniture . . J 1 4 — Contra Fagotto .... 16 16 — Posaune 8 16— Clarion 4 Pipes. 6G . 560 . 56 . 56 . 56 1232 Swell, 13 Stops — Compass, CC to G Feet. 56 Notes. 17 — Double Diapason, Bass y IG tone. 1 8 — Double Diapason 1 9 — Open Diapason .... 8 20 — Stopped Diapason . . 8 tone. 21 — Principal 4 22— Twelfth 3 .. 23— Fifteenth 2 . . Choir, 11 Stops — Feet. 30 — Duleiana 8 . . 31— Viol di Gamba .... B . . 32 — Stopped Diapason . . 8 tone. 33 — Clarabella Flute ... 8 . . 34 — Celestina Viol 4 . . 35 — Principal 4 36— Flute 4 . . Pipes. Feet. Pipes. 66 24 — Sesquialtera | -.j , 26-Mixture..r^^"'^^ 26 — Horn 8 . . 280 . . 66 66 8 . . 66 56 4 .. 56 56 29 — Octave Clarion .... 2 . . 56 66 56 840 Compass, CC to G, 56 Notes. Pipes. Feet. 37 — Piccolo 2 38 — Mixture ( Duleiana Scale), III ranks 39 — Bassoon | ^ ^^^^ 40 — Clarionet i 66 44 66 44 56 56 56 Pipes. 66 168 56 648 Pedal, 6 Stops — Compass, CCC to F, 30 Notes. 41 — Open Diapason .... 16 feet. 42 — Stopped Diapason. . . 16 feet tone. 43 — Principal 8 feet. 44 — Basso Flauto 8 feet tone. 45 — Trombone 46 — Trumpet . 16 feet. 8 feet. -136 1 — Swell to Great. 2— Swell to Pedals. Copulas, &c. 3 — Great to Pedals. 4 — Choir to Pedals. Summaiy of Stops, &c. Great. . Swell . . Choir . . Pedal . . Copulas Feet. 16 13 11 6 4 Pipes 1232 840 648 136 50 2866 666 APPENDIX. 298. Boston, United States. The following is an account of the Organ referred to on page 434, as being built by the Messrs. E. and G. Hook, for the Tremont Temple, Boston, United States. It is reprinted from the " description" circulated by the builders at the time of the opening of the instrument, in 1854. " This instrument, which is by far the largest and the most comprehensive in this country, consists of four complete Manuals, from CC to A in alt, 68 notes, the Swell throughout, and an independent Pedal Organ from CCC to D, 27 notes. Wind is supplied by three bellows at different pressures. It contains seventy registers, com- prising 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, 60 feet high, and 50 feet wide, and is concealed by an open-work screen. The following are the Stops in this instrument : Great, 16 Stops. 1 — Tenoroon Open Diapason. 0- — Grand Fifteenth. 2 — Grand Open Diapason. 10- —Fifteenth. 3 — Open Diapason. 11- — Sesquialtera, II ranks. 4— Melodia. 12- — Mixture . . . Ill ranks. 5 — Stopped Diapason. 18- —Furniture . . IV ranks. 6 — Grand Principal. 14- — Trumpet. 7 — Principal. 16- —Clarion. 8— Twelfth. ] 6 — Open Diapason. 1 7 — Dulciana. 18 — Stopped Diapason. 19 — Principal. 20— Fifteenth. 26 — Sub-Bass. 27 — Double Diapason. 28 — Open Diapason. 29 — Viol di Gamba. 30 — Stopped Diapason. 31 — Principal. 32 — Night Horn. 33_Twelfth. Choir, 10 Stops. 21 — Mixture III ranks. 22— Hohl Flute. 23 — Viol d'Amour. 24 — Clarionet. 25 — Bassoon. Swell, 15 Stops. 34— Fifteenth. 35 — Sesquialtera, III ranks. 36 — Trumpet, Bass. 37 — Trumpet, Treble. 38 — Hautboy. 39— Clarion. 40 — Double Trumpet. Pedal, 10 Stops. 41 — Double Bourdon . . . . 32 feet. 42 — Bourdon 16 feet. 43 — Open Diapason . . wood 16 feet. 44 — Open Diapason . . metal 16 feet. 46 — Open Diapason 8 feet. 46 — Violoncello 8 feet. 47— Quint 6 feet. 48 — Principal 4 feet. 49 — Trombone 8 feet. 50 — Posaune .... , 10 feet. 51 — Horn Diapason. 62 — Gamba. 53— Clarabella. Solo, 6 Stops. 54— Wald Flute. 55 — Piccolo. 56 — Trumpet. AN ACCOUNT OF COUNTRY' OIKJANS. Couplers, Ikc. (!4 — Great to Pedals. ()5 — Choir to Pedals. Pedal Octaves. (J7 — Pedal Bourdon Separation. 68 — Pedal Open Diapason Separation. 0!) — Solo Organ Signal. 70 — Bellows Signal. " The distinguishing features of this Organ are the unusual size, compass, and effectiveness of the Swell, the complete Pedal Organ, and the Solo or Fourth Manual — the latter an uncommon thing, even in Europe. These, combined with ])erfcct equality and finish in the voicing, and an easy and delicate touch, place the instru- ment for in advance of any yet built in this country, and put it at least on a level with the celebrated Organs of England and the Continent." 57 — Swell to Great, Unison. 58 — Swell to Great, Super Octaves. 50 — Choir to Great, Sub-Octaves. GO — Swell to Choir, Unison. 61 — Swell to Solo. .Unison. 62 — Solo to Great. .Unison. 63— Swell to Pedals. 209. Henley-on-Thames. The new Organ in the Church at Henley-on-Thames was built by ]\Ir. Holdich, in 1854. It contains 36 Sounding Stops, of which the following is a list : 1 — Large Open Diapason 8 2 — Open Diaj)ason .... 8 3 — Clarabella Treble, and Stopped Diapason Bass 8 4 — Principal 4 5— -Flute 4 6— Twelfth 2f 13 — Dulciana 8 14— Clarabella 8 1 5 — Stopped Diapason Bass 8 16 — Principal 4 2 1 — Double Diapason .... 16 22 — Bourdon 16 23 — Open Diapason .... 8 24 — Stopped Diapason . . 8 25 — VioldiGamba 8 26 — Principal 4 Great, 12 Stops. feet, feet. feet, feet, feet, feet. V — Fifteenth . . 8 — Tierce .... 9 — Sesquialtera 10 — Mixture. .. 1 1 — Trumpet . . 12 — Clarion. . . . If feet, feet, feet, feet. Choir, 8 Stops. 17— Flute . .. 18— Fifteenth 19 — Piccolo . . 20 — Cremona Swell, 12 Stops. feet, feet, feet, feet, feet, feet. 33 — Grand Double Diapason 1 34 — Grand Bourdon 1 Manuals, CC to f ^ in alt. Pedal, 6 feet. 6 feet. Compass 27— Fifteenth 28 — Tierce ........ 29 — Sesquialtera .... 30— Double Trumpet. . 31 — Cornopean 32 — Hautboy Diaocton. Stops. 35 — Grand Principal. . 36 — Grand Trombone . 2 feet, foot. Ih toot. i foot. 8 feet 4 feet. 4 feet. 2 feet. 2 ieet. 8 feet tone. 2 feet. If foot. 1 i foot. 16 feet. 8 feet. 8 feet. 8 feet. 16 feet. Pedal, down to CCC. 300. Carlisle. A new Organ has just been ordered for Carlisle Cathedral, which is to be erected in its place of destination by next November. It is to contain 3 IManuals : viz. Great, Swell, and Choir, each having a Compass of 4 Octaves and a half, from CC to G in alt, and a Pedal Board containing 80 Notes, or 2 Octaves and a luilf, from 6G8 APPENDIX. CCC to F ; and all the Registers are to extend throughout the entire Compass of the Key Boards, without an exception. Mr. W. T. Best has kindly assisted Mr. Ford, the Organist to the Cathedral, in preparing the Specification for the Instrument, which will be built by Mr. Willis. The Instrument, which will be tuned on the principle of equal temperament, is to possess 35 Registers, independently of the Couplers — 5 in number — and 2,338 Pipes ; and will be supplied with the Pneumatic Lever, and Pneumatic Combina- tion jMovement, together with every other modern Mechanical Improvement. The following is a list of the Stops the Carlisle Organ is to contain : Great, 11 Stops. 7 — Sesquialtera, 1 — Double Open Diapason, metal 16 feet. 2 — Open Diapason 8 feet. 3 — Stopped Diapason, wood 8 feet. 4 — Principal metal 4 feet. 5 — Twelfth metal 3 feet. 6— Fifteenth metal 2 feet. ranks, metal 8 — Furniture.. Ill ranks, metal 9 — Trombone metal 10 — Trumpet metal 11 — Clarion metal 12 — Double Dulciana, metal 13 — Open Diapason ..metal 14 — Stopped Diapason, wood 1 5 — Principal metal 1 G — Flageolet wood 17 — Echo Cornet, V ranks, lowest rank of wood, Swell, 11 Stops. 16 feet. 8 feet. 8 feet. 4 feet. 2 feet. the remaining four of metal. 18 — Contra Fagotto . . .wood 19 — Horn metal 20 — Oboe metal 21 — Clarion metal 22 — Vox Humana . . .metal 8 feet. 8 feet. 4 feet. 16 feet. 8 feet. 8 feet. 4 feet. 8 feet. The Swell to possess, in addition, a Tremulant of the improved modern con- struction, as patented by Willis. Choir, 6 Stops. 23 — Open Diapason ..metal 2 4 — Claribella wood 2 5 — Dulciana metal 29 — Open Diapason. . .wood 30 — Violon metal 31 — Bourdon wood 32 — Principal metal 8 feet. 8 feet. 8 feet. 26 — Gamba metal 8 feet. 27— Harmonic Flute, .metal 4 feet. 28 — Clarionette metal 8 feet. Pedal, 7 Stops. 16 feet. 16 feet. 16 feet. 8 feet. 33 — Fifteenth metal 4 feet. 34 — Trombone metal 16 feet. 35 — Trumpet, metal 8 feet. Couplers. Swell to Great — Choir to Great — Pedal to Great — Pedal to Swell — Pedal to Choir. Great . Swell . Choir , Pedal Summary. No. of Registers. 11 Great 11 Swell 6 Choir 7 Pedal 35 No. of Pipes. 952 840 886 210 2338 END OF THE APPENDIX. ADDENDA. Page. 1. The excellent old custom mentioned in the second paragraph, of placing the Choir Organ in a second Case " in front," has been revived in the instances of the New Organs recently erected in the Churches of St. James's, Piccadilly, and St. IMartin's in the Fields, London, with very picturesque effect. 9. After Sec. 33. This refers to their method of ojieration when a few Stops only are being used ; but when the full Organ is employed, two or three Bellows will sometimes supply wind and be collapsing simultaneously. 18. The average " rise" of a reservoir, whether of large or small dimensions, is 10 inches, beyond which height it is not usually made to ascend; for, inasmuch as an increased demand for wind must call for an increased suppli/ of the same, \h.e feeder-surf ace is generally enlarged with the capacity of the reservoir ; in other words, a larger Bellows altogether is, under such circum- stances, provided, as being in every way preferable. 41. P'ig. 49. In this and the two following wood-cuts the Pipes are repre- sented as being arranged in a single row, for the sake of distinctness ; though, in reality, they are more frequently planted in double rows. 43. After Sec. 186. When, however, the Swell Reeds are numerous, it is not an uncommon arrangement to place half their number in front and the remainder at the back. 47. After Sec. 203. The Organ in the Abbey Church at Selby, with two Manuals, has the Swell below and the Great Organ operating upon the upper row of keys. 68. After Sec. 296. The Organ in the Parish Church at Great Yarmouth, built by Jordan, in 1733, possessed the rare advantage (for the period) of a Tenor c Swell ; while that in the Church of St. Mary, Redcliff, Bristol (by Harris and Byfield), had originally a Gamut G Swell ; which, however, was afterwards reduced in compass to Fiddle g. It would perhaps be difficult, at this distance of time, to ascertain what might have been the cause which led to this alteration in the wrong direction (unless, indeed, the box that enclosed the Pipes was too small) ; but it has its parallel in the fact, that, in the North of England, a Finger Organ has recently been removed from a Church to make way for a " Grinder." 75. After Sec. 317. Another species of spotted metal, which, however, must not be classed with that described on page 75, has been produced, containing scarcely any admixture of tin ; but it is easily detected by the spots not pro- jecting from the mass, but rather appearing as stains upon it, and from the whole lacking the bright silvery whiteness that distinguishes the good spotted metal. 570 ADDENDA, rago. 85. After Sec. 365. In consequence of the word " Rohr" or reed being applied by German Organ-builders in the way mentioned on page 85, the Reed Stops are not unfrequently distinguished by the name of Tongue Stops. 113. After Sec. 516. The first Double Dulciana was made by the late Mr. Bishop, and forms part of the Organ erected by that builder in the new Church in Acre Lane, Clapham, about the year 1828. 115. After Sec. 527. The Dulciana was certainly not invented by Snetzler, but simply introduced by that builder into this country. The Cathedral Organ at Passau contains a Stop of the kind that was made by Snetzler pre- viously to his leaving Germany for England, and which is thus incidentally mentioned by Burney, in his " Tour," vol. i, p. 187- " M. Snetzler made some of the front Pipes ; he likewise made the Vox Humana and octave Dulciana in the little Organ, which are the two best solo Stops that the instrument contains." A Pedal Dulciana, of 16 feet, forms a portion of the new Organ recently erected in Winchester Cathedral, by Willis. 123. After Sec. 594. The Cornopean Stop was invented by Hill, the first specimen being introduced into an Organ built for — Fraser, Esq. of Manchester. 169. Since the Chapter on "musical pitch" was printed off, the writer has had an opportunity of carefully-trying the Organ in the Chapel of Hampton Court Palace, one of Father Smith's most interesting instruments yet re- maining, the Pipes of which have never undergone transposition. On testing the pitch of that Organ by the same fork that had been used for a similar purpose abroad, it was found to be rather above the fork ; which latter being a little below the mathematical pitch, would make Smith's pitch to be as nearly as possible correct. 195. After Sec. 854. Although CC Manual Organs were occasionally made in England soon after the commencement of the present century — the Cham- ber Organ belonging to the late Samuel Wesley, built by Elliott, being an example — yet the present general recognition of that range is mainly due to the exertions of Dr. Gauntlett, who, ably backed by Mr. Hill, consistently recommended its adoption, about fifteen years since, amid great opposition. The present prevalent feeling in favour of a separate Pedal Organ, instead of a lengthened Manual, is also in a great measure due to the same influence. 255. After Sec. 1079. The Mixture-work in the Newcastle-on-Tyne Organ, mentioned in the text as including an Open Diapason rank in the Treble, and which was made as long back as the year 1076, is of the following composition : Newcastle-on-Tyne Mixtures, by Harris. Tierce, Sesquialteia, II ranks. Mixture, III ranks. CC 17 19—22 24—26—29. Middle citt 17 19—22 17—24—26. Middle di 17 19—22 15—17—24. Middle a' 17 1—8 15—17—24. Treble d^ 17 1—8 12—15—17. ADDENDA. 671 The Chorus-Stops of the Organ at St. I'eter Miuicroft, Norwich, by the same builder, included, according to the account prejiared by the late Win. Russell, about the conunencenient of the present century, (ico Open Diapasons, ttco Principals, and a Quint. The following is the scheme given: St. Peter Mancroft Mixtures, by Harris. Tierce. Larigot. Ses. Ill r. Mix. II r. Fur. Ill r. CC 17 .. 1!) 19— 22— 2G 29— .33 .. 22—26—29. FFfl 17 .. 19 19—22 — 2G .. 29 — .33 .. 15—19 — 22. Tenor cjj 17 .. 19 .. 12—15—19 22— 2G 1.5—19—22. Tenor fS 17 19 .. 12—16—19 .. 22—26 .. 8-12—15. Middle c»S 17 19 8—12—15 .. 19—22 .. 8—12—15. Middle fiJt 17 .. 19 .. 8—12—15 19—22 .. 1— 8—12. Treble c^JJ 17 19 .. 1— 5 — 8 15—19 1— 8—12. Snetzler also incorporated an Open Diapason rank in the Treble of his Mixtures at Halifax, as already stated in the text. The Composition he adopted was as follows : Halifax Mixtures, by Snetzler. Sesquialtera, IV ranks. Furniture, III ranks. CC 15—17—19—22 22—26—29. Tenor c 15 — 17—19—22 15 — 19 — 22. Middle ci 8—12—1.5—17 15—19—22. Middle gi 8—12—15—17 8—12—16. g3 in alt 1—8—12 — 15 8 — 12 — 16. Pago. 257. Sec. 1086, fifth line, after " vocabulary." The terms " Quart-de-Nasard, Quinta Decima," &c. present examples of sir/(/k ranked Stops being named from the sound they produce as compared with that of other deduced Stops, rather than as calculated from the fundamental pitch. 259. Sec. 1090, ninth line, after " invaluable." The increasing pressure system for augmenting the power of the Treble of Reed and other Stops has recently met with an able advocate in Mr. Henry Smart, at whose recom- mendation a few examples of Stops voiced upon this principle have already been produced in this country by Mr. Davison. Mr. Smart has also laboured successfully to secure the introduction of several other French novelties. 273. Sec. 1160, after seventh line. Sometimes the old builders would fasten the feet of their larger wood Pipes into one of the angles of the block, instead of in the centre, rather than groove the Pipe off ; but this rendered the Pipes top-heavy and very unsafe. 308 After Sec. 1258. The acoustical illusion referred to is seldom so suc- cessful in the upper part of the Pedal range (i. e. from CC upwards) as in the lower ; hence it would be an advantage to have a Coupler to attach the CC key of some Manual having a Double Stop to the CC Pedal, — following the same system of union thence upwards,— which would have the effect of bringing a 32 -feet ground-tone on to the upper part of the Pedal range. As the omission of a Pedal Stop, of the size of tone just mentioned, is felt even 672 ADDENDA. Page. more in the upper part of the Pedal compass than in the lower, a Coupler of the kind proposed would be attended hy a good result in all cases where a 3 2 -feet sounding Stop does not actually exist on the department in question. 318. The Organ in the old Church at Amsterdam is a very old one indeed. The name of the builder is not known, but is supposed to be Christian Fater, of Amsterdam. 334. The Organ in St. Sulpice, at Paris, was built by Clicquot, in 1781, and originally cost 86,450 francs ; the repairs and additions, up to 1846, costing 60,000 francs more; making a total of 146,450 francs, or about £5850 of our money. In 1845, the Organ was re-modelled by Cavaille, at which time Barker's Pneumatic Lever was introduced. The old Bellows were also removed, and four grand reservoirs, with three smaller, substituted ; sup- plied by one single and two double feeders, put in motion by three bellows- handles ; and the Organ is now supplied with wind at three different pres- sures, namely, 6 inches, 3 inches and 3 lines, and 3 inches. The Trumpet in the Swell (Recit.), on a strong wind, is in a separate box placed in front, just above the Organist. The compass of the Manuals is from AA to f ^ in alt, 57 keys; the Pedal range being from CCC to Tenor d, 27 keys. At the commencement of the present year, Mons. Ducroquet inserted in the Great Organ a " Flute a Pavilion de 8 Pieds," in place of the Nazard ; and a " Keraulophon de 8 Pieds," instead of the Tierce. The following are " Pedales de combinaison :" 1 — Great to Pedal. 2— Positif to Great. 3 — Bombarde to Great. 4 — Recit. to Great. 6 — Tremulant Pedal. 6— Swell Pedal. 7 — Swell Pedal to Trumpet on strong wind. For many of the above particulars relating to the St. Sulpice Organ, the writer is indebted to the courtesy of G. T. Chambers, Esq. of Paris. X INDEX TO THE HISTORY OF THK ORfiAN. Page. A. AouicoL.v (Rodolph), oi'Kan-huilder, &c.. . 57 Andre, of Brunswick, organ-lmilder 48 Antognati, of Hroscia, a cclubrulod family of organ-l)uildors 58 Athcnonus, his description of the hydraulic organ 8 Avery (John), notice of, and list of his organs 107 B. Eagpipc, its origin 4 Beck (David), of Halberstadt, organ-builder 57 Bedos (Dom), his work entitled Z'^r< (fit Facteur des Orgues 9 Bellows, the ancient, described 32 ■ ■ " a la lanterne" 33 its first invention 4 Bemhard, the reputed inventor of the pedal 42 Beton, or Betun (William), organ. builder 49 Blowing, ancient mode of 33 Bonani's (Father) Oahitietto Armonico, no- tice of curious organs from 66 Bridge (Richard), biographical notice of, and list of his organs 100 Broughp, organ-builder 50 Bumbulum cum fistula aereS, an organ so called 30 Byfiold (John), biogTaphical notice of, and list of his organs 93 (John), jun. biographical notice of, and list of his organs 101 Byfield, Bridge, and Jordan— list of organs by these builders conjointly 100 C. CariUon-playing described 31 Casparini ( Eugenius ), organ-builder. ... .111 Cassiodorus, his description of the pneu- matic organ 13 Castendorfer (Stephen), organ-buUder. . . 48 Chamberlyn, or Chamberlaine (John), or- gan-builder 49 Chapington (John), organ-builder 50 Churches, organs first introduced into ... 13 Colunna (Vincenzo), organ-builder 58 Columbi (Vincenzo), organ-builder 58 Constantinople, representation of an organ on the obelisk at .... 12 Crang and Hancock (Messrs.), notice of these buUders 104 Ctesibius, his invention of the water organ 8 D. Dalham (George), organ-builder 55 Dallam (Robert), organ-builder 52 Dallans (Ralph), organ-builder 54 Dunstan (St.), organs erected by 15 Durham Cathedral, Smith's specification of the organ lor 78 E. Page. Eadwine's Psalter, representation of an organ from 18 Engelbrecht (Ulric), priest and organ- builder 48 England (George), notice of, and list of his organs 107 — (George Pike), notice of, and list of his organs 108 Engler (Michael), organ-builder Ill Exeter Cathedral, Roger North's descrip- tion of the organ there CI F. Faber (Nicholas), priest and organ-buUder 42 French organ-builders, some notice of. ... 110 G. Gabler (Johann), organ-builder 112 Gaflurius's (Franchinus) Theorica Musica, engraving of an organ from . 32 German organ- builders, early 48 improvements by 56 further progress of 108 Giafar, theArabian, an organ constructed by 14 Gibbs, organ-builder 50 Glyn and Parker (Messrs.), notice of these builders '. 101 list of their organs 102 Gori's Thesaurus Dipiychorum, curious re- presentation of an organ from 30 Green (Samuel), biographical notice of. . . 104 list of his organs 105 H. Hancock, organ-builder 104 Harris (Renatus), biographical notice of. . 85 list of his organs 88 (John), biographical notice of. .... 92 list of his organs 93 Haiuser's Eirchenmusik, representation of an hydraulic organ from 10 Herbst (Heinrich), organ-builder Ill Hermann, a Jesuit, organ-builder 58 Hildebrand (Zacharie and Johann Gott- fried), organ-buUders 1,11 I. Italian organ- builders 57 John de John, organ-buUder 49 Jordan (Abraham), senior and junior, bi- ographical notice of. 97 list of their organs 99 Julian the Apostate, his epigram on the organ 11 K. Kepler, his opinion of the water organ. . . 8 Key-board, the first. 31 the improved 41 574 INDEX TO THE HISTORY OP THE ORGAN. Page. Kleng (Gregoritis), organ-lmildor 42 Kirchcr's (Athanasius) Musiirgia, engrav- ings of primitive organs from 3, 4 Kranz (Ilenry), organ-builder 48 Krebs (Frederick), organ-builder 48 L. Lobsinger (Hans), of Nuremberg, inventor of the bellows with one fold 56 Loosemore (John), of Exeter, organ- builder 51 Luscinius's Musurgia, engraving of the Regalsfrom 38 M. Mace's (Thomas') Musick's Monument, no- tice of a chamber organ from. 66 Macraphe d'Aruchin, a Hebrew instru- ment 4 Mersennus's Earmonie Universelle, engrav- ing of an ancient bellows from 34 Mixture Stops, their supposed origin. ... 34 Monastic Organs, the first 36 in England 43 Miiller (Christian), organ-builder 112 Miiller (Nicholas), organ builder 48 N. North (Hon. Roger"), his description of the organ of Exeter Cathedral 61 0. Organ (the) anterior to the invention of the key-board 1 as mentioned in Genesis and other books of the Old Testament 2 Hydraulic 5, 11 Pneumatic 11 first introduced into the Church. ... 13 Anglo-Saxon 13 Mediaeval, after the invention of the key -board 31 Monastic 36 Portative 37 Positive 39 its position in ancient times 69 at Magdalen College, Oxford, erro- neous account concerning 73 Organs, meaning of " a pair" explained. . 40 notices of English 55 notices of foreign 58 English, prior to the Rebellion 74 their destruction in England during the Great Rebellion 69 Organ -builders, payments to old, in mo- nastic times 45 early, in Germany 48 early, in England 48 improvements by German 56 Italian 57 French 110 further improvements by 108 Organ-building, the curiosities of 65 the founders of modem 75 Organ Cases, curious decorations of, in former times 67 Organist, duties of this officer in monastic times 44 Organum, the Greek and Roman use of the word 1 the term, in the middle ages 35 Page. P. " Pair of Organs" explained 40 Paiker, organ-builder . . 101 Pedal (thi>), its invention 41 Pepin (King), his introduction of the organ into France 14 Pepys' Diary, extracts from, concerning organs 73 Perugino (Luca Blasi), organ-builder. ... 58 Portative organs explained 37 Position of the organ in ancient times .... 59 Positive organs explained 39 Powell (Dr.), his account of hydraulic organs 11 his notices of the curiosities of organ building 65 Proetorius' Theatntm Instrumentorum sett Sciuffraphia, representation of key-board from 31 representation of the ancient mode of blowing from, .... 33 Preston, of York, organ-builder 60 Pull-downs, their oiigin 3 R. Regals, the term explained 37 engi-aving of, from Luscinius's Mu- surgia 38 Roder (Johann Michael), organ-buUder. .111 Rosenburger, or Rothenburger (Conrad), organ-builder 48 S. Salisbury Cathedral, account of a curious print of Harris's organ 86 Schowt, or Stut (John), organ-buUder 50 Schrider(Christoph.), biographical notice of 94 list of his organs 95 Schwarbrook (Thomas), biographical no- tice of, and list of his organs 96 SUbermann (Andreas), biographical notice of, and list of his organs 109 (Gottfried), ditto 110 (Johann Andreas), ditto 110 (Johann Daniel), ditto ...Ill . Cotemporaries and successors of this celebrated family Ill Smid (Erhart), organ-builder 48 Smith (Father), biographical notice of. . . 75 list of his organs 82 (Gerard), Father Smith's nephew, list of his organs . 91 Smyth (Thomas), organ-builder 49 Snetzler (John), biographical notice of . . 102 list of his organs 103 Sterzing (Adam), organ-builder Ill Stops, mixture, their supposed origin. ... 34 Swell (the), invented by the Jordans. . .. 97 Syrinx, or Pipe of Pan 3 T. Temple organ (the), account of the cele- brated contention ccmcerning 76 Tertullian, his opinion of the water organ 9 Thamer of Peterborough, organ-builder. . 50 Thcophilus, tlie Monk, his curious Treatise on Organ-building in the 11th century 18 to 30 Thcssner (Zacharius), organ-builder 111 Tibia Utricularis 3 Todino (Michele), of Savoy, organ-builder 66 INDKX TO THE CONSTUir(yrK)N OK TIIK OKOAN. 675 Page. Traxdorf (Iloinrich'), organ -builder -18 Troaaorer (Williuin), orman-inukor 41) V. Van Os( Albert), called " Albert the Great," priest and orfjan-builder 48 Valve, origin of the 3 Vitruvius, liis description of the hydraulic organ 5 Vossius, his account of an hydraulic organ 9 W. Wagner (Joachim), organ-bnilder Ill Whitehall Chapel, entries relative to Har- ris's organ for 8C Pago. Wilphliiigscder's (Ambrosius), Erotetmta Muskos Tracticei{, engraving of a positive organ from 40 Winchester Cathedral, description of its organ at the close of the 10th century. . 16 Wind-chest, origin of the 3, 4 Wind-trunk, origin of the 3, 4 Wotton ( William )of Oxford, organ-builder 49 Wulstan, his description of an organ atWin- choster 16 Wyght or White, organ-builder 60 York Cathedral, Robert Dallam's specifica- tion of his organ for 53 INDEX TO THE CONSTEUCTION OF THE ORGAN, &c. Page. A. Accompaniment (Choral), the adaption of the organ tone to the purposes of 176 Acoustic capacity of a manual organ, how increased to adapt its tone to a large building 237 Acoustic principles, the effect of large organs not constructed on . 238 Acoustical facts regarding sound 215 grounds on which double stops are introduced into organs 238 Anemometer (the), explained 21 B. Bassoon 123 (Double) 123 Bellows, their use 7 different kinds of 7 — — the diagonal, described 8, 9 the horizontal, described 8, 11, 17 original defects of the diagonal .... 10 structural features of the horizontal . 12 working of the horizontal 15 construction of the reservoir 16 of the feeder 16, 19 the cuckoo feeder 19 the double feeder 20 the concussion, described 21 the blowing action of the 16 the waste pallet 18 defects in, and their causes 186 how they should be made 277 Block-Flute 119 Bordun 113 Building-frame (the) 270 C. Cathedral (recent) arrangements respect- ing the organ and choir 231 Celestina . . 119 Chancel (the) an eligible situation for a divided organ 229 Choir-screen (the), Smith and Harris's cathedral organs placed on 225 Choir-screen (the), erection of Father ° Smith's organ on, at St. Paul's, opposed, 225 Choir (Vocal), its relative position with the organ 230 Church Organ, general requisites of a 234 Ciphering, the different causes of 179 Clarabella 116 Clarion 124 (octave) 124 Clarionet 124 — (Flute) .■..'.■.■.■.■.■■.;;;;;.'."ii5 Claviers (the), their situation 46 their proper compass considered 192 Clear-flute 119 Compass, the CC and GG, compared, 196 to 205 Composition Pedals, their arrangement considered 266 Compound Stops considered . . 248 to 260 Construction of an Organ, hints to tliose who have to superintend the 192 to 205 Contra-Fagotto 123 Comet 1 22 (Moimted) 122 (Echo) 122 Corni di Bassetto 124 Como-flute 124 Cornopean 123,570 Couplers (Manual), various kinds of . . 52 (Pedal) .'55 Cromorne, or Krumm-horn 124 Cymbal 259 D. Decima 119 Diapason (Double Open) 112 (Double Stopped) 113 (Open) 114 (Stopped) 115 Dolcan ng Double Pedal Pipes. Their introduction as the first pedal stop not in accordance w th the laws of organ-building 211 Double Stops, acoustical grounds on which they are introduced into organs 238 676 INDEX TO THE CONSTRUCTION OF THE ORGAN. Page. Double Trainpet 122 Doublctte 120 Draw-Stops, arrangement of, considered. . 266 Dulciana 114,570 Duk'iana (Double) 113,570 (Principal) 118 E. East-end of an aisle, or a cbancel chapel, as the situation for the organ, considered. .228 Echo Organ (thcj described 66 its cause, and its influence on the tone of an organ 217 Echo Cornet 122 Fagotto 123 (Contra) 123 Faults, causes of, in organs, together with their remedies 178 to 191 Fifth, Quint 117 Fifteenth, Super Octave 119 COotave) 120 Flageolet 120 Flute 118 (Harmonic) 115 (Hohl) 116 — (Spi!z) 118 (Wald) 118 (Clear) 119 (Oboe) 119 (Suabe) 119 (Block) 119 Fumitui-e 121 G. Gamba 116 Geigen Principal 117 Gemshorn 118 Grooves, their situation 40 first plan of arrangement of 41 second plan of ditto .... 42 third plan of ditto 42 double ones in the bass advisable. . . . 277 H. Harmonic Flute 115 Harmony (divided) on the organ 197 Hautboy 123 (double) 123 (octave) 124 Hohl Flute 116 Horn 123 Human Voice, its strength, as compared with that of the organ- wind 234 Intonation, unequal I. .188 Keraulophon 116 Key. Pitch supposed to exercise an influ- ence in establishing its character 154 The internal resources of musical art capable of giving any character to any key 155 Keys, the different charaeters of 153 Key Movement (the), described 47 action of 48 extension of 50 Key Movement (the), defects in 183 Krumm-horn 124 L. Larigot 120 M. Manual. The meaning of the German terms, 16-feet, 8-feet, and 4-feet 245 Manuals (the) 44, 47 their true compass ascertained 193 arguments against the CO compass considered 194, 201 How the CC compass was first ex- ceeded 203 Manuals and Pedals, their width and pro- per situation to each other 262 Mixtures 121 their composition 248 to 260 specimens of their composition in old organs 259, 570, 671 Mounted Cornet 122, 259 Movement (long), described 46 Music-desk (the), considered 266 N. Nason 118 0. Oboe-Flute 119 Ophiclcide 123 Organ (the). Great, described 1 Choir, described 1 Swell, described 1 Pedal, described 1 Echo, described ... 66 ■ cause of faults which arise in, and how they may be remedied. . . 178 its situation considered.. ..215 to 232 its size in proportion to the congre- gation and church 233 . — — its exterior arrangements. . . . 261 to 269 its interior arrangements .... 270 to 292 Organs. Plans for instruments of various sizes 293 to 313 Organ Case (the), nature and use of. 3 considered 261 Organ Compass, the CC contrasted with the GG 213 Organ Stool (the) considered 265 P. Passage-boards, their advantage 276 Pedals (the) described 46 their gradual introduction into Eng- land, and their correct compass. . 206 the insufliciency and incorrectness of the GG compass 208 the impossibility of satisfactorily uniting C C C pipes to G G pedals .208 (Composition) described 63 Piccolo 120 Pipes, materials used for 72 tin 72 metal . . 74 spotted metal 75 lead 75 antimony metal 75 wood 76 cylindrical, of various kinds 78 conical, of various kinds 80 INDEX TO THE OONSTRUOTION dl' TIIK OIUiAN. 677 Pipes, pymniidal nnd invcitod 82 tliuir stanilard longth OS nainoa of the souiuls produced from . 98 classification of sounds produced from 99 the size of those used for stop-niea- sur.nncnt 101 etoppcd, described 104 faults connected with the speech of 189 (Flue) 83 of metal 83 -— of wood 85 the speech of. 87 the voicing of 88 influence of the materials of . . 91 influence of the wind on the tone of 92 number of vibrations in 90 caiises of their inequality of toncl 89 (Front) general arrangement of. ... 3 various figures in which they may be formed 4 arrangement of, in regard to sound 4 the decoration of 6 (Reed) 83 the formation of 93 the tubes of 94 diti'crcnt ntouth-picces of. ... . 94 influence of the tube on the tone of 95 influence of the tongue on the tone of 90 the production of sound from . 96 very susceptible of change of temperature 191 wooden, of various kinds 81 influenced by the change of temperature 190 stopped wood, deranged by heat and drought 190 Pipe- work, its scale considered .... 279 to 285 the materials for, considered 285 Pitch, its influence in establishing the cha- racter of key 154 how to alter that of organ pipes. . . . 159 altered in organs by heat and cold, in different seasons 160 that to which an organ should be tuned 1C3 — — the presumed lower pitch of two cen- turies since 163 the early English composers supposed to have disregarded definite pitch. 164 grounds for believing in the former existence of a high ecclesiastical pitch 105 old organs in Germany a whole tone sharp 165 the flattened pitch accompanied by a raised notation 168 lower again at the commencement of the 18th century, in England, France, and Germany 168 to which of the three church pitches should an organ be tuned ? 169 Plans for Organs of various sizes. .293 to 313 Platform (the) 270 Pneumatic Action (the) described 57 Posaune 123 Price of an organ considered 288 to 292 Principal, Octave 117 Proportions, bad, causes of, in mmy organs.27 1 Pyramidon 113 U. Quarter- tones 141 R. Rausch-quint 267 Reed, the open 95 the closed 95 the free 95 Resonance, its influence on the tone of an organ 217 Roller-board (the) 50 Roller- boards,how they should be disposed. 277 Room, conducive to the oi'derly arrange- ment of the organ 272 unconfincd space not lost 274 S. S.aloional or Salicet 117 Sesquialtera 120 Shifting Movement 63 Situation (the) of an organ considered. 215 to 232 Size of the organ, particulars conceniing the 233 to 239 Sound, how produced and propagated. ... 215 impediments to its distribution 219 arrangements favorable to 219 velocity of 220 acoustical facts regarding 215 penetration of. 221 Sounds, table of, prod\iced by the several leading manual and pedal stops from the low C key 125 Sound-board, formation of a 28 pallets described 29, 30 bars ditto 29 grooves ditto 30 table ditto 33 upper-boards of the, ditto 35 the sliders 37 the bearers 38 the pipe-racks 39 arrangement of stops on the 43 its distribution 270 advantages of a large 272 Spitz Flute 118 Stop, its definition 100 Stop (draw), action described 60 disarrangements connected with-it. .186 Stops, their various kinds described. ... 106 their size, how ascertained 108 their classification into reed stops and flue stops lOS their classification into foundation, mutation, and compound stops. .110 Foreign, the names of, with their English equivalents .... 434 to 443 their names in English Organs. . . .112 Sub-bordun 112 Double Open Diapason 112 Double Duleiana 113 Double Stopped Diapason or Bordunlis Pyramidon 113 Open Diapason 114 Duleiana 114 Harmonic Flute. .' 115 Voix Celestes 115 Stopped Diapason 115 Clarionet Flute 115 — - Clarabella 116 p r 578 INDEX TO THE CONSTRUCTION OF THE ORGAN. Page. Stops, Dolcan 116 Viol di Oamba, or Gamba 116 Kciaiiloi)lKm 116 Ilolil-fluto (Ilollow-toncd Flute) ..116 Gcigen Principal (Violin Diapason) 117 Salcional, or Salicet 117 ■ Fifth, Quint, Double-Twelfth, Dia- pcute 117 Principal, Octave 117 Dulciana Principal, Dulcet 118 Flute 118 . Spitz-flute 118 Gcmshom 118 Nason 118 Wald-flute (wood or forest-flute) .. 118 Clear-flute 119 Oboe-flute 119 Suabe-flute 119 Celestina 119 Tenth, Double Tierce, Decima . . ..119 Twelfth, Duodecima 119 Fifteenth, Super-octave 119 Block-flute (common or ordinary flute)l 1 9 Piccolo 120 Flageolet 120 Tierce, Seventeenth 120 • Larigot, Nineteenth Octave-twelfth. 120 - — Octave Fifteenth, Twenty-second. ..120 Doublette 120 Sesquialtera 120 Mixture 121 Furniture 121 Cornet 122 The Mounted Comet 122 Echo Comet 122 Double Trumpet 122 Double Bassoon, Contra Fagotto ..123 Double Hautboy 123 Trumpet 123 Horn 123 Cornopean . 123 Trombone, Posaune . . 123 Ophieleide, Tuba Mirabilis 123 Hautboy 123 — — Bassoon, Fagotto 123 Clarionet, Cormorne, Cromorne, or Krumm-hom, Cremona, Corni di Bassctto 124 Corno-flute 124 Vox Humana 124 Clarion 124 Octave Hautboy 124 Octave Clarion 124 of various sizes, founded on a pheno- menon in nature 126 their arrangement on the sound- board 43 reasons for marking their length on the knobs 128 theoretical exceptions to certain. . . . 128 particulars concerning the scale and balancing of 131 the correct use of 170 general rules for the use of 171 character of tone of some of the leading 171 the combination of, so as to produce any required strength 173 . their aiTangcment on the sound- board. 43 the proportionate division of a given number of, among the several de- partments 240 Page. Stops, various matters connected with the division of, and their selection ac- cording to their size 240 to 247 (Compound) considered .... 248 to 260 Suabc-Fhite 119 Sub-Bordun 112 Suggestions for the consideration of those who have to superintend the construction and erection of an organ 192 to 205 Swell (the) described 67 Swell-box (the), how it should be made . . 278 Swell Pedal (the) considered 265 T. Temperament, the phenomenon in nature that occasions its necessity, and the dif- ferent systems 140 unequal 140 ■ perfect 142 equal 143 a reason in favour of unequal 143 illustrations of sacred music as sounded on an unequally tempered organ 144 unequal, advocated on the score that it preserves a distinct character of key 152 equal, recommended on the same grounds 163 as the only source of distinction of key, questioned 154 characteristics of equal 156 Tenth-Double Tierce 119 Tertian 257 Tierce 120,258 Tone, extent of, in an organ 236 Tremulant (the) described 70 Trombone 123 Trumpet 123 (Double) 122 Tuba Mirabilis ..123 Tuning, laying the bearings, and extend- ing their influence to the stops generally, 158 how the pitch of the several kinds of organ -pipe is altered 159 Twelfth, Duodecima 119 V. Velocity of sound 220 Vibrations, the number of, produced in a flue-pipe 96 Viol di Gamba 116 Vogler's (the Abbe) simplification system . . 274 Voice, compass of the human, supposed to have changed 164 Voix Celestes 115 Vox Humana 124 W. Wald-Flute 118 West-end of a Church, examples of conti- nental organs so situated . . . 221, 223 its merits, as the situation for an organ, considered 222 an architectural objection to 223 Smith and Harris's parish church organs usually so placed 224 Harris's proposal for a grand west- end organ in St. Paul's cathedral 225 Wind-che.st, its use 25 Wind-trunlcs 23 how they should be made ■ . . 278 INDEX TO THE BRITISH AND FOREIGN ORGANS DESCRIBED IN THE APPENDIX ; SHOWING THE NUMBER OF SOUNDING STOPS CONTAINED IN EACH INSTRUMENT. A. No. of Stops. Page. Ahbevillo Catliodral 42 333 Amions Catliodral 40 330 Chiirch of St. Romy 34. . . .330 Amsterdam Old Chmch 51 318 New Church 44 319 Antwcri) Cathedral 44 336 St. Paul's Church 61 .... 337 St. Asaph's Cathedral 25 553 Ashton-under-line, Parish Church. 55. . . 513 B. Bangor Cathedral 16 .... 553 Beauvais Cathedral 64 335 Belfast, St. Malachy 33 560 St. Patrick's 28 5G0 Berlin, St. Mary's Church 40 377 Garrison Church 60.... 378 Birmingham Town Hall 53 500 Bonn Cathedral 29 343 Bonn Protestant Church 19 343 Boston Centenary Chapel 42 .. 531 (U.S.) Tremont Temple 56 566 Bradford, Eastbrook Chapel 44 520 Bremen Cathedral 59 365 Brcslau Cathedral 60 389 Ditto, Second Organ 12 390 ■ Ditto, Third Organ 8 390 St. Mary's Church 65 391 St. Elizabeth's Church 54 392 St. Bernhardinc 34 . . 393 Ditto, Second Organ 14 394 St. Vincent 45 .... 394 St. Ethelbert 24 .... 395 Eleven Thousand Virgins .... 27 395 St. Salvator 19 .... 396 Cemetery Church 12 396 St. Mauritius 9 397 St. Barbara 21 397 University Music Room. . . . 14 . . . .397 Bristol Cathedral 23 550 St. James's Church 33 . . 550 Brussels Cathedral 47 338 C. Carlisle Cathedral 17 . . . 524 Ditto New Organ 35 ... .567 Cambridge, Trinity College 29 540 St. John's College 26. . . .541 Canterbury Cathedral 30 ... 644 Caahel Cathedral 17. . . 561 No. of Stops. Page. Cashcl Cathedral, Roman Catholic. 29 661 CeUo, Ludwig'a Church. 16. . . .364 Chester Cathedral 36. . . .604 St. John's Church 28 .... 504 Chichester Cathedral 26. ...645 Clapham Church 28.... 488 Cloyne Cathedral 15.... 662 Coblentz, Church of Castor 39 .... 344 Cologne, Cathedral 40. . . .339 Minorets Church. . *. 33 340 Jesuits Church 34 .... 340 St. Maria de Capitol 40. ... 341 St. Columba 21.... 342 St. Ursula 25.... 343 Como Cathedral 48. ...418 Sfno. Crociflsso 39 .... 419 Constance Cathedral 27 - . . .406 Cork, St. Mary's 25.... 662 Cracow, Evangelist's Church 16 398 Cranbrook Parish Church 22. . . 645 D. St. David's Cathedral 22. Delft, New Church 43. Doncaster Parish Church 50. Dresden Catholic Church 48 . ■ Evangelist's Church 32. St. Mary's Church 43. Church of St. Sophia 33. Holy Cross 56 . Dublin, St. Patrick's Cathedral .... 26 . Christ Church Cathedral 28. Trinity College 26 . St. Nicholas Church 34 . St. Xavier's Church 35 , Durham Cathedral 26. E. Edinburgh Music Hall 38 . Eltsleben 28 . Ely Cathedral....* -. 32 Erdmannsdorf 19. Eton College 29. F. Florence, Church of the Badia .... 8 St. Gaetano 33 St. Maco 9 Frankfort Cathedral 34 St. Paul's Church 74 Freiburg Cathedral (Saxony).. . 45 .554 .322 .529 .381 .382 .383 .383 .384 556 .557 .558 558 .559 626 .5.55 352 5'?9 .359 492 .419 420 .420 .348 .349 .385 580 INDEX- TO IlRITlSn AND FOREION OKOANS. No. of Stops rage. Friburg Cathedral (Brisgau) 24 347 Fribiirg rrotcstnnt Chiurli 32 347 Friburg Cathedral (Switzerland) 61.. .402 Fulda, Town Chiirch 48 ...3.50 G. Geneva Cathedral 4.5 424 another Church 22 425 Genoa, St. Ambrogio 33. . . .422 Carigrana 42 422 St. FelipoNeri 21.... 423 St. Maria 28.... 421 Gersau Cathedral 30 403 Glasgow City Hall 47 554 Gloucester Cathedral 29 ... 495 Shire Hall 37.... 495 Goerlitz, St. Peter and St. Paul. . .56. . . 387 St. Mary's Church 16 388 Gotha, St. Augustine's Church. ... 34 ... . 351 St. Margaret's Church 26 351 Gouda, St. John's Church 61 321 H. Haarhausen 22.... 352 Haarlem Cathedral 60 315 Hackney Church 25 462 The Hague, Lutheran Church 39 322 Halbcrstadt, Great Church 66 . . .360 Halifax Parish Church 26 .... 518 Harrison Road Chapel 23 519 Halle, St. Maurice 40 357 Hamburg, St. Catharine's Church. 54 368 St. Jacobi 60 .... 369 St. Michael's Church 70 366 St. Nicholas Church 67 371 St. Peter's Church 60 372 Henley-on-Thames 36 667 Hereford Cathedi-al 24 497 Hirschberg, Christ Church 62 ...361 Huddersfield, Buxton Road Chapel .40 . . . 516 Highfiold Chapel 34 517 K. Katscher, Catholic Church 21 358 Kidderminster Town Hall 28 500 Kilkenny Cathedral 28 563 Kronstadt Cathedral 63 379 Krumols, Catholic Church 22 359 L. London and its Environs. St. Andrew's, Holhom 27 . . . 452 St. Ann's, Limehouse 34. . . .458 St. Botolph, Aldgate 18 ... .457 Buckingham Palace 8.... 447 Second Organ 7 . . . 447 Catholic Chapel, Moorfields 31 463 Chapel Royal, St. James's 30. . . .477 Chapel Royal, Whitehall 33 .... 471 Christ Church, Newgate Street . . 39 449 Christ Chui-ch, Spitalfields 46 ... . 459 Christ Church, St. Marylobone. .22 476 Clapham Church 28 488 St. Clement Danes 23 . . 466 Croydon Church 24 . . . 489 Cyclorama, Regent's Park 47 ... . 475 St. Dunstan's, Fleet Street . . . . 24 464 St. Edmund the King 20 456 Exeter Hall 42 467 No. of Stops. Pago. London and its Enviuons. Foundling Hospital 49 . St. Gabriel's, Pimlico 32. St. George's, Hanover Square . .21 . St. George's, Caraberwell 25 . German Lutheran Church, Savoy 18. St. Giles's, C.amberwcll 41 . Greenwich Hospital 26 . Hampton Court Palace 20 . Hanover Square Concert Room. . 17 - St. John's, Waterloo Road . : . . .26. St. John's, Horsleydown 27. St. John's, Hackney 26 . St. James's, Piccadilly 36. St. James's, Bermondsey 29. St. Katherine's, Regent's Park. .22. Lee Church, Kent 29. St. Leonard's, Shoreditch 25. St. Luke's, Old Street 32. St. Luke's, Chelsea 34. St. Margaret's, Westminster. ... 26 . St. Mark's, Pentonville 26. St. JIartin's in the Fields 54 . St. Martin's Hall 40. St. Mary's, Rotherhithe 20. St. Mary's, Clapham 28. St. Marj^-at-Hill 30. St. Michael's, Comhill 35. St. Michael's, Chester Square ..37. St. Olave's, Southwark 40. Panopticon 60 St. Paul's Cathedral 29. St. Paul's, Knightsbridgc 43. St. Peter's, Comhill 40. St. Peter's, Walworth 27. St. Philip's, Waterloo Place. . . .19. St. Saviour's, Southwark 28. St. Sepulchre's, Snow Hill . . .42. St. Stephen's, Walbrook 26. St. Stephen's, Coleman Street . .21. Temple Church 26. Trinity Church, Brompton . . 23 . Wesleyan Chapel, Poplar 45 . Westminster Abbey 32 . Lancaster, St. Thomas's Church . . 35 . Langensulza, St. Boniface 34 . Leeds, St. Peter's Chapel 31 . Branswick Chapel 35. Leipzig University Church 58. Lichfield Cathedral 23. Liege, St. Martin's Church 35. Liegnitz, St. Peter and St. Paul.. 42. Lincoln Cathedral 33. Liverpool, St. George's Hall 100. ■ George Street Chapel 52 . Collegiate Institution 40 . Loiz, Marion-Kirche 34 . Liibeck, Marien-Kirche 82. Ditto, Second Organ 33. another Church 45 . Jjucerne Cathedi'al 48. liynn Parish Church 27 . M. Manchester Cathedral 23 510 Choir Organ in Ditto 8 510 St. Luke's Church 30. ... 610 St. Peter's Church 47. . . .512 Trinity Church 49 .... 51 1 INDEX TO niUTlSII AN1> KOIlKKiN OIUMNS. 581 No. of Stops. Pago. McrscbuiK nutluMlnil . '.75 3o(! Milan Cut hodrnl 32 414 Soconil Orgim 29. . . .41,5 St. Alussaiidro 49 41G St. Maria 18.... 4 17 St. Raphael 16. . . .417 Mulilhausou 60 35.5 Munich, Concert Room 20 409 N. Naumborg, St. Wenzcl 52 362 Now York, Trinity Church 31 . . . .431 Cliureh of the Annunciation. .30. .. .432 ' Presbyterian < Church 36 .... 433 Newark Tarish Churcli 44 532 Newcastle-on-Tyneraris!i Church. 31 525 Newfoundland, St.John'sCathodral 46 . . . 565 Northampton, All Saints' Church. .44 542 Exchange Room 16 ... . 542 Norwich Cathedral 22 536 St. Tctcr Mancroft 26. . . .537 Nottingham, St. Mary's Church . . 23 533 Mechanics' Hall 53 534 Nymengen, St. Stephen's Church . . 53 320 0. Oldham Parish Church 31 515 Oxford Catheihal 21 ... .492 Magdalen College 35 ... .493 P. Paris, St. Denis, near 69 325 St. Eustacho 67 .... 329 The Madeleine 48 .... 327 St. Sulpicc 66 ... . 333 St. Vincent de Paul 40 .... 327 Perleberg 36.... 377 Peterborough Cathedral 22 .... 535 Prague, St. Dominico 71 ...386 Preston Parish Church 36 ... .622 St.Walburgh's Church 30. . . .523 R. Radley College 47 494 Ratisbon, St. Emeran 28 . . .410 Ripon Cathedral 26 .... 552 Rochester Cathedral 24 . . . .543 Rome, St. Peter's 27 411 Second Organ 21 . . . 413 Rotterdam Cathedral 76. ...316 Octagon Chiu-ch 40 317 Rouen, Church of St. Ouen 49 332 S. Salisbiu-y Cathedral 25 ... .547 Salzwedel, St. Catharine 42 ... .363 No. Of Stops. I'aKC. Scvilh^ Cathedral 71.... 427 Second Organ 71.... 4 30 Shrewsbury, St. Mary's Church ..23 502 St. Cliad's Churcli 27 . . 503 Siena Cathedral 14 ... .425 Conventual Church 27 ... . 426 Solcure Cathedral 39 ...404 Southwell Collegiate Church .. . . 17 533 Stockport Sunday School 23 614 Strasbourg Cathedral 42. . . . 344 St. Thomas's Church 36 345 Protestant Cluu-ch 46. .. .346 Stratford-on-Avon 36. . . 499 Stutgard, Striftskircho 68.... 407 T. Tewkesbury Abbey 22. . . .496 Tonbridge Wells, Trinity Church . . 20 . . . 544 Tours Cathedra] 60 331 Trebniz, Catholic Church 33 363 Triobel, State Church 22 .... 324 Tuam Cathedral 30 664 Turvey Church 27.... 541 U. Utrecht, Protestant Church 51 323 V. Verden Cathedral 34 . . . 3G6 Vienna Cathedral 41 .... 399 St. Michael's Church 40 399 Lutheran Church 23 400 Minorets' Church 24 401 St. Peter's Chmch 30 ... .401 W. Waltershausen .. 50 353 Warsaw, Lutheran Church 27 398 AVeingarten, Benedictine Monastery 64 . . . 408 Weissenfels, Lock Church 19 . . . 364 WeUs Cathedral 23 .... 551 Winchester Cathedral 48 547 Windsor, Chapel Royal 33 . . .490 Windsor Castle, St. George's Hall.29. . . 491 Winterthur, Principal Church .... 44 ... . 406 Wismar, St. Mary's Church 56 376 Worcester Cathedral 39 497 Shire HaU 53. . . .498 Y. Yarmouth Parish Church 29 .... 638 York Cathedral 80. . . .527 Z. Zcrbst, St. Nicholas 37. . . 354 riNis. J. MALLETT, PBINTEB, 59, WABDOOB Sl'KKBT, LONDOS. SUBSCRIPTION LIST. Ills Royal Highness Fielu-Maushal Puince Albert, K.G. K.T. K.l'. The Right Hon. Colvill George Lord Colvill— of Ochiltree, South Ville, Lambeth. The Very Rev. Viscount Mountmorris — -Deanery, Achonroy, Bally mate. Lord Benholme — 76, King Street, Edinburgh. The Rev. Sir Frederick A. Gore Ouseley, Bart. M. A. and Mus. Doc. Precentor of Hereford, and Professor of Music in the University of Oxford. Sir Henry Dryden, Bart. — Canons Ashby, Northampton. 2 copies. Sir Henry Gordon, Bart. — Northcourt, Isle of Wight. Sir George T. Smart, Organist and Composer to Her Majesty's Chapel Royal. The Venerable Archdeacon Harrison — Precincts, Canterbury. Real' Admiral O'Brien. — Fareham, Hants. The Rev. David Williams, D.C.L. Prebendary of Winchester, and Warden of New College, Oxford. 2 copies. The Rev. Frederick Rouch, M.A. Minor Canon of Canterbury Cathedral and Vicar of Lower Halstow, Kent. Dean and Chapter of Christ Church, Dublin. The Liverpool Collegiate Institution. The Liverpool Library. The Free Public Library, Liverpool. The Sacred Harmonic Society, Exeter Hall. A. Abbott, Mr. Thomas W. — 23, Great Pulteney Street. Acworth, G. B. Esq. — Rochester. Adams, W. S. Esq. — Haymarket. Adye, W. L. Esq. — Office of Ordnance. Ainsworth, George M. Esq. — Manchester. Allen, The Rev. E. E. — Millom, Broughton-in-Furness, Lancashire. Amott, John, Esq. — Organist of the Cathedral, Gloucester. Andre, Messrs. G. and Co. — 19, South Ninth Street, Philadelphia. Angel, Alfred, Esq. — Organist of Exeter Cathedral. Ann, Mr. Isaac — Musicseller, Swindon, Wilts. Archer, Frederick J. Esq. — Organist, St. Clement's Church, Oxford. Armstrong, W. B. Esq. — Professor of Music, Kendal. Ashlin, W. C. Esq. — Bank of Liverpool. 684 SUBSCRIPTION LIST. Astley, The Rev. John — Chalton Rectory, Horndean, Hants. Asjiiiiwall, John, Esq. — Organist, St. George's Church, Bolton-le-Moors. Atkins, R. A. Esq. — Organist of the Cathedral, St. Asaph. Atkinson, Francis J. Esq. — Manchester. Atlee, Charles, Esi^. — Ealing Park, Ealing, Middlesex Auty, Mr. David B. — Furness Railway Company's School, Barrow-in-Furness, near Ulverstone. B. Backwell, Mr. — Bookseller, Castletown, Isle of Man. Baker, Mr. G. — Professor of Musie, Poole. Baldry, A. Esq. — Torquay. Banks, E. W. Esq. — Witham, Essex. Barber, Stephen N. Esq. — Denmark Hill, Surrey. Barlow, B. Esq. — Organist, Leek. Barlow, George, Esq. — Organist, Congleton. Barnby, William, Esq. — Organist of St. Saviour's and St. Michael's, York. • Barnes, Edwin, Esq. — Organist, Hornsey Church. Barratt, G. Esq. — Organist of Trinity Church, Hotwells, Chfton. Barratt, John P. Esq. — Organist, Stonyhurst College. Barrow, Francis, Esq. — Lincoln's Inn. Barry, Charles, Esq. — Liverpool. Barwick, Mr. Brice W. — Musicseller, Keighley. Bates, Mr. Joseph — fj, Ancoat's Grove North, Manchester. Beaumont, J. F. Esq. — Whaddon, Cambridgeshire. Bedsmore, S. Esq. — Assistant Organist, Lichfield. Beer, A. C. C. Esq. — Organist of St. Peter's Church, Pimlico. 2 copies. Beevor, Charles, Esq. — Surgeon, 41, Upper Harley Street. Belcher, W. T. Esq. — Organist, Binmingham. Bell, Doyne C. Esq. Bembridge, S. Esq. — Egerton Terrace, Stratford New Road, Manchester. Bennett, C. Esq. — Organist, Shiffnal, Salop. Bennett, William, Esq. — Organist of St. Maiy's Church, Andover. Benson, George, Esq. — Lay Clerk of Westminster Abbey. Bentham, William, Esq. Best, W. T. Esq. — Organist of Lincoln's Inn. Bevington, Mr. Henry — Organ-builder, 48, Greek Street, Soho. Billinghurst, Mr. — Brixton. Bishop, John, Esq. — Cheltenham. Bishop, J. C. Son, and Starr, Messrs. — 1, Lisson Grove. Blacket, Mr. — Bookseller, Newbury. Blackburn, John, Esq. — -Oatwood House, Horsforth, near Leeds. Blackbume, Edward, Esq. — 34, Merrion Square South, Dublin. Bliss, The Rev. Frederick, B. A. — Iwerne-Courtnay, Blandford. Bleckley, John J. Esq. — 2, Park Road, St. John's Park, Hampstead. Bloxam, Henry, Esq. — Solicitor, Shrewsbury, Booth, John Stocks, Esq. — Professor of Music, Sheffield. SUBSCRIPTION LIST. Booth, Mr. William — Miisioul Iiistrunu'iit Mtiker, Leeds. Boswartl, Mr. Edward James — Organ-builder, Hinnitigham. Botsford, J. W. Esq. — Exchange Street, Manchester. Bovvden, Mr. 11. T. — Hyde, near Manchester. Bovver, George William, Esq. — 22, Chisweli Street, London. Boyt, Mr. J. H. — 7(5, Market Street, Poole. Boyton, John E. Esq. — Watlington, Oxon. Bradbury, Mr. Henry, jun. — Printing, &c. Establishment, Deansgat(^ Bolton. Braino, W. R. Esq. — Organist and Director of the Choir at St. Barnabas Chui Kensington. Braybrooke, Mrs. Bridgman, Frederick, Esq. — Professor of Music, Edinburgh. Brookes, George, Esq. — Solicitor, Whitchurch, Salop. Brotherton, James, Esq. — Inland Revenue, Somerset House. Browne, The Rev. Alfred — Flitton Vicarage, near Silsoe, Beds. Browne, Mr. Robert, jun. — 'Organist, Lowestoft. Brunei, L Esq. — 18, Duke Street, Westminster. Bryceson, Mr. Henry. — Organ-builder, 5, Tottenham Court, New Road. Buck, Z. Esq. Mus. Doc. — Cathedral Organist, Norwich. Buckham, The Rev. John — Bishopswood Parsonage, Brewood, Stafibrdshire. Bunnett, E. Esq. — Upper Close, Norwich. Burns, The Rev. A. — Middleborough, Yorkshire. Burrington, Alfred B. Esq. — Organist, Dawlish, Devon. Burton, John, Esq. — Organist of the Parish Church, Scarboro'. Burton, R. S. Esq. — Organist of the Parish Church, Leeds. C. Caflferata, J. Esq. — -25, Plumpton Terrace, Everton Road, Liverpool. Calverley, Edmund, Esq. — Oulton Hall, Wakefield. Camidge, Thomas Simpson, Esq. — Professor of Music, York. Campbell, Charles, Esq. — Liverpool. Campbell, The Rev. Colin — Leicester. 2 copies. Caparn, W. H. Esq. — Organist, Newark. Carder, Alfi-ed, Esq. — Organist of Whitechapel Church. Carling, William, Esq. — Hitchin. Cattley, The Rev. Richard, M.A. — King's Lynn. Cecil, The Rev. William — Rector of Long Stanton St. Michael, Cambridgeshire. Chater, W. Esq. — Organist, Coventry. Chambers, G. T. Esq. — Rue Rivoli, 28 bis, a Paris. Cheetham, John Taylor, Esq. — Organist to the Baptist Chapel, Oldham. Clarke, Charles Harwood, Esq. Clark, Thomas, Esq. — Mai'tock, Somersetshire. Clarke, Fred. Fiahrmann, Esq. — 53, Upper Bedford Place. Clarke, James, Esq. — Organist of St. Michael's, Burleigh Sti-eet, Strand. Clarke, Joseph, Esq. — Skirbeck, near Boston. Clarke, J. F. Esq. — Professor of Music, Leeds. Clarke, W. E. jun. Esq. — Liverpool. 686 SUBSCRIPTION LIST. Clayton, Solomon, Esq. — Organist of Salem Chapel, Bradford. Clayton, Wm. Esq. — Organist, Warwick. Coles, The Rev. Thomas Henry, D.D. — Honington, near Grantham, Lincolnshire. Colliss, W. Esq.— 4, Arthur Street East, City. Cooch, George, Esq. — SoUcitor, Newport Pagnel. Coombe, W. F. Esq. — Springfield, Chelmsford. Coop, C. Esq. — Organist, Holbeach. Cooper, The Rev. Allen T.— 1, Suffolk Street, Pall Mall. Cooper, J. T. Esq. F.R.S.A. — Organist of St. Paul's Church, Islington. Corps, Mr. James — Organ-builder, 3 Caroline Place, Camden Town. Coverly, Edward Roger de, Esq. — 48, Poland Street. Cowherd, James, Esq. — Newton-in-Cartmel, Westmoreland. Cox, Alfred, Esq. — Organist, Brighton. Cox, The Rev. Joseph — Litton Cheney, Dorset. Cox, Samuel H. Esq. — Organist of St. James's Church, Cheltenham. Crabb, Mr. T. — Berkhampstead. Cramer, J. B. Esq. — Organist of All Saints Church, Loughborough. Craven, WUliam, Esq. — Dockroyd, near Keighley, Yorkshire. Creak, T. Edward, Esq. — Organist, Honiton. Cross, Capt. W. A. — 1st Royal Lancashire Militia, Redscar, near Preston. Crossley, G. J. Esq. — Professor of Music, 9, Victoria Street, Sheffield. Crowe, Richard, Esq. — Professor of Music, Collegiate Institution, Liverpool. Crowther, W. H. Esq. — Broseley, Salop. Crane, Frederick, Esq. — 56, Regent Street. Cruse, Edward, Esq. — Bach Villa, Marlborough Hill, St. John's Wood. Cummings, W. H. Esq. — 38, Red Lion Square. 2 copies. Curtis, Lambert G. Esq. — Organist, Norwich. D- Daniell, F. W. Esq. — Paymaster-General's Office, Whitehall. Daniel, Robert, Esq. — Organist of the Parish Church, Ulverstone. Darnell, Captain — Mount Villa, York Davie, Charles, H. Esq. — Per Mr. H. BaUliere, New York. Dawes, Mr. Albert — Organist of the 2nd Presbyterian Church, and to the Classical Harmonist Society, Belfast, Ireland. Dawson, Alfred A. Esq. — Organist of Sandon Church, Staffordshire. Dawson, The Rev. James — Incumbent of Belmont, Lancashire. Dawson, Thomas, Esq. — 25, Warrington Street, Oakley Square, St. Pancras. Dawson, W. H. C. Esq. — Reading. Dawson, William, Esq. — Organist, Berkeley Episcopal Chapel, Berkeley Square. Dean, A jun. Esq. — Organist, Halifax and Huddersfield. Dearie, Edward, Esq. Mus. Doc. — for the Library, Newark. ' Delavanti, Mr. — Music Warehouse, Manchester. Denton, J. Esq. — Bradford. Dickson, The Rev. W. E. — Goostrey Parsonage, Middlewich, Cheshire. Dickson, W. Esq. — Alnwick. SUBSCRIPTION LIST. 687 Dix, Thomas, Esq. — Organist, Faversham. Dixon, George, Esq. Mus. Bac. Oxon — Organist, Retford. Dixon, William, Esq. —Organist, Grantham. Done, William, Esq. — Organist of the Cathedral, Worcester. Dreaper, Mr. W. P. — Musicseller, 5G, Bold Street, Liverpool. Drew, C. J. II. Esq. — Organist of Percy Chapel, Weston lload, Bath. Dyer, Mr. J. P. — Musicseller, Warminster. Dymond, John J. Esq. — Professor of Music, London. E. Eaude, Mr. Thomas — Conductor of the Warrington Musical Society. Edeson, John Robert, Esq. — Organist of All Saints', Gordon Square, St. Pancras. Elliott, James, jun. Esq. — New Hall, Dymchurch. Emberson, William, Esq. — Professor of Music, Arundel. Estill, Edward, Esq. — 9, Orange Court, Castle Street, Liverpool. Evans, E. J. Esq. — Organist, Liverpool. Evans, John, Esq. — Professor of Music, Liverpool. F. Fagg, Mr. John — ]\Iusic Warehouse, Hull. Fairclough, Charles, Esq. — Lower Castle Street, Liverpool. Favarger, Rene, Esq. Fawcett, John, jun. Esq. Mus. Bac. Oxon — Organist of the Parish Church, Bolton- le- Moors, Lancashire. Felkin, William, Esq. — Beeston, near Nottingham. Femley, John, Esq. — Stanley Grove, Manchester. Field, Mr. G.— Organist of St. Mary's, Bathwick, Bath. Fisher, W. Esq. — Banker, Preston. Fitzgerald, James, Esq. — Organist of St. Mary's and St. George's Churches, Kid- derminster. Fitzgerald, W. Esq. — Organist, Chertsey. Fletcher, Mr. E. — Organ-builder, 7, Hamilton Terrace, Southampton. Flight and Son, Messrs. — Organ-builders, St. Martin's Lane, London. Ford, H. E. Esq. — Organist of the Cathedral, Carlisle. Forster and Andrews, Messrs. — Organ -builders, Hull. 2 copies. Foulis, Robert, Esq. M. D. — 124, Princes Street, Edinburgh. Foulkes, William, Esq. — Whitchurch, Shropshire. Fowle, Thomas Lloyd, Esq. — Amesbury, Wilts. Fox, Charles, Esq. — Leatherhead, Surrey. Foxcrofl, Joseph, Esq. — Manchester. French, Mr. — Musicseller, Rochester. French, Thomas, Esq. 2 copies. Frobisher, Joseph Henry, Esq. — Organist of the Parish Church, Halifax. Fry, Mr. J. — Bookseller, Chelmsford. Fuller, Mr. E. H. — Music Warehouse, Derby. 588 SUBSCRIPTION LIST. G. Gale, Mr. William — 16, Harcourt Street, New Road, St. Mary-le-boiie. Gardner, Charles, jun. Esq. — Organist of St. John's Church, Blackheath. Garrett, G. M. Esq. — Organist, St. George's Cathedral, Madras. Gaylard, Mr. C. — Organ-builder, Preston, Lancashire. Gee, Samuel, Esq. R. A. M.— Organist of St. Mark's, Surbiton, 12, Lansdowne Place, South Lambeth. Gibbon, Jolm, Esq. — Quay Street, Haverfordwest. Giles, Mr. — (at Dr. Suck's) Norwich. Gilbert, J. H. Esq. — Manchester. Gilbert, Walter B. Esq. Mus. Bac. Oxon — Organist of the Parish Church, Tonbridge ; and late of St. Bride's, Fleet Street, London. 2 copies. Glennie, The Rev. J. — Secretary to the Society for promoting Christian Knowledge, 17, Great Queen Street, Lincoln's Inn Fields. Gooch, Thomas Frederick, Esq. — Organist of the Parish Church, Ware, Herts. Goulden, Thomas, Esq. — Organist of St. Margaret's, Canterbury. Graham, George Frederick, Esq. — Organist, Montreal, Canada East. Graham, Thomas, Esq. — Organist of the Parish Church, Wigan. Grant, William, Esq. — Organist, 10, German Terrace, Brock Street, Birkenhead. Gray and Davison, Messrs. — Organ-builders, New Road, Fitzroy Square. Greatheed, The Rev. S. S. — Tonbridge. Greaves, J. J. Esq. — Organist of the Parish Church, Preston. 2 copies. Greaves, T. J. Esq. — Organist, Lambeth. Green, Edward, Esq. — Emanuel College, Cambridge. Green, Thomas, jun. Esq. — Professor of Music, 1, Bow Lane, Preston. Gi'eenall, Mr. George — Organ builder, Lancaster. Griesbach, J. H. Esq. — Maida Hill. Griffiths, F. J. Esq. — Organist of Parish Church and St. James's Chapel, Daventry. Griffiths, G. R. Esq. — Organist of St Saviour's, Upper Chelsea. Griffiths, William, Esq. — Kennington. Grosvenor, S. Esq. Mus. Bac. Oxon — Dudley. Groves, Mr. Samuel — Organ -builder. Great Marlborough Street. Gunton, Edward, Esq. — Professor of Music, Birkenhead. Gunton, George, Esq. — Professor of Music, Manchester. Guy, Joseph, Esq. — Organist, Tichfield. H. Hall, The Rev. J. E. — (5, Cleveland Terrace, Paddington. Hallen, The Rev. George — Penetanguishine, Canada West. Harcourt, James, Esq. — Organist, Norwich. Hardman, Mr. Thomas — Organist, Holy Trinity, Bolton, ar^id St. Stephen's, Lever Bridge. 2 copies. Harrington, William, Esq. — Organist, Wellingboro'. Harris, The Rev. C. — Trinity Church, Cheltenham. Harrison, Henry W. Esq. — Liverpool. Harrison, Mr. T. — Musicseller, Birmingham. 2 copies. Harrod, Mr. T. — Hunter's Vale, Hockley, Birmingham. SHBSORIPTION I,IST. 680 Hart, Mr. James — Organist of the I'urisli Cliurcli, Milton, next Gravesend. Ilavergal, The Rev. II. E. — Cople Vicarage, Bedfonlsliire. Ilavcrgal, The Rev. W. H. Rector of St. Nicholas, ami Hon. Canon of Worcester. Hawkins, Mr. — Horse Fair, Rugcley. Hayden, Henry, R. Esq. — Organist of St. Leonard's. Hayne, L. G. Es(\. — Queen's College, Oxford. Ilaynes, W. Esq. — Organist of the Abbey and Trinity Churclies, Great Malvern. Head, John, Esq. — Liverpool. Heaton, The Rev. H. E. — Jesus College, Oxford; and Plas Heaton, Denbigh, N.Wales. Heisch, Charles, Esq. — Middlesex Hospital. Hempel, Charles F. Esq. — Organist of St. Mary's, Truro. Henshaw, W. Esq. — Organist of the Cathedral, Durh.iin. Heylyn, Henry, Esq. — West Brixton Lodge, West Brixton. Heyvvood, Thomas, Esq. — Manchester. Hickson, Thomas, Esq. — Melton Mowbray. Higgs, James, Esq. — Organist, St. Mark's, Kennington; 11, Crescent Terrace, Mill- bank, Westminster. Higham, Mr. Frederick — Builder, Wolverhampton. Hiles, J. Esq. — Organist of the Parish Church, Portsmouth. Hill, Samuel, Esq. — Rose Cottage, Hopwood, near Manchester. Hill, Mr. William — Organ-builder to Her Majesty, 12, Tottenham Coui-t, New Road. Hime and Addison, Messrs. — Musicsellers, St. Ann's Square, Manchester. (! copies. Hime and Son, Messrs. — Musicsellers, Liverpool. 6 copies. Hirst, George, Esq. — Professor of Music, Liverpool. Hobson, Alfred, Esq. — Cheltenham. Hodge, J. S. Esq. — East Mailing, near Maidstone; late Choir Master and Master of the Boys, St. Mary's Cathedral, Limerick. Hoggett, Mr. G. — Organ-builder and Professor of Music, 45, Brunswick Street, Darlington. Holden, George, Esq. — Professor of Music, Liverpool. Holt, Mr. Wm. — Organ-builder, Preston Place, Bradford. Hook, Messrs. E. and G. G. — Organ-builders, Boston, U. S. America. ^ copies. Hoole, Mr. Samuel — 44, London Road, Southwark. Hope, W. C. Esq. — Sandford Park, West Derby, Liverpool. Hoper, Richard, Esq. — Portslade, Sussex. 2 copies. Hopldns, J. L. Esq. Mus. Bac. Cantab. — Organist of Rochester Cathedral. Hopkins, John, Esq. — Organist of the Parish Church, Epsom. Hopkinson, Thomas, Esq. — Organist of the Parish Church, Pontefract. Homey, Mr. W. — Easington Lane, Durham. Horsley, Charles Edward, Esq. — 12, Blomfield Terrace, Paddington. Howell, William, Esq. — The Grove, Kentish Town. Hughes, Mr.W. J. — Archbishop Sancroft's School, Harleston, Norfolk. HuUah, John, Esq. — St. Martin's Hall, London. Hulme, James, Esq. — 188, Waterloo Road, Burslem. Humphries, Alfred, Esq. — Organist, Walton-on-Thames. Hyde, Capt. T. C. S. — Twickenham Green, Middlesex. 690 SUBSCRIPTION LIST. I. Ibbs, Robert, G. Esq. — Leatherhead. Ingpen, John E. Esq. — 9, Halsey Terrace, Cadogan Terrace, Chelsea Ingram, Thomas, Esq. — Walcot Place, London, and Professor of Music at the College, Brighton. Ions, Thomas, Mus. Doc. Oxon — Newcastle-on-Tyne. Isaac, J. Whitmore, Esq. — Boughton, Worcestershire. J. Jackson, Mr. John — Bookseller, Ulverstone. Jackson and Winn, Messrs. — Musicsellers, Bradford. Jarvis, R. H. Esq. — 24, Dorset Square. Janes, Robert, Esq. — Organist of the Cathedral, Ely. Jardine, Mr. F. W. — Organ-builder, Manchester. 2 copies. Jardine, Mr. George — Organ-builder, New York. Jebb, The Rev. John — Peterstow Rectory, Ross, Herefordshire. Jeffery, Thomas B. Esq. — Liverpool. Jewson, James P. Esq. — Organist, Stockton-on-Tees. Johnson, Mr. J. 0. R. A. M. — Organist of the Church, Dunstable. Jones, Edward, Esq. — Professor of Music, Sheffield. Jones, George, Esq. — Lincoln's Inn. Jones, Gregory, Esq. — Secretary of the Collegiate Institution, Liverpool. Jones, Jabez, Esq. — Organist of the Abbey Church, Tewkesbury. Joule, Benjamin St. J. Baptiste, Esq. — Honorary Organist of St. Peter's Church, Manchester. Joy, Walker, Esq. — 4, Queen Square, Leeds. K. Kampf, H. W. Esq. — Wolverton Station. Kelly, Mr. C. — 8, High Street, Kensington. Kilburn, William Edward, Esq. Kinkee, Frederick, Esq. — Organist and Choir Master, St. Paul's, Knightsbridge. Kirtland, Mr. James — Organ-builder, Manchester. 2 copies. Knight, Henry, Esq. — Organist, Broseley. L. Lake, George, Esq. — Organist of St. John's, Paddington. Langley, Mr. James — Organ-builder, Grove House, Greatham, Co. Durham. Law, Mr. Robert — Organist of St. Peter's, Montrose. Lawrence, H. M. Esq. — Lee Grove, Blackheath. Lawrence, The Rev. Richard — Tonbridge. Leach, Mr. John — Organist, St. James's Church, Bradford. Lee, John, H. Esq — Professor of Music and Singing, 77, Newman Street, London. Lees, Mr. John — Organist, Oldham. Leigh, Samuel, Esq. — Organist, Parish Church, Gawsworth, Macclesfield. Lewis, John, Esq. — Solicitor, Wrexham. Limpus, Henry F. Esq. — Organist of All Saints' and St. Peter's, Wandsworth, Linkfield Cottage, Isleworth. Limpus, R. Esq. — Organist to the Church of St. Michael, Cornhiil. 2 copies. SUnSCRlPTION LIST. 691 liintor, Hicardo, Esq. — Weymouth. Lisle, Thomas, Esq. — Wolverhampton. Lissant, G. B. Esq. — Organist of St. raul's Cathedral, Calcutta. Lloyd, Hein-y P. Es(i. — Organist of Christ Church, Birkenhead. LOhr, G. A. Esq. — Organist, Leicester. Longhurst, W. H. Esq. — Assistant Organist of Canterbury Cathedral Lonsdale, Mr. C— 2G, Old Bond Street. Lott, Edwin M. Esq. — Organist of St. Luke's, Jersey. M. MaccuUoch, R. Esq. — Guernsey. Macfarren, G. A. Esq. McCollum, Julius, Esq. — Boston, U. S. McGlashan, James, Esq. — 50, Upper Sackville Street, Dublin. McKorkell, Charles, Esq. — Organist of All Saints, Northampton. Macrory, Edmund, Esq. — Middle Temple. Magill, Mr. John — Musicseller, and Organist of Christ Church, Liverpool. Makepeace, Mr. WiUiam — Lay Clerk of Rochester Cathedral and Professor of Music, Rochester. ]\Iakins, George Hogarth, Esq. Malton, W. D. Esq. — 36, Wirapole Street. Marsh, Thomas, Esq. — Organist of St. Michael's Church, Alnwick. Martin, George William, Esq — the Grove, Clapham Common. Martin, J. U. Esq. — Organist, East Dereham. Mason, Mr. Joseph — Pianoforte and Musicseller, Norfolk Street, Glossop. Mathews, Henry, Esq. — Organist, Stratford-on-Avon. Maude, J. A. Esq. — 52, Eaton Square. May, Mr. Harry, — 11, Holborn Bars. Mayhew, C. J. Esq. — 4, Stone Buildings, Lincoln's Inn. Medwin, Mr. Henry Innes — 2, Crown Row, Walworth. Mellor, Mr. Richard — Musicseller & Organist of Ramsden Street Chapel, Huddersfield. Messiter, Arthur H. Esq. — Organist, Worthing. Milne, J. K. Esq. — 33, Hanover Street, Edinburgh. Molineux, Mr. John — Organist and Choir Master of St. Paul's, Sketty, Swansea. Molineux, Mr. Thomas — Dallon Street, Manchester. Monk, E. G. Esq. Mus Bac. — Professor of Music, St. Peter's College, Radley, near Abingdon. Monk, W. H. Esq. — King's College, London. Moran, C. Esq. — Holyhead. Morine, Mr. Charles — Organist of St. Mary's Catholic Church, Burnley. Morrell, The Rev. T. B. — Rector of Henley-on-Thames. Morton, W. Esq. — Trinity College, Oxford. INIurphy, Mr. J. Seymour — Organ-builder, Duncan Street, Cork. Musgrave, T. Esq. — Scarboro'. N. Nelson, W. Esq. — Professor of Music, Fulneck, near Leeds. Newall, Mr. Jonathan — Music Warehouse, Ashton-under-Lyne. 2 copies. 592 SUBeCRIPTION LIST. Nicholson, Mr. F. — Eagle Quay, Manchester. Nicholson, Mr. John — Organ-builder, Worcester. Nicholson, Richard, Esq. — Rochdale. Noble, J. S. Esq. — Organist of Christchurch, Spitalfields. Norbury, John, jun. Esq. — 5, Finshury Square. Norman, John, Esq. — Professor of Music, Rochester. Nottingham, R. W. Esq. — Organist of Christ Church, Streatham. Nuth, Alfred, Esq. — Wilts and Dorset Bank, Fordingbridge. Nutter, Mr. Henry — Organist of St. Paul's Church, Tunstall. 0. Oakden, Mr. Edward — Organist, Manchester. Oakes, Charles, Esq. — Ridding's House, Derbyshire. O'Keefe, The Rev. Daniel — 12, Clarendon Villas, Brook Green, Hammersmith. Oldham, Mr. Samuel, sen. — Professor of Music, Hyde, near Manchester. Orr, Mr. W. — Professor of Music, Bank Street, Kilburnie, near Kettering. Osborne, — Esq. — near Worcester. Owen, Mr. William — Tremadoc. P. Palmer, Benjamin, jun. Esq. — Organist of St. Paul's Church, Clapham. Parker, Septimus, Esq. — Leatherhead. 2 copies. Partridge, Mr. — Organist of St. Thomas, Coventry. Parvin, Mr. Wm. — Organ-builder, Bolton-le-Moors. Pearce, George, Esq, — Guernsey. Pearson, James, Esq. — Organist of St. Thomas's, Manchester. Pech, Dr. James, et Mus.Bac. ex Coll. Nov. Oxon — St. Columb Choir, Kensington Park. Peckett, Mr. A. J. — Professor of Music, Scarboro'. Penny, Mr. — Bookseller, Frome. Phelps, The Rev. Joseph F. — St. John's, Newfoundland. Pliilipps, John Sutherland, Esq. — 3, Berkeley Place, Cheltenham. Phillips, J. W. Esq. — Professor of Music, Wakefield. Phillips, Percival, Esq. — Professor of Music, Sheffield. Pirie, James, Esq. — Organist of St. James's Church, Guernsey. Pressley, The Rev. Charles — Fraserburgh, N. B. Preston, Mr. Thomas G. — Organist, Docking, Norfolk. Price, Alfred, Esq. — Rignum Villa, Gloucester. Prout, Mr. Henry E. — Plymouth. R. Radley, Mr. William — South Villa, Lambeth, Steward to Lord Colvill. Rawlings, J. T. Esq. — Organist, St. Julian's Church, Shrewsbury. Rea, William, Esq. — Organist of St. Andrew, Undershaft. Redhead, Richard, Esq. — Organist to All Saints', Marylebone, 4 fi, Upper Gower Street, Bedford Square. Reed, J. Westbrook, Esq. — Raleigh Lodge, Tulse Hill, Surrey. Reeves, Mr. — St. Helen's, near Liverpool. Revell, Miss— Organist, Chelsea College. Rhodes, Mr. James — Musicseller, Darley Street, Bradford. SUBSCKH'TION MST. 593 liliDilc's, John, VjSt\. — Organist of St. George's, Soutlnviuk. Hicluirds, Brinley, Esq. — Hon. Member, Associate, luul Trolessor at tiio Royal Academy of Music. Richardson, Mr. J.— Sheffield. Richardson, Tiiomas R. Esq. — Organist, Swindon, Wilts. Rider, Mr. T. — Organist, Leeds. Rigg, The Rev. Arthur, M. A.— Chester. Robson, Mr. T. J. F. — Organ -builder, 101, St. Martin's Lane. Rodd, Edward Hearle, Esq. — Penzance. Hoe, John, Esq. — Organist of Christ Church, St. Tancras ; 52, Stanhope Street, Regent's Park. Rogers, Handel, Esq. — Organist of the Cathedral, Limerick. Rogers, Jeremiah, Esq. — Organist of the Parish Church, Doncaster. Rooke, R. L. Esq — Hon. Secretary to the P. C. Choir, Leeds. Room, Mr. — Organ-builder, Preston, Lancashire. Ross, R. R. Esq. — Manchester. Rost, J. D. Esq. — Organist of St. Paul's, Dock Street. Ruck, George, T. Esq. — 19, St. Dunstan's Hill. Ruck, Silas, Esq. — Raleigh Lodge, Tulse Hill, Surrey. Rudd, J. B. Esq. — Guisbro', Yorkshire. 2 copies. Rumsey, The Rev. Lacy Henry, M. A. — Jamaica, West Indies. Rumsey, Mr. John — Organist, Shepton Mallett. S. Sanders, James, Esq. — Organist of St. Francis Xavier, Liverpool. Savory, Douglas, Esq. — 65, Marland Place, Southampton. Scaife, Mrs. — Leicester. Schoelcher, Victor, Esq. Scobell, G. Esq. Second, Frederick, Esq. — Organist, Darlington. Seed, Richard, Esq. — Conductor of the Ardwick Gentlemen's Glee Club, Manchester. Shargool, Edwin, Esq. — Organist of St. Mary's Church, Stafford. Sharman, W. H. Esq. — New Street, Birmingham. Sharp, Edward, Esq. — Organist of the Asylum for Female Orphans, 12, Fludyer Street, Westminster. Shaw, Benjamin, Esq. — Gillygate, York. Shaw, J. Esq. — Organist, Christ Church, Preston. Shelmerdine, W. Esq. — Organist of the Mechanics' Hall and Derby Road Chapel, Nottingham. Simes, Henry S. Esq. — Westfield Gardens, Brighton. Simms, E. Esq. — Organist, Coventry. Simms, H. Esq. — Organist, Birmingham. Simms, R. H. Esq. — Organist and Professor of Music, Wrexham. 2 copies. Simpson, G. Esq. — Professor of Music, Hanley. Simpson, John, Esq. — Organist of the Parish Church, Bradford. Slater, Wilham, jun. Esq. — 75, Princess Street, Manchester. Q Q 594 SUBSCRIPTION LIST. Smart, Henry, Esq. — Organist of St. Luke's, 4, Regent's Park Terrace. Smee, G. Esq. — Bank of England. Smith, Elder, and Co. Messrs. — Cornhill. Smith, E. F. Esq. — Professor of Music, Liverpool. Smith, Mr. James — Musicseller, G6, Lord Street, Liverpool. 2 copies. Smith, J. 0. Esq. — Organist of Christ Church, Cheltenham. Smith, Samuel, Esq. — Willow Cottage, Egham Hill. Smith, William, Esq. — Allerton Hall, Gledhow, near Leeds. Smyth, The Rev. A. Bowyer — Attleborough Rectory, Norfolk. South, George Henry, Esq. — Organist of the Parish Church, Sheffield. Southgate, T. B. Esq. — Professor of Music, Highgate ; and Organist of St. Anne's, Highgate Rise. Southern, Mr. W. — Organist of St. Mary's, Leamington. Spark, Edward J. Esq. — Choir IMaster of the Pai'ish Church, Bury, Lancashire. Spark, W. Esq. — Professor of Music, Leeds. Stacey, Mr. William— Music Warehouse, 93, West Street. Sheffield. Staniland, Mr. George — Organ-builder, Abingdon. Staton, W. Esq. — Organist of St. Mary's, Harrow-on-the-Hill. Stephens, Charles E. Esq. — Organist of the Church of the Holy Trinity, Bishop's Road, Paddington, 2, Howley Place, Maida Hill. Stephenson, W. P. Esq. — Organist of Trinity Church, Ripon. Stevens, Edwin, Esq. — Ofganist of the St. James's Chapel, Jersey. Stevens, The Rev. William H. — Stoke Rectory, Guildford. Stewart, Robert B. Esq. — 5, Buchanan Street, Glasgow. Stidolph, Harold E. Esq — Tunbridge. Still, The Rev. Henry H.— Rusthall, Tunbridge WeUs. Stirling, Miss Elizabeth — 3, Randall's Terrace, East India Road. Stone, J. T. Esq. — Dartford, Kent. Stonex, Henry, Esq. — Organist, Regent Road, Great Yarmouth. Stothert, Mr. — Oxford Street, Preston. Stott, F. S. Esq. — Architect, Chapel Lane, Bradford, Yorkshire. Street, Thomas, Esq. — Ealing. Strickland, Mr. William H.— School for the Blind, York. Sturges, Mr. T — Organ-builder, &c. 13, York Street, Ramsgate. Stutfield, H. W. Esq. — Organist, St. George's in the East. Styrap, H. G. Jukes de, Esq. — Langley, Bucks. Sudlow, W. Esq, — Clapham. Suggate, Alfred Albert, Esq. — ^Member of the Leipsic Conservatorium, Professor of Music and Singing, Lowestoft. Summers, William, Esq. — 10, Great Marlborough Street, Regent Street. Swanson, Mr. F. — Blackheath. Sykes, Mr. J. — Musicseller, Leeds. T. Taylor, James, Esq. — Professor of Music, Gloucester Taylor, W. F. Esq, — Professor of Music, Bristol. SUBSCBIPTION LIST 695 Telford, Mr. W. — Organ-biiildor, 10!), St. Stepheirs (Jreen, Duljlm. Thirtle, E. Esq. — Organist of the Parish Ciuirch, Boston, Lincohishiro. Thomas, Charles, Esq. — Organist of the Parish Church, Rye. Thompson, CiJeorge Edward, Esq — Woodland House, Prospect Row, Woolwich, Kent. Thompson, John, Esq. — Organist of the Abbey Church, Merevale. 2 copies. Thorn, E. II. Esq. — Organist, Henley-on-Thames. Thorpe, Thomas, Esq. — Organist, Pateley Bridge, Ilipon, York. Thurnam, Edward, Esq. — Organist of the Parish Church, Bcigate, Surrey. Thynne, John Frederick, Esq. — Professor of Music, Tavistock, Devon. Tolputt, Mr. W. B. — Organist of the Parish Church, Folkestone. Toms, Charles James, Esq. — Professor of IMusic, Liverpool Townley, C. A. Esq. — Burleigh Villa, Bridge Road, St. John's Wood. Townsend, Henry, Es(i. — Stanton House, Hinckley. Townsend, ]\Ir. John — Music Warehouse, Manchester. Trimnell, Thomas Tallis, Esq. — Organist of the Parish Church, Chesterfield. Trust, H. J. Esq. — Organist of St. Mary's Church, Paddington. Tuckerman, Dr. S. P. — Boston, U. S. 2 copies. Turpin, E. H. Esq. — Organist, Catholic Chapel, Nottingham. V. Vaudrey, James, Esq. — London. Venables, Charles, Jun. Esq. — Conductor of the Taplow and Maidenhead Amateur Choral Society. Vent, — Esq. — 25, Brudenell Place, New North Road, Hoxton. Vesey, F. Gerald, Esq. — Trinity College, Cambridge. Vincent, Charles J. Esq. — Organist of the Parish Church of St. Michael, Houghton- le- Spring. Violette, Mr. E. — Organ-builder, 43, King's Road, Camden Town. W. Walkem, The Rev. — Chaplain of the Altrincham Union, Knutsford, Cheshire. Walker, Alfred, Esq. — Hodge Lane, Horbury, near Wakefield. Walker, Henry, Esq. — Organist, Upper Temple Street, Manchester. Walker, Mr. William — 110, Constitution Street, (Town Hall) Leith. Walker, Mr. Joseph — Organ-builder, 27, Francis Street, Bedford Square. Walmisley, H. B. Esq. — late Organist of Holy Trinity Church, 18, Cowley Street, Westminster. Walmisley, T. A. Esq. Mus. Doc. — Trinity College, Cambridge; Professor of Music in the University. Warren, E. Esq. — 1, Saxon Street, Dover. Warren, Joseph, Esq. — 20, Conduit Street, London. Warren, Miss — Organist, Royston. Wastfield, A. Esq. Mus. Doc. — Organist, 3, Queen's Place, Caermarthen. Watts, J. Esq. — Organist, Ormskirk. Webster, T. Esq. — Liverpool. Q Q2 596 SUBSCRIPTION LIST. Whately, W. Esq. Q. C. — 2 copies. Whimtield, E. W. Esq.— Conservative Club. White, John, Esq. — Liverpool. White, Thomas Wolsey, Esq. — Professor of Music, Brighton. Whitthorn, J. Esq. — Chatham. Whomes, — Esq. — Organist, Woolwich. Wilberforce, Charles, Esq. — Organist of the Unitarian Chapel, Renshaw Street, Liver- pool. Wilkie, Mr. Joseph — Melbourne, Victoria. Willcox, John H. Esq. — Boston, U. S. Williams, W. Esq — Organist of St. Martin's Church, Jersey. Willis, Mr. Henry — Organ-builder, Manchester Street, King's Cross, London. WiUis, John, Esq. — Beverley. Wilson, J. M. Esq. — Esplanade, Bridlington Quay. Wilson, William, Esq. — Organist, St. James's, Garlick, Hythe. Winn, Miss E. L — Nostell Priory, Wakefield. Winscom, Edwin, Esq. — Organist, 20, South End, Croydon. Wood, Samuel, Esq. — Clitheroe. Wood, Mr. T. — Organist, Huddersfield. Woodward, B. Esq. — Organist of St Paul's Church, Wednesbury. Woodward, William W. Esq. — Organist of St. ]\Iarie's Catholic Clmrch, Derby. Woolcott, Mr. Charles — 5, St. Paul's Church Yard. Wray, W. B. Esq — late Organist and Choir Master, Blind Asylum, Liverpool. Wright, A. Esq. —Organist, Birmingham. Wyllie, Mr. R. W.— of the Cathedral, Exeter. Y. Yardley, P. Esq. — Organist and Professor of Music, Bishop's Stortford. Yamorth, The Rev. W. Vaughan — Westbury-upon-Trym, near Bristol. Yeo, Mr. W. S — Professor of Music, Plymouth. Yeomans, Alfred, Esq. — Professor of Music, Stourbridge. Young, John M. W. Esq. — Organist of the Cathedral, Lincoln. Young, Robert, Esq. — Organist, Berwick-on-Tweed. Young, The Rev. Thomas Drake — Parsonage, Sutton Bridge, near Wisbeacli. ADVERTISEMENTS RELATIVE TO ORGANS. MESSRS. FORSTER AND ANDREWS (formerly of London), 29, CHARLOTTE STREET, HULL, Respectfully draw the attention of those interested in procuring Organs to their extensive Manufactory, not excelled by any in the Provinces, which is replete with every convenience for the production of First-class Instruments. Subjoined is a list of 100 Organs which Messrs F. and A. have lately erected, and to which they are kindly permitted to refer. Anston Allington Alford Burstwick Broughton Beverley Bradford Barkby Beetham Bingley Bassingham Bishops Norton Cheltenham Cleethorpes Conisbro' Colstcrworth Coningsby Cockcrmouth Derby— 3 Dent East Retford Epworth Evcrton Grantham — 3 Gate Burton Goole Great Ponton Gainsborough Grimsargh Great Chart Hull— 12 Hunmanby Hessle Heckmondwike Hatfield Hungerton Hornsea Huttoft Haworth Halifax Hook Idle Isle of Man— 2 Ku-kstall Keyingham Louth Lincoln Laceby Longnor Leeds Melbourne Market Rasen Nottingham Newland North Shields Nostell Priory Newark Owersby Pontefract Pennington Pudleston Rudstone Rimswell Swine Skirlaugh StapenhiU South Elkington Sculcoates South Ossett South Kelsey Scarboro' — 4 Staimton Shipley Tanslcy "West Buttcrwick Waltham Whitby Wootton "Workington York- 2 N.B. — Detailed Prospectuses forwarded (ffratis) on application. Organ Manufactory, 29, Charlotte Street, Hull, 1855. 698 ADVERTISEMENTS RELATIVE TO ORGANS. DAVID HAMILTON, (IDrgan %m\hx in Jin Btfljestq tiiB tera, EDINBURGH, Respectfully intimates that ho builds to order Organs of all sizes, of the finest material and workmanship. Ue begs leave to inform those interested in the erecting, reconstructing, or repair of Organs in Churches or Public Ilalls, that, having originally studied his profession in German)', he has built Organs on the principles of the great German builders during twenty- five years he has been established in Scotland. He visits the Continent once every year for the puii)osc of acquainting himself with every successive improvement and invention in the art, and has frequent opportunities of inspecting and studying the plans and constructions of the largest Organs in Germany, Holland, and France. 3Ir. Hamilton is the inventor of the Pneumatic Lever, an apparatus which has proved of the utmost importance in Organ building, and whicli he first constructed in the year 1833. He applied this invention to the Organ in St. John's Episcopal Cliurch, Edinburgh, in the year 1835, and in 1838 he exhibited a model of it at a meeting of the British Association. Some years subsequently, this invention began to be employed in Paris, although its use has not, untQ lately, been general with British Organ builders. The form of the Pneumatic Lever now employed is precisely that which Mr. Hamilton gave it on first discovering its principle. About four years ago, Mr. Hamilton discovered a still greater improvement, by which the advantages of simplicity, durability, certainty of action, and lightness of touch are obtained in a still higher degree than in the Pneumatic Lever. Mr. Hamilton particularly calls attention to the Metal Pipes of his Organs ; his superior manufacture of which has attracted favourable attention in Germany, and which, for many years past, he has made of pure tin, in preference to the cheaper compound generally employed: by the use of the purer material, he is able to obtain both a much finer quality of tone and greater dm'ability. Specimen pipes sent on application. Estimates and specifications for Organs of every size furnished ; and all orders, whether imder previous estimate or not, executed on the most moderate scale of charges, consistently with perfect materials and workmanship. EDWARD JAMES BOSSWARD, (Drgaii fmiln, loirmingjiaiii, (From Mr. Hill's, London), STnnct of x\)z (©tgan in ISirmingljam ©otnn l^all. Organs of every description tuned and repaired in any part of the United Kingdom. J. C. BISHOP, SON, and STARR, (Drgan Ikilkrs tn Hrr BajEsttf, LISSON GROVE SOUTH, NEW ROAD, ST. MARYLEBONE. INVENTOE-S OF THE COMPOSITION PED.ILS, ANTI-CONCUSSION VALVE, CLARABELLA STOP, ETC. SAMUEL GROVES, ORGAN BUILDER, Inventor and Provisional Patentee of Eotary Pneumatic Apparatus for pumping or forcing air, whereby an Organ of any dimensions may be supplied with mnd by machinery instead of manual labour, at a comparatively small expense. Dihect Action, which, in an Organ of 3 rows of keys, causes upwards of 600 centres to be dispensed with ; Lever Valve, which so thoroughly resists the pressure of air as to render the touch of a large Organ most agreeable ( equally light to that of a grand piano of the first maker), and admits a full supply of wind to the pipes. 7, Great Marlborough-street; Manufactory, 11, Little Marlborough-street, Regent-street, London. Just Published, folio, pp. SO, price 12s. (Kill! €^W5 if^rngOT, Irnra IPirtli ta ilnrq. Illustrated in a selection of Poetical Pieces, adapted to Music, in 3 Vocal Parts ; with Pianoforte Ac- companiment. By the Rev.WUliam Cecil, A. M. Rector of Longatanton St. Michael, near Cambridge. £i/ the same Author, folio, pp. 178, in Leather Wrapper, price One Guinea, €\)t '^)m\ (Cjinir (Drgaa fml. The Three Vocal Parts detached, 4s each ; Hymn Book, 2s. 6d. London: Seeleys, Fleet-street and Hanover-street; and sold by Dixon, Market-street, Cambridge. ADVERTISEMENTS RELATIVE TO ORGANS. 599 KIRTLAND AND JARDINE (SUCCESSORS TO S. RENN), (ll)rgiiii 56iiiliiprij, DICKINSON STREET, ST. PETER'S SQUARE, MANCHESTER. Messrs. KiRTLAND and Jardine have the satisfaction of stating that the system invariably pursued by them of employing only the most experienced assistants, making use of the best materials, and taking tlio utmost care in the finish of their Instnmients, together with a moderate charge, has resulted in rendering thcu- Establishment for the manufacture of Organs second to none in the Provinces. The Building, Mechanical, and Musical Departments are each a separate care ; the former under the superintendence of Mr. Kirtland (nephew to, and many years with, Mr. Renn), and the latter under the direction of Mr. Jardine, from Messrs. J. C. Bishop and Sons, London ; this arrangement enables them to impart a very superior finish to their Instruments. Messrs. Kirtland and Jardine have made personal examinations of some of the finest specimens of the German and French Schools of Organ Building ; they have been the first to introduce into this Country the admii'able system of the Abbe Vogler ; and they have adopted those Stops from the Ccmtinontal Organs which are of new and beautiful tone, among which may be mentioned the Viola and Cone Gambas, the Flute Harmonique, the Flauto Traversa ; the Sohl, Boppel, and Swabc Flutes ; the Salcional, the Vox Angelica, the Posaune, Cor Anglais, &c. Messrs. Kirtland and Jardine have invented a Pallet, which greatly assists the articula- tion of the pipes, and produces a light and agreeable touch. In Organs of very large size, they apply the " Pneumatic Lover" to the Key and Composition movements. Their Mechanism is constructed so as to work without the rattling noise audible in most Organs. Their Bellows also are made on a greatly improved principle, and, if required, can be arranged so as to be supplied without the aid of hand or foot actions. ESTIMATES GIVEN FOR CHURCH AND CHAMBER ORGANS. OBGANS RE-MODELLED AND REPAIRED. INSTRUMENTS OF VARIOUS SIZES KEPT IN STOCK, FOR SALE OR HIRE CContratts maUe for Annual ^Tunings. BARREL AND SELF-ACTING ORGANS. TESTIMONIALS FORWARDED ON APPLICATION. DICKINSON STREET, ST. PETER'S SQUARE, MANCHESTER. 600 ADVERTISEMENTS RELATIVE TO ORGANS. dDrgnn Jllnterinls. Organ Pipes of all Descriptions, Keys, and everything in Organ Building, on moderate Terms. EDWARD VIOLETTE (Many years in some of the best Continental Manufactories), Manufacturer to the Trade, 43, KING'S EOAD, CAMDEN TOWN, LONDON. French and German Stops, and aU the latest Improvements. Voicing, Tuning, and Repairs. BEVINGTON and SONS. €j\m\, Cljnmlirr, nnh %mi\ (Drgnn IJmlkrB; MANUFACTORY, 48, GREEK STEEET, and EOSE STEEET, SOHO, LONDON. HENRY WILLIS, ®m©iiif iBiEiiiiLDiimp 18, MANCHESTER STREET, KING'S CROSS; BUILDER OF THE GREAT ORGAN IN ST. GEORGE'S HALL, LIVERPOOL. Jflitsiriatts iti graernL METBONOMES. Robert Cocks and Co.'s Improved Maelzel Metionomes of very superior manufacture, much approved from their accuracy and durability ; without Bell, 26s. ; with Bell, 42s. PORTEAITS Of Musical Composers, &c. for framing or binding with their works (an extensive series). Busts in Bisque China, each 2s. 6d. CONCERTINAS. A choice assortment of these favourite Instruments, by the best manufacturers, constantly in stock. Double-action, Full Compass, 48 Notes, Rosewood Fittings, and in Rosewood Cases, £6 6s. A LARGE ASSORTMENT OF CHOICE OLD VIOUNS, SOME VEEY fixe TENORS, VIOLONCELLOS, AND DOUBLE BASSES. PRICED LISTS I'UKNISHED POSTAGE FREE. VUILLAUME'S CELEBRATED COPIES OF THE STRADUARIUS, GUAENERIUS, MAGINI, AND AMATI VIOLINS, £14. Vuillaume's Bows, £ 1 lOs. — Vuillaume's Prepared Rosin, Is. per Box. Bow Hail-, Is. Od. per Hank. Musical Instruments of all descriptions, Pianofortes, Harps, Flutes. Clarionets, &c. at low prices. Music Stools and Music Stands in every variety. LONDON: ROBERT COCKS AND CO., NEW BURLINGTON STREET. ORGAN AND CHURCH IVIUSIC PrBLISHED BY LONDON. ANTHEMS AND SERVICES. CHANTS. ORGAN WORKS. METRICAL PSALMS AND HYMNS. ORATORIOS, SERVICES AND MASSES. WORKS ON THE THEORY OF MUSIC. &c. &c. &c. ORDERS RECEIVED BY ALL MUSICSELLERS AND BOOKSELLERS, AT HOME AND ABROAD. ANTHEMS AND SERVICES, WITH ACCOMPANIMENT FOR THE ORGAN. ATTWOOD, THOMAS. Sauctus aud Response!!, as perfoimed at Her Majesty's Chapels Royal, and at St. Paul's Cathedral. Newly edited hy John Bishop, of Cheltenham 3 0 CONTENTS. ANTHEMS. When the wicked man Mendelssohn. The sacrifices of God are a broken spirit Ur. S. Aknold. To the Lord our God belong mercies J. Warben, I will arise and go to my Father Richard Cecil. If we say that we have no sin Handel. I acknowledge my transgressions Rend yom heart, and not your garments J. Warren. U Lord, correct me Handel. Enter not into judgment — — — SANCTUSES AND RESPONSES. Gibbons, in F— Child, in F— Rogers, in D. SINGLE CHANTS. Tallis, in F— Fanant, in F— Humphrey, in C— Gibbons, in G. DOUBLE CHANTS. Dupuis, in A— Henley, in E flat. BOYCE, WILLIAM, Mus. Doc. Cathedral Music : being a Collection in Score of the most valuable and useful Compositions for that Service, by the early English Masters, selected by Dr. William Boyce. Newly edited and carefully collated and revised, with an Appendix to each Volume, contain- ing additional Services and Anthems, a Life of Dr. Boyce, Memoirs of the Composers, and an Accompaniment for the Organ, by Joseph Warren. 3 vols, extra folio, fine paper ( reduced price ) £6 6 0 Or the volumes separately, as under — viz : DR. BOYCE'S CATHEDRAL MUSIC, Vol. I price, separately, £2 12 G CONTENTS. Editor's Preface ; Original Preface to Vol. 1 ; Life and Portrait of Dr. Boyce — Memoirs of the Composers— viz. : Thomas Tallis, Richard Farrant, William Byrd, Elway Bevin, Thomas Morley, Dr. Orlando Ciibbons, Dr. William Child, Dr. Benjamin Rogers, Thomas Tomkins, aud John Parsons. SERVICES. Thomas Tallis. For four voices (Tr. C. T. B.f) : Preces, Venite exultemus Domino (Chant), Te Deum, Benedictus, Creed of St. Athanasius (Chant). — - For five voices (Tr. 2 C. T. B.) : Responses, Litany. For four voices (Tr. C. T. B.) : Kyrie eleison, Doxology, Nicene Creed, Sanctus, Gloria in e.xcelsis, Magnificat, Nunc dimittis. The Preces, Responses, Litany, and Chants, are in the Key of C ; the Services, in the Dorian Mode. Richard Farrant. In G minor. For four voices : Te Deum and Benedictus (verses for 2 Tr. 2 C. 2 T. 2 B.) ; Kvrie eleison, Nicene Creed, Magnificat, and Nunc dimittis (Tr. C. T. B.). t Tr. signifies Treble ; C. Counter-tenor ; T. Tenor ; and B. Bass. 4 ANTHEMS AND SERVICES. Br. BOYCE'S Cathedral Music— Vol. I. continued. SEKVICES. William Byud. In 1) minor. For four, live and six voices : Te Deum and Benedictus (Tr. 2 C. 2 T. B.) ; Kyrie eleison and Niceno Creed (2 Tr. 2 C. 2 T. B.) ; Magnificat and Nunc dimittis (Tr. 2 C. 2 T. B.). Elway Bevin. In the Dori.in Mode. For four and five voices : Te Deum and Benedictus (Tr. 2 C. 2 T. B.) ; Kyrie eleison and Nicene Creed (Tr. C. T. B.) ; Magnificat and Nunc dimittis (Tr. 2 C. T. B.). Thomas Morley. Burial Service, in G minor. For four voices (Tr. C. T. B.) : I am the resurrection, Man that is born of a woman, I heard a voice from heaven. De. Orlando Gibbons. In F. For four voices (Tr. C. T. B.) : Te Deum, Benedictus, Kyrie eleison, Nicene Creed, Sanctus, Magnificat, Nunc dimittis. Db. William Child. In D. For four voices : Te Deum, Jubilate, and Kyrie eleison (Tr. C. T. B.) ; Nicene Creed ( verses for Tr. 2 C. T. B. ) ; Sanctus, Magnificat, Nunc dimittis (Tr. C. T. B.). In E minor. For four voices (verses for -2 Tr. 2 C. 2 T. 2 B.) : TeDeum, Jubilate, Kyrie eleison, Nicene Creed, Sanctus, Magnificat, Nunc dimittis. Dr. Benjamin Rogers. In D. For four voices (Tr. C. T. B.) : Te Deum, Jubilate, Kyrie eleison, Nicene Creed, Sanctus, Magnificat, Nunc dimittis. Henry Aldkich, D.D. In G. For four voices (Tr. C. T. B.) : Te Deum, Jubilate, Kyrie eleison, Nicene Creed, Sanctus, Magnificat, Nunc dimittis. APPENDIX. Thomas Tomkins. Services in C. For four voices (Tr. C. T. B.) : Te Deum, Benedictus, Kyrie eleison, Nicene Creed, Magnificat, Nunc dimittis. John Parsons. Burial Service, in D minor. For four voices (Tr. C. T. B.) : I am the resurrection, Man that is born of a woman, I heard a voice from heaven. Dr. BOYCE'S CATHEDRAL MUSIC, Vol. II price, separately, £2 CONTENTS. Memoirs of the Composers, continued from Vol. 1 : Dr. John Blow, Henry Purcell, William Munday, Dr. Christopher Tye, Adrian Batten, Robert Creyghton, D. D. Jeremiah Clark, and Henry Aldrich, D. X>. SERVICES. Dr. John Blow. In A. For four voices (verses for 2 Tr. 2 C. 2 T. 2 B.) : Te Deum, Jubilate, Kyrie eleison, Nicene Creed, Cantata Domino, Deus misereatur. In G. For four voices (verses for 2 T. 2 C. 2 T. 2 B.) : Te Deum, Jubilate, Kyrie eleison, Nicene Creed, Magnificat, Nunc dimittis. In G. (Triple Measure.) For four voices (verses for 2 Tr. 2 C. 2 T. 2 B.) : Kyrie eleison, Nicene Creed. In E minor. For four voices (verses for 2 Tr. 2 C. 2 T. 2 B.) : Te Deum, Benedicite, Jubilate, Kyrie eleison, Nicene Creed, Cantate Domino, Deus misereatur. Henry Pdrcell. In B Hat. For four- voices (verses for 2 Tr. 2 C. 2 T. 2 B.) : Te Deum, Benedictus, Kyrie eleison, Nicene Creed, Magnificat, Nmic dimittis. In B flat. For four voices ( verses for 2 Tr. 2 C. 2 T. 2. B. ) : Benedicite, Jubilate, Cantate Domino, Deus misereatur. FULL ANTHEMS. FOR FOUR VOICES. William Mundv. 0 Lord, the Maker of all (D minor) Tr. C. T. B. Dk. Christophek Ty-e. I will exalt thee, 1st Part (C minor) Sing unto the Lord, 2)!d Part (C minor) . Richard Fakrant. Call to remembrance (D minor) ■ Hide not thou thy face (G minor) . Dr. Orlando Gibbons. Almighty and everlasting God (F) Adrian Batten. 0 praise the Lord, all ye heathen (D minor)... . Deliver us, 0 Lord (Dorian mode) Dh. William Child. Praise the Lord, 0 my soul (F) 0 Lord, grant the King (F) Dr. Benjamin Rogers. Behold, now praise the Lord (D) Teach me, 0 Lord (A) Dr. John Blow. The Lord hear thee (I! Hat) My God, my God, (A minor) Robert Creyghton, D.D. I will arise (E Hat) Jeremiah Clark. Praise the Lord, 0 Jerusalem (G) | 12 ANTHEMS AND SERVICES. 5 Dr. BOYCE'S Cathedral Music— Vol. II. continued. rULL ANTIIKMS. FOR FIVE VOICES. Thomas Tai.i.1."!. I call and cry (G minor) Tr. 2 C. T. K. William HVKD. 0 Lora, turn thy wrath ; Ist Part (F) Tr. C. 2 T. B. Bow thine ear, 0 Lord ; -InU Part (F) FOR SIX VOICES. William Byrd. Siiift joyfnlly unto God (C) 2 Tr. 2 C. T. B. Dr. Orlando Gibbons. Hosauna to the Sou of David (C) Lift up your heads (C) . Henry Aldricu, D.D. 0 give thanks (G) . APPENDIX. SEllVICE . ROBEHT Crkyghton, D.D. In E flat. For four voices: Te Deum, Jubilate, and Kyrio eloison (Tr. C. T. U.) ; Nicene Creed (versus for 2 Tr. C. T. B.); Sanctus, Magnificat, aud Nunc dimittis (Tr. C. T. B.). FULL ANTHEMS. FOR fOm VOICES. Thomas Tallis. 0 Lord, give thy Holy Spirit (G minor) Tr. C. T. B. TuoMAS TOMKINS. Almighty and everlasting God (C) ■ 0 pray for the peace of Jerusalem (C) 2 Tr. T. B. Dr. Orlando Gibbons. Why art thou so full of heaviness (A minor.) Tr. C. T. B. 0 Lord, increase my faith (G minor) FOR FIVE VOICES. William Bybd. Save me, 0 God (G minor) 2 Tr. C. T. B. Dr. BOYCE'S CATHEDRAL MUSIC. Vol. III,.. . price, separately, £2 12 6 CONTENTS. Original Preface to Vol. Ill, Memoirs of the Composers, continued from Vol. II. John GoMwin, John Weldon, Dr. William Croft, Dr. John Bull, Michael Wise, Pelham Humphrey, Dr. William Turner, William Lawes, and Matthew Locke. Short Biographical Notices of the Composers of the Chants; viz. Dr. Benjamin Cooke, Dr. T. S. Dupuis, Dr. M. Greene, Dr. Christopher Gibbous, the Rev. Phocian Henley, William Morley, Dr. James Nares, Thomas Purcell, Daniel Purcell, John Uobinson, and the Rev. William Tucker. FULL ANTHEMS. FOR SEVEN VOICES. Dr. William Child. Sing we merrily (F) 2 T"r. 2 C. T. 2 B. FOR EIGHT VOICES. Dr. Orlando Gibbons. 0 clap vour hands. First Part (F) 2 Tr. 2 C. 2 T. 2 B. God is gone up, Second Part (F.) 2 Tr. 2 C. 2 T. 2 B. FULL ANTHEMS WITH VEESES. for pour VOICES. Out of the deep have I called (G minor) Tr. C. T. B. Save me, 0 God (E minor) 0 God, thou art my God (B flatj 1 have set God alwavs before me (E tiat) . In thee, 0 Lord (B flat) Goil is gone up (G) , Put me not to rebuke (C minor) for five VOICES. Dr. John Bull. 0 Lord, my God (A minor) Tr. 2 C. T. B. Adrian Batten. Hear my prayer, 0 God (D minor) Tr. 2 C. T. B. Dr. John Blow. 0 God, wherefore art thou (G minor.) 2 Tr. C. T. B. FOR SIX VOICES. Henry Porcell. 0 God, thou hast cast us out (C minor) 2 Tr. 2 C. T. B. John Weldon. Hear my crying, 0 God (E flat) 2 Tr. C. T. 2 B. FOR EIGUT VOICES. Dr. John Blow. c;od is our hope (A) 2 Tr. 2 C. 2 T. 2 B. Henry Pdrcell. 0 Lord God of Hosts (A) 2 Tr. 2 C. 2 T. 2 B. VERSE ANTHEMS. Henry Aldrioh, D.D Dr. John Blow. Henry Purcell. John Goldwin. John Weldon. Dr. William Cbokt. Jeremiah Clark. for one voice. How long wilt thou forget nie (G minor)... Treble or Tenor. (5 ANTHEMS AND SERVICES. Dr. BOYCE'S Cathedral Music— Vol. III. continued. VEllSE ANTHEMS. FOlt TWO VOICES. Dr. John Blow. 0 Lord, thou hast searched me out (C minor)... 2 Basses. Henry Pdrcell. They that go down to the sea in ships (D) C. B. Thy way, 0 God, is holy (D minor) C. B. Michael Wise. The ways of Zion do mourn (E minor) lY. B. Jeremiah Clark. I will love thee, 0 Lord (B minor) T. B. FOR THREE VOICES. Pelham Hcmphrey. Have mercy upon me, 0 God (C minor) C. T. B. 0 Lord, my God (F minor) • — — Hear, 0 heavens (C minor) Dr. John Blow. 0 sing unto God (G.) Henry PoRCELL. Be merciful unto me, O God (C minor) Behold! I bring you glad tidings (C.) Thy word is a lantern (C) Dr. William Turner. Lord, thou hast been our refuge (E minor) Michael Wi.se. Blessed is he that considereth the poor (E minor).. .2 Tr. C. Awake up, my glory (A) Tr. C. B. Awake, put on thy strength (C.) C. T. B. Thy beauty, 0 Israel (C minor) 2 T. B. Dr. William Croft. 0 praise the Lord, all ye heathen (G minor) C. T. B. FOR FOUR VOICES. William Lawes. The Lord is my light (D minor) Tr. C. T. B. Pelham Humphrey. Like as the hart (F minor) Tr. C. T. B. Thou art my King, 0 God (C minor) C. 2 T. B. Rejoice in the Lord (B flat) C. 2 T. B. Haste thee, 0 God (C minor) C. 2 T. B. Dr. John Blow. 0 Lord, I have sinned (C minor) Tr. C. T. B. I beheld, and lo, a great multitude (D.) C. T. 2 B. I was in the Spirit (C) C. T. 2 B. Henry Purcell. 0 give thanks unto the Lord (C) Tr. C. T. B. Michael Wise. Prepare ye the way of the Lord (B flat) 2 Tr. C. B. FOR FIVE VOICES. Matthew Locke. Lord, let me know mine end (A minor) 2 Tr. C. T. B. Dr. William Croft. Give the King thy judgments, 0 God (C) Tr. C. T. 2 B. CHANTS. Eighteen Single and Six Double. APPENDIX. Ver.se Anthem. (For Two Voices.) Dr. John Blow. Lord, how are they increased that trouble me (A minor). ..2 Tenors. CECIL, KICHARD. I will arise and go to my Father. Anthem, by Richard Cecil, arranged for one or four voices by J ohn Bishop ... 1 0 CBATHERN, W. I was glad. Anthem for three voices, with Organ or Pianoforte Accompaniment, by W. Crathcm 1 0 HANDEL, GEORGE FREDERICK. The Dettingen Te Deum, composed in the year 1743, by G. F. Handel. The Vocal Parts given complete, with an Accompaniment for Pianoforte or Organ, by John Bishop, of Cheltenham 12 0 HANDEL, G. F. The Utrecht Te Deimi, composed in 1713, by G. F Handel. The Vocal Parts given complete, with an Accompaniment for Pianoforte or Organ, by John Bishop, of Cheltenham. 12 0 HANDEL, G. F. The Utrecht Jubilate, composed in 1731, by G. F. Handel, with the Introductory Symphony printed in Dr. Arnold's Score. The Vocal Parts given complete, with an Accom- paniment for Pianoforte or Organ, by John Bishop, of Cheltenham 10 6 HANDEL, G. F. Anthems for the Coronalion of King George II, composed in the year 1727, by G. F. Handel. The Vocal Parts given complete, with an Accompaniment for Pianoforte or Organ 12 0 ANTHEMS AND SERVICES. 7 HANDEL. G. F. Anthem for the Funeral of Queen Caroline, composed in the year 1737, by G. F. Ilandol. Tho Vocal parts given (•om]ili'to, with an Accompaniment for Pianoforte or Organ 10 0 HANDEL, &c. Beauties of Sacred Harmony, containing a series of Vocal and Instrumental Music scloetod from the sublime compo- sitions of Corelli, Handel, Haydn, Mozart, Beethoven, and oth(U' eminent composers ; arranged for voices with an Accompaniment for tho Organ or Pianoforte, designed for the use of families by J. Coggins and J. C. Nightingale; music folio, six books each 3 G Or complete in one volume 1-5 0 HANDEL, MENDELSSOHN, &c. Nine short Anthems from the works of Handel, Mendelssohn, and others, adapted to the intro- ductory Sentences of the Common Prayer ; together with a Selection of Sanctuses, Responses, and single and double Chants, by Tallis, Orlando and Christopher Gibbons, Farrant, White, Rogers, Dupuis, and others ; arranged for one or four voices, with an Accompaniment for tho Organ, Harmonium, or Pianoforte, and intended for the use of the United Church of England and Ireland, by Joseph Warren. Crown 8vo 1 G HATHERLY, S. Te Deum and Jubilate for four voices. Full with verses, by S. Hatherly ; approved and adopted by the most eminent Cathedralists. Music folio 7 0 HORSLEY, WILLIAM, Mus. Bac. A Unison Service, consisting of the Te Deum, Jubilate, Kyrie Eleison, Magnificat, and Nunc diniittis ; to which is added a series of Single and Double Chants, composed and arranged, with an Accompaniment for the Organ or Pianoforte, by William Horslcy, Mus. Bac. Oxon. Organist of the Asylum Chapel and of the Charter-House. Price 5 0 HORSLEY, WILLIAM, Mus. Bac. Single or Double Chants, composed and arranged, with an Accompaniment for the Pianoforte or Organ (contained in the work last mentioned). Price, separately 1 0 JEBB, THE REV. JOHN, M.A.— The Second Volume of The Choral Re- sponses AND Litanies of the United Church of England and Ireland, collected from authentic sources by the Rev. John Jebb, A.M. Rector of Peterstow, Herefordshire. In the Press. Price to Subscribers, £1 Is. to Non-Subscribers £1 11 6 PROSPECTUS. " The first volume of this work, published by subscription in 1847, contained all the various editions of TaUis's Responses and Litany that could be discovered, and the harmonized arrangements of the same parts of the Choral Service by several ancient Composers. " The second volume, besides some additional ancient harmonies of the same nature, adapted to present use, will contain those documents which were announced in the Prospectus to tho first volume ; viz. " 1 . The traditional uses of our Cathedrals and Colleges, both unisonal and harmonized. These, though for the most part retaining the general features of the ancient Chant, have several characteristic peculiarities, both in their harmonies and melodies, which, unless embodied in a per- manent record, seem, in this age of change and novelty, in danger of being lost to the memoiy of churchmen. ANTHEMS AND SERVICES. JEBB'S Choral Responses and Litanies— continued. "2. A reprint of all the musical notation and choral notices contained in the Manuals of Marheck, Lowe, Playford, and Clifford. " Besides these, will he inserted the first English Litanv, noted ; a few specimens of the most ancient English Psalm - Chants ; and fi-ag- ments of ancient Responses, &c collected from rare hooks and MSS. " The harmonized Compositions will be in full score, and in the proper cliffs. The treble, however (in those services which are adapted for use), \vill be substituted for the medius or cantus cliff: and in the re- print of Marheck, the five-lined staff for the ancient one of four lines. " In the Preface, the authorities for the several documents will he stated, and some observations made upon the rationale of these parts of the Service. " It is, perhaps, not unreasonable to hope that those who cherish feel- ings of veneration and attachment for the Church of England, may take an interest in a collection of memorials which so largely illustrate her Liturgy. " Subscriptions received by the Publishers, Messrs. Robert Cocks & Co. (Publishers to the Queen), New Burlington Street, London." CONTENTS OF VOL, II. " OF THE CHORAL RESPONSES AND LITANIES." I. Ancient Services adapted to present use; viz. 1. Tallis's Preces, Chants, and Responses, from Barnard's Church Music. 2. TalHs's Preces and Litany, from a MS. at Peterhouse, Cambridge. ^, Byrd's first and second Preces and Chants from Barnard. .I. Gibbous's Preces in F, from the Peterhouse MSS. 6. Hooper's Preces. 7. Tomkius's Preces, Chants. Responses, and two Litanies. 8. Holmes's Preces, Chants, and Responses, fl, 10, Two Sets of Preces, by Amner. H. Palmer's Preces. 1-2 Ayleward's Preces, Res- ponses, and Litany. 13. Smithe's Responses. H. Batten's Litany. 15. .MoUe's Litany and Suffrages. Ifi. Ramsey's Litany. 17, 18, 19, 'iO. Four Latin Litanies and Suffrages ; viz. iloHe's, Loosemore's, in D minor and G minor, and Ramsey's. II. Ordinary Services of various Choirs ; viz. the unisonal uses of— 1, Salisbury — 2, Lincoln— 3, Winchester— i, Durham— 5, Worcester— 6, New College. The harmonized uses of— 1, Canterbury— 2, York— 3, Dublin— 4, St. Paul's— 5, Durham Communion Responses— 6, Bristol— 7, Exeter — 8, Hereford— 9, Lich- field— 10, Norwich. III. Old English Chants ; viz. 1, Morley's eight Gregorian Chants — 2, Four Chants from a MS. of Dean Aldrich— 3, Specimens of Gibbons's Psalmody. IV. Obsolete Documents; viz. 1, The first English Litany, 1541—2, Merbecke's Book of Commou Prayer, noted— 3, Lowe's Directicus — 4, Extracts from Plaj-ford's Introduction to the Skill of Music— 5. Extracts from Clifford's Divine Services and Anthems. V. Fragments, chiefly of single parts, from old MS. Part and Organ Books, of Preces, Psalms and Litanies, by Tallis, Portman. Parsons, Batten, Pickhaver, Lugg, Child, and Reading. It may perhaps be as well to state that the Preface will contain observations on the authority for Chanting the Prayers and Responses, as the sources of the English plain Chant, and as the ancient Method of Choral Psalmody after the Reformation ; with a full Account of each Piece in the Volume. Also, that the Vohime contains about 30 Single Chants, almost unknown, even to Church Musicians. KENT, JAMES. Morning aud Evening Services of the Chm ch of England, and the celebrated Anthems composed by J ames Kent ; arranged, with an Accompaniment for the Organ or Piano- forte, by E. Sturges, Organist of the Foundling Hospital. Large music folio, two Vols, bound in cloth each £1 1 0 CONTENTS OF THE FIRST VOLUME. Morning Service : Te Deum and .lubilate— Evening Service : Cautate Domino and Dens misereatur. ANTHEMS. Hear- my prayer, 0 God. Blessed be Thou, Lord God. Sing, 0 heavens. The Lord is ray .Shepherd. My song shall be of mercy and judgment. When the Son of Man. Who is this that coroeth from Edom ? In the beginning was the Word. ANTHEMS AND SERVICES. 9 KENT'S Morning and Evening Services— continued. (X)NTENTS OF THE SECOND VOLUME. ANTHEMS. Lord how are they iiicroasod. Wliy do the lleathon so furiously rage to- Kother ? Tho Lord hath prepared. All Thy works jiraiso Thee. ' 0 Lord our (Jovernor. It is a Kood thinp; to give thanks. Give tho Lord tlie honour due. Hearken unto this, U man. Kejoice in tho Lord. Lord, what love have I unto Thy Law ? Unto Tlico, 0 God. My soul truly waiteth. Lord, who shall dwell. This edition of the Services and Anthems of Kent (one of the most generally admired of clinrch writers) will be found to possess many poiut.s of o.Kccllenco peculiarly its own. TIk: score is accurately rendered, the accompaniments arraui^ed with judgment, and lying well under the hands ; while recent revision has purged it from those errors which are apt to escape editorial vigilance. The volumes are liaud- soiuely brought out, and form an indispensable addition to tho library of the organist and the amateur. KING, WILLIAM, Mus. Bac. Morning and Evening Services, in B flat ; consisting of Te Deum, Jubilate, Litany, Kyrie eleiso'n, Doxology, Nicene Creed, Sanctus, Magnificat, and Nunc dimittis, for four voices, edited, with an Accompaniment for tlio Organ, by John Bishop 7 0 KING, CHAELES, Mus. Bac. Cathwhal and Church Services, composed by Charles King (now for the first time published, from MSS. in the possession of the Editor), arranged, with an Accompaniment for the Organ or Pianoforte, by Joseph Warren. Service in D. — No. 1. Te Deum, Jubilate 4 0 — 2. Magnificat, Nunc dimittis 4 0 Service in A. — No. 3. Te Deum, Jubilate 4 0 — 4. Magnificat, Nunc dimittis 4 0 — 5. Gloria in cxcolsis 2 0 Service in F. — No. 6. Te Deum and Jubilate 4 0 ■ — ■ • . — ■ 7. Kyric eleison and Nicene Creed. . 3 0 — 8. Magnificat and Nunc dimittis. . 3 0 MABBECK, JOHN. " A Boke of Common Praier, noted for voices in unison ;" arranged for modern use with an ad -libitum Organ Bass Accompaniment by Robert Janes, Organist of Ely Cathedi'al ; engraved plates, music 4to .... 5 0 The Te Deum and Jubilate ; for voices in unison, or for four voices (exti-actcd fi-om Marbeck's "Boke of Common Praier "), arranged for modern use, with an Accompani- ment for tho Organ or Pianoforte, by Robert Janes, Organist of Ely Cathedral 3 0 PALESTRINA, VITTORIA, &c. Anthems and Services for Three, Four, and Five Voices ; with an Accompaniment for the Organ or Pianoforte, selected chiefly from tho Works of Standard Composers. First Series, demy 4to ; pp. 240, bound in cloth, gilt lettered 12 0 CONTENTS FIRST SERIES. Anehio. Christ became obedient imto Death ...Four Voices. If any man will come after me Four Voices. ALLEfiKi. Sanctus Four Voices. Batten. Deliver ns, O Lord, our God Four Voices. Bird. Blessing and Glory Five Voices. I beheld; and lo, a great multitude Five Voices. Cascioli.ni. Kyrie Four Voices. Child. Praise the Lord, 0 my .soul Four Voices. Creyghton. I will arise Four Voices. Croft. Blessed is the man Four Voices. Di Lasso. Fear not; for, behold, I bring you good tidings Five Voices. Holv, Holy, Holy, Lord God Almighty Five Voices. . The Gift of God is Eternal Life Four Voices. The Lord is risen Four Voices. C ]0 ANTHEMS AND SERVICES. PALESTEINA, &c. Anthems and Services — continued. 1>V0B. lu tliue, O Lord, have I trustuil Five Voices. 0 Goil, thou art my God Kive Voices. Farkant. Cill to remembrance Four Voices. Hide not t!>y face Four Voices. Unto thee, 0 Lord Four Voices. Festa. Thy way, 0 God, is holy Three Voices. Gauntlett. Alleluia Four Voices. I am the Resurrection and the Life / Four Voices. Gibbons. Almighty and everlasting God Four Voices. Morales. Unto us a Child is born Three Voices. MORLET. 0 give thanks Four Voices. MozABT. 0 taste and see Four Voices. Nanino. Awake thou that sleepest Four Voices. This is the day which the Lord hath made Five Voices. Okeland. Praise the Lord, 0 my soul Four Voices. Palesthina. Blessed are all they Three Voices. Come, Holy Ghost, our souls inspire Four Voices. — — — Come ye, and let us go up Five Voices. Come, ye blessed of my Father Four Voices. Commuuiou Service Four Voices. Kyrie. I Sanctus. Niceuc Creed. | Gloria in excelsis. How beautiful are the feet Four Voices. If God be for ns Four Voices. Is it nothing to yon Four Voices. I will always give thanks unto the Lord Five Voices. KjTie Four Voices. Like as the hart Four Voices. Non nobis, Domine Five Voices. 0 Praise the Lord Five Voices. 0 Praise the Lord, ye angels of his Five Voices. 0, Lamb of God Four Voices. 0, Lamb of God Five Voices. 0, Saviour of the World Five Voices. Sing we merrily unto God Five Voices. These are they which came Four Voices. PURCELL. 0 God, Thou art my God Four Voices. Rogers. Teach me, 0 Lord Four Voices. Tallis. Hear my prayer Four Voices. Hear the voice and prayer Four Voices. If ye love Me Four Voices. ViTTORiA. Behold, I send my messenger Four Voices. Behold the handmaid of the Lord Four Voices. Behold the Lamb of God Four Voices. Break forth into joy Four Voices. How beautiful upon the mountains Four Voices. How beautiful upon the mountains Three Voices. I will sprinkle clean water Four Voices. Now it is high time Four Voices. ^— — 0, clap your hands Four Voices. 0, praise the Lord, all ye heathen Four Voices. PALESTEINA, &c. Anthems and Services for Church Choirs, yritl^ an Accompaniment for the Organ or Pianoforte ; selected chiefly from the "Works of Palestrina. Second Series Demy 4to. pp. 108, bound in cloth, gilt lettered 8 0 CONTENTS — SECOND SERIES. ANTHEMS. Palestrina. Blow the trumpet in Zion Five Voices. • Drop down, ye heavens Five Voices. Arise, shine Eight Voices. (Two Choirs). I win magnify Thee Five Voices. This is the day Five Voices. 0 give thanks, Part 2 Five Voices. Lift up your heads Six Voices. Thou art gone up on high Five Voices. Sing unto God. Part 2 Five Voices. Whi te. 0 Praise God Eight Voices. {Two Choirs). SERVICES. De Waert. Te Denm. I Nanino. Nunc Dimittis. LucA Marenzio. Magnificat. | Palestrina. Jubilate. ANTHEMS AND SERVICES. 11 REPERTORmM MUSIC^ffi ANTIQUE:. A Miscellaneous Collection of Clas- sical Compositions by the greatest Masters of Germany, Italy, &c. carefully edited by Joha Bishop and Joseph Warren, with Figured Bass for the Organ. Part 1, 8s. Part 2 6 0 CONTENTS. Part 1. Dixit Dominiis (Psalm) for 24 Voices 0. Benetoli. 2. Gloria in excelsis (Chorus) for 9 Voices A. Pevernaoe. Duo Seraphiu (Motett) for 8 Voices J. Gallus. Kyrie and Cloria (from a Mass) for 1 Voices, A. Scarlatti. ROBERT COCKS AND CO.'s Chorister's Hand Book ; a Collection of Fifty- two short and easy Anthems for Two, Three, and Four Voices, with an ad-libitum Accompaniment for the Organ, Harmonium, or Pianoforte ; edited by Joseph Warren. .52 Nos. each 2d. or 1 Vol. bound in cloth 8 0 CONTENTS OF THE NUMBERS. 1. My sons shall he of mercy Clarke. 2. If we say th.at we have no sin Handel. 3. 0 pr.aise God in his boliuess Weloon. *. By .ingels in Heaven Hayes. 5. I will arise and go to my Father. ..Viner. fi. To God, our never-failing Callcott. 7. Whom shall I fear? Handel. 8. This spacious earth is all the Arnold. 9. Blessed be thou, Lord God Hawkins. 10. To Sion's hill I lift my eyes Boyce. 11. O all ye people, clap your hands. ..Arnold. 12. The King, 0 Lord Handel. 0 God, my gr.'icious God Callcott, 14. 0 Lord, correct me Handel. 15. As pants the hart 1(>. To the Lord our God belong J. Warren. 17. My soul with grateful Callcott. 18. Comfort the soul of thy Crotch. 19. The Lord upholdeth all such Greene. 20. O praise God in his holiness Clarke. 21. Praise the Lord, 0 Jerusalem Hayes. 22. 0 Lord, we beseech Thee Pring. 23. Blessed be he that cometh Croft. 24. Sing, 0 heaven Kent. 25. Who is like unto the Lord Greene. 26. *Thou knowest. Lord Porckll. 27. I will sing of the Lord Clarke. 28. The king shall rejoice in thy Greene. 29. 0 Lsrael, trust in the Lord Croft. 30. 0 praise the Lord PUitCELL. 31. Glory and worship aie Greene. 32. When the wicked man tumeth... Warren. 33. Let my supplication come Greene. 34. I acknowledge my Handel. 35. Lord, how are they increased Kent. 36. The Lord will deliver therighteous. Greene. 37. My God, my God, look upon Reynolds. 38. 0 Lord our Governor Kent. 39. Sing unto the Lord a new Greene. 40. The Heavens shall declare 41. So we that are thy people CROrT. 12. Praised be God — 43. Blessed be thou. Lord God Kent. *44. I am the Resurrection Croft. *45. We bi onght nothing into this world *46. Dixi Custodiam— Dble Chant.MORNiNGTON. Dead March in Saul Handel. ♦47. Man that is born of a woman Croft. *48. In the midst of life *49. I heard a voice from heaven — : — *50. His body is buried in peace Handel. *51. But his name liveth evermore ... 52. Hallelujah ' Greene. * Those marked thus (*) were performed at the Fimer.al of His l.ate Grace the Duke of Wellington. ROBERT COCKS AND CO.'S Chorister's Handbook. New Series. In course of issue, in Nos each 0 2 Double Nos each 0 4 TALLIS, THOMAS. The Order of the Daily Service of the United Church of England and Ireland, as arranged for use in Quires and Places where they sing, by Thomas Tallis, Gentleman of the Chapel Royal, in the reigns of Edward VI and Queen Mary, and Organist and Gentleman of the Chapel in the time of Queen Elizabeth ; newly edited by John Bishop, of Cheltenham, with a Preface and a Biographical Notice of Tallis, handsomely printed in red and black. Dedicated by permission to the Lord Bishop of Gloucester and Bristol. Vii&t%YO, fine paper 4 0 The Morning, Evening, and Communion Services by Thomas Tallis, in separate parts ; edited by John Bishop. Treble, Alto, Tenor, and Bass parts each 2 0 Organ parts 3 0 CONTENTS. Te Deum—Benedictus— Kyrie Eleison — Nicene Creed — Sanctus — Gloria in excelsis — Magnificat — Nunc dimittis. 12 ANTHEMS AND SERVICES, CHANTS, ETC. WABREN, JOSEPH. The Order for Morning and Evening Prayer daily throxigliout the Year, with the Sentences, Exhortation, Confession, Absolution, Lord's Prayer, Apostles' Creed, Collects, and Prayers ; also the Preces, Eoponses, Venite, and Litany, for one or four Voices, with an Accompani- ment {ad libitum) for Organ or Pianoforte, by Joseph Waneu. Demy 4to I 0 WHITCOMBE, A. A Service for the use of the Established Church, con- sisting of the Jubilate Deo, Kyrie Eleison, Magnificat, and Nunc dimittis, arranged, with an Accompaniment for the Organ or Pianoforte, by A. Whitcombc. Price .... 3 0 CHANTS, &c. BISHOP, JOHN. A Collection of Ninety-three Chants for the use of the United Church of England and Ireland, compiled by John Bishop, of Cheltenham 1 4 CLABE, EDWARD. A Simple Guide for Chanting, for the use of Amateurs, followed by the Complete Service for the Church, and twenty Psalms from the Psalter, carefully pointed and adapted to the Chants in general use, by Edward Clare . . 3 0 One hundred and thirty-eight Single and Double Chants, comprising thirty Gregorian and one hundred and eight Cathedral and Parochial Chants, of the most approved Masters, ancient and modem ; the whole aiTanged for the Organ or Pianoforte by Edward Clare 4 0 HATHERLY, S. The Canticles, divided according to true principles, and adapted to the form of Chant commonly called Anglican ; together with specimens of the above Chants, composed in the Gregorian modes or tones by S. Hatherly ; second edition, small 8vo 0 6 WARREN, JOSEPH. The Order for Morning and Evening Prayer daily throughout the year, for one or four voices, with an ad lib. Accompaniment for the Organ or Pianoforte, by Joseph Warren (being an Appendix to the Chanter's Hand-guide), 1 0 The Hymns and Canticles of the United Churches of England and Ireland, newly pointed for Chanting, by Joseph Warren ; second edition, small 8vo 0 6 The Chanter's Hand-guide, for the use of Churches, Chapels, Training Colleges, Schools, &c. containing the Psalter or Psalms of David, the Canticles, &c. pointed for Chanting, with 373 Cathedral Chants, very many of which (written by the most eminent Composers and Organists of this country expressly for this work) are now first published ; edited by Joseph Warren. Demy 4to. pp. 140, bound in cloth 5 0 The present Work was projected with a view of supplying a uniform book for general use, containing the Psalter or CHANTS, ORGAN MUSIC. 1.3 WARREN'S Chanter's Hand-guide— continued. r.salins of David, tlic Canticles, and other SciTiccs, pointed for Chanting ; with a Scku'tion of Single and Double Chants, so arranged that both Chant and Words may be read at a glance. The Psalms for each day, as also the Canticles, &c. are so printed that, whether for morning or evening prayer (with a trifling exception, wholly un- unavoidablc), there shall bo no turning over the page for the remainder of the words. — See Preface to the Work. CONTKNTS. Hints on Chanting — Venite, exultoinus Domino — Te Deum laudamus — .hibilato 1)00 — Benedictn.s — Magnificat — Cantate Domino — Nunc Jimittis— Deus miseieatur— Boiieilicite, omnia opera Domini— The Creed of St. Ath,anasins — The hundred and fifty Psalms of David — Easter Day — Gunpowder 'I'reasnn — King Charles the Martyr — The Restoration of the Uny.-il Family — The Queen's Accession — The Burial Service — Three hundred and seventy-three .Single and Double Chants by ancient and modern Authors. WARREN, JOSEPH. Parochial Chant-book ; a Selection of one hundred Chants, chiefly by the Old Masters, to which is added an Appendix containing fifteen Chants written expressly for this Work ; the whole newly adapted to the Daily Psalms, and arranged for four Voices, or for the Organ or Pianoforte, by Joseph Warren 3 0 One hundred and forty - four Cathedral Chants. Six books each 2 6 Or in one vol. complete 12 0 One hundred and forty - four Gregorian Chants. Six books each 2 6 Or in one vol. complete 12 0 ORGAN MUSIC. ADAMS, THOMAS. Varied Theme and Fugue 2 6 Six Fugues 6 0 BACH, JOHANN SEBASTIAN. Compositions for the Organ, with Pedal Obligate, edited from the critically correct version of Friedrich Conrad Griepcnkcrl and Ferdinand Roitzsch, by John Bishop of Cheltenham. In A'olumes each 15 0 Organ Compositions on Chorale or Psalm Tunes ; edited from the Original MSS. by Felix Mendelssohn Bartholdy. In Six Books each 8 0 Forty-eight Preludes and Forty-eight Fugues, by Johann Sebastian Bach ; edited by C. Czemy £111 6 The Art of Fugue, by Johann Sebastian Bach, edited by C. Czerny , £1 1 0 Pianoforte Works, by Johann Sebastian Bach ; edited by Carl Czemy. In Volumes.. each 15 0 14 ORGAN MUSIC. BACH, J. S. A Selection from Sebastian Bach's 'Works for the Pianoforte, prefaced with an Essay on the proper Study and Execution of these and similar Works, by Dr. Adolf Marx ; translated by A. H. Wchrhan. Music folio 8 0 BECKER, CARL FERDINAND. Twenty-four Preludes for the Organ, com- posed as Exorcises, and for use in Divine Worship, by C. F. Becker, Op. 1-5 ..30 BEETHOVEN. See Vincr. BEST, W. T. Modem School for the Organ, in Four Parts, by "W. T. Best; price complete £1 H 6 Or the Parts separately, as follows : Modem School for the Organ. Part I. Price 10 6 CONTENTS. Elementary Instructions in the Art ot Organ Playing— General De- scription of an Organ— Music for the Organ — Manner of Playing the Organ — The Registers (with their classification)— The Art of Registering — Scale Exercises in all the major and minor keys. Modem School for the Organ. Part II 12 0 CONTENTS. Remarks on the development of a pure School of Organ-playing in England- On the Compass of the Pedal-board and the notation in use Twelve Exercises for the alternate use of the Right and Left Foot— Six Exercises for the alternate use of the Point and Heel of each Foot — The Major and Minor Scales— The Chromatic Scale— Six Exercises for the practice of passages of Special DifflciUty, .-uul to illustrate the Mixed System of using the Pedal. Modern School for the Organ. Part III 7 0 CONTENTS. Eight Trios for Two Maiuials and Pedal. Six Oho rales for one, two, and three Claviers. Psalm Ivii for the Congregation and Organ. Choral Hymn for Two Choirs with Organ Accompaniment. Modern School for the Organ. Part IV lo 6 CONTENTS. Twenty-four Studies — Fuga in F major—" God Save the Queen" with Variations and Finale. BEST, W. T. Collection of Organ Compositions, Ancient and Modern, edited by W. T. Best. In Books, each 3s. ; or, the First Volume, containing 12 Books complete, oblong folio, bound in cloth 30 0 A Collection of the Choruses of Handel (selected from all his Oratorios and Anthems), aiTanged for the Organ by W. T. Best ; oblong folio, extra size, publishitig hy subscription. To Subscribers £1. Is. To Non-subscribers 36 0 Six Adagios for the Organ, composed by "W. T. Best 5 0 An Andante for the Organ, composed by "W. T. Best 1 6 The Organ Student, containing Arrangements from the Works of eminent Composers, for the Organ, with pedal obbligato, by W. T. Best. In two volumes, oblong small folio, bound in cloth, £2 2s. or each volume separately 21 0 BISHOP, JOHN. A Selection of Favorite Pieces by the Great Masters, adapted as Solos for the Organ with Pedal Obbligato, by John Bishop. Haydn — With verdure clad 2 6 Now vanish before the holy beams 3 0 Eomance from la Eeine de Prance Symphony 2 6 Spohr— Though all thy friends (Calvary) 2 6 Twelve Chomscs of Handel. {See Handel, G. F.) OROAN MUSIC. 15 BRODERIP, ROBERT. Tlio Organist's Jounuil, uoataining a Selection of I'ioccs for the Organ, suitable for the Service of the Chiireh, extracted from the Works of the following great Masters : Pcrgolcsi, Corelli, Ilandcl, Avison, Stanley, Boycc, Green, Kccblc, Haydn, Mozart, &c;. &c. with some Pieces composed by the editor, Robert Broderip £1 1 0 BRYAN, C. A second Scries of Eilusions for the Organ, containing Fugues with Introductions, Swell, Diapason, and other Pieces, by C. liryan ; 6 Books, each 3 0 One Hundred and Fifty Short Interludes for Psalm Tunes, including Fifty for the Morning or Evening Hymn .... 6 0 CLARE, EDWARD. Prelude and Fugue for the Organ, with Pedal Obbligato 4 0 CORELLI, ARCANGELO. The Twelve Celebrated Concertos, adapted for the Organ by Thomas Billington 10 6 The Twelve Grand Solos, adapted for the Organ by Carl Czerny 10 6 CZERNY, CARL. Six Preludes and Fugues 5 0 Preludio e Fuga for Pedal Organs 3 0 Twelve Introductory or Middle Voluntaries 5 0 Twenty Short Voluntaries 7 0 HANDEL, G. F. Twelve Choruses, arranged for Pedal Organs by John Bishop, of Cheltenham, each 2 6 A Collection of the Choruses of Handel, selected from all his Oratorios and Anthems, arranged for the Organ by W. T. Best ; extra size folio, oblong ; publishing by sub- scription. To Subscribers £1 Is. ; to Non-subscribers. . 36 0 Corfe's Beauties of Handel ; consisting of upwards of 150 of the favorite Solos, Duets, and Trios, from the Vocal Works of Handel. 3 vols, oblong folio, each 25 0 Twelve Choruses for Pedal Organs, by John Bishop. . . each 2 6 HERZOG, J. G. The Practical Organist ; a New and Complete Collection of Organ Pieces of various kinds, forming a manual for improvement and for Divine Service, with Original Con- tributions from the most celebrated and esteemed Organ Composers, edited by J. G. Herzog, Organist of the Parish Church of Miinchen. In Eighteen Books each 3 6 JACOB, B. Handel's Cuckoo and Nightingale Concerto, with a new Pastoral and a Fugue, by J. S. Bach 3 0 LIE6E, LOUIS. Twenty-five Original Voluntaries for the Organ or Har- monium, with pedal, ad lib. intended for use in Divine Service, by Louis Liebe 6 0 MENDELSSOHN, FELIX BARTHOLDY. J. S. Bach's Organ Compositions on Chorale or Ps;dm Tunes. {See Johann Sebastian Bach.) Six Grand Sonatas for the Organ, composed and dedicated to Dr. F. S. Schlemmer by Felix Mendelssohn Bartholdy. In One Volume £1 11 G MOZART, W. A. Grand Organ Fugue in G minor. The only one composed for the Organ by Mozart, with an Introduction by John Thomas Cooper, F.E.S.A. Organist of St. Paul's Church, Islington 3 0 A Selection from the Requiem, by W. Russell 3 0 NETJKOMM, the Chevalier. Twenty-five Organ Voluntaries. Nos. 1 & 2, ea. 4 0 10 ORGAN MUSIC. NIGHTINGAIE, J. C. Mass Voluntaries ; a Selection of Movements from the Masses of Haydn, Mozart, Beethoven, Hummel, Porgolesi, &c. arranged as Voluntaries for the Established Church Service and for private use, hy J. C. Nightingale. In Eighteen Books each 7 6 Or in Two Vols, bound in cloth each f 1 11 6 NIXON, HENRY G. Organ Themes ; a Series of Subjects from the Works of Aane, Beethoven, Boyce, Handel, Haydn, Kent, Mar- cello, Mozart, Pergolesi, &c. arranged as Soft Voluntaries by Henry G. Nixon. In SLx Books each 7 6 Or in One Vol. bound in cloth £1 16 0 Select Subjects ; being a continuation of Organ Themes, and intended as Introductory and Concluding Voluntaries for the use of the Established Church, containing favomite Movements from the celebrated ]\Iasters, and a Variety of Original Pieces by Modem Authors. The whole selected and arranged for the Organ by Henry G. Nixon. In Six Books each 7 6 On in One Vol. bound in cloth £116 0 — The Organist's Compendium ; a Selection of Compositions for the Organ, by the most esteemed Composers, arranged by Henry G. Nixon. In 24 Numbers each 1 6 Or in One Vol. bound in cloth £1 10 0 RINCK, DR. CHRISTIAN HEINRICH. First Three Months at the Organ, expressly composed as an easy Guide to playing on that noble instrument by Christian Ileinrich Rinck ; new and enlarged edition, with an introduction, giving a practical explanation of the Organ, description of the Stops, &c. &c. by John Bishop, of Cheltenham 6 0 Introductory Practice, One Hundred and Twenty Exercises, &c. in all the Keys, intended as a Preliminary Study to the Author's Organ School. Op. 82 12 0 ■ Organ Works; now and complete edition, edited by John Bishop. In Books each 3s. 4s. and 5 0 Twenty-four Grand Pieces, Op. 120. Four Books. .. .each 6 0 Devotional Eecreations, Op. 116. In six Books each 2 6 Or complete in one vol 12 0 The Celebrated Practical School, for the Organ, by C. H. Rinck ; translated from the Original by the late Samuel Wesley ; Tenth edition carefully revised by John Bishop, of Cheltenham. Complete in six Books, Oblong-folio, each 7 C Or in one vol. bound in cloth fl 16 0 CONTENTS. Book 1. Twelve short and easy Compositions in two parts — Twelve short and easy Compositions in three parts — Twelve short and easy Composi- tions in four parts (as preparatory exercises)— and Thirty Preludes in all the Keys. Book 2. Pedal Exercises and twelve Chorales with Variations. Book 3. Fifteen Voluntaries with Changes from the Great Organ to the Choir Organ. Book 4. Fifteen Voluntaries with Fugues and Alterations of Choir and Great Organ. Book 5. Various Preludes and Fugues in the Strict Style-, and a Concerto, with Solos on the Flute Stop ; and a Theme with Variations in the Free Style. Book 6. Various Preludes and Fugues in the Strict Style, and a Grand Fantasia in the Free Style, for advanced performers. RUSSELL, W. Twelve Voluntaries, in two books, each 10 6 A Selection from Mozart's Requiem 3 0 SPOHR. See Viner. ORGAN MtTSrC. 17 VINER, W. L. Thi> Orgnuiat's Library, a scloctii)ii of ohoico and l)oautif iil Proiluotiona by the most ostooracMl Foroif^n aad English Composers, ancient and modern, arranged fcir tho Organ, with or without the Pedals, and ealculated as Voluntaries for Publie Worship. In Six No3. each 2s. Gd. or in One Vol. complete 12_ £ Gems ii la Spohr. A Selection of Slow Movements, trom the Works of Louis Spohr, arranged for the Organ by W. L. Viner. Nos. 1 and 2, each 'i 0 — . Gems ii la Beethoven. A Selection of Slow Movements, {rom the Works of Beethoven, arranged for the Organ, by W. L. Viner. No. 1 I 0 The Organist's Journal; two numbers, each 1 0 No. I. — The Bonodictus and Hosanna, from Mozart's Requiem, arranged for tho Organ, &c. No. 2. — Gloria in excelsis, Pergole.si's (celebrated Chorus, arranged for tho Organ, &e. WAMIEN, JOSEPH. One Hundred Interludes 4 0 Easy Movements for the Organ 3 0 Beauties for the Organ ; a Collection of Pieces adapted as Introductory, Middle, and Concluding Volun- taries. From the Works of Handel, Sebastian Bach, Haydn, Mozart, Beethoven, Weber, Cherubini, Graun, and other great Masters of the Italian, German, and Eng- , lish Schools. The whole selected and arranged for the Organ by Joseph Warren In Twelve Books each 2 6 Or in One Vol. bound in cloth £1 I 0 Sacred Voluntaries ; a Collection of Pieces adapted for the Introductory, Middle, and Com^luding Parts of Divine Service, the whole selected from the Works of the Great Masters, and aiTanged for the Organ, by Joseph. Warren. In Twelve Books each 2 6 Or in One Vol. bound in cloth £1 1 0 Soft Movements ; selected from the AVorks of Handel, J. S. Bach, Haydn, Alozart, Beethoven, C. M. von Weber, Spohr, Graun, Gluck, and other eminent Composers, for the use of the Soft Stops on the Organ; the whole arranged and in part composed by Joseph Warren. In Twelve Books each 2 G Or in One Vol. bound in cloth £1 1 0 A Handbook for Amateur Organists, consisting of a Selec- tion of the most favourite Slovements from the Works of Mendelssohn, Beethoven, Mozart, Haydn, C. M. von Weber, Sebastian Bach, Handel, &c. &c. arranged for the Organ or Harmonium, by Joseph Warren. In Twelve Books each 3 0 Church Voluntaries. In a wrapper 8 0 WESLEY, SAMUEL. Twenty -four Interludes, or short Voluntaries, for the Organ, in twelve different kej's, major and minor ; com- posed by Samuel Wesley i 0 WESLEY, SAMUEL SEBASTIAN. Psalms and Hymns for Pedal Organs. Second edition 10 6 WILSON. Twelve Movements 4 () 18 ORGAN DUETS. ORGAN DUETS. JACOB, B. A Grand Fugue by John Sebastian Bach, in three movements and on three subjects, the theme being the first four bars of St. Ann's Psalm Tune 4 0 NIXON, H. G. The marv'lous work— Haydn.. 2 0 The heavens are telling — Haydn 3 0 The arm of the Lord — Haydn 4 0 ■ Fixed in his everlasting seat — Handel 2 6 Let their celestial concerts — Handel 2 0 Hallelujah Chorus — Handel 1 6 For unto us a Child is bom — Handel 3 0 The Lord shaU reign — Handel '. 2 6 He gave them hailstones — Handel 2 6 Awake the trumpet's — Handel 1 6 From the censer — Handel 3 0 HaUelujah to the Father — Beethoven 3 0 METRICAL PSALMS, HYMNS, &c. BACH, JOHANN SEBASTIAN. Thirty Hymns. A Collection of J. S. Bach's celebrated Chorales, adapted to select portions of Hymns from various Authors, with an Accompaniment for Organ or Pianoforte, edited by Joseph Warren 3 0 BRYAN, C. Psalms and Hymns 7 6 CLARE, EDWARD. Psalmody ; A Collection of the most approved Psalms, Hymns, Single and Double Chants, &c. &c. arranged for the Voice and Organ or Pianoforte ; adapted to appro- priate Versions by Edward Clare. In twelve Parts, each 3s. or Four Volumes, each 9 0 CLARK, THOMAS. Jubal's Lyre ; Fifty Psalm and Hymn Tunes 5 0 HAYES, WILLIAM, Mus. Doc. 10 Favorite Psalms, from Merrick's version, as daily performed at the University Churches of Oxford and Cambridge, and at all the Cathedrals and Collegiate Churches throughout the kingdom ; composed by Dr. William Hayes, and newly edited for the further use of Cathedral, Collegiate, and Parochial Churches, by Edward Clare 5 0 KELLY. Hymns from Scriptme, 2 books, each . . : 3 0 RINCK, CHRISTIAN HEINRICH. A Selection of Psalms and Hymns, as used in the EstabUshed Churcli and Chapels, arranged with an Accompaniment for the Organ or Pianoforte, with Appropriate Preludes and Interludes, com- posed by Christian Heinrich Einck, Op. 119. In Six Books, each 4s., or complete in One Volume, bound in cloth, gilt lettered 21 0 VINEB, W. L. One Hundred Psalms and Hymns in Score for one Voice only, or two, three, or four voices ; in one volume, bound in cloth 12 0 WARREN, JOSEPH. Robert Cocks and Co.'s Collection of 312 Psahn and Hymn Tunes (including many composed expressly for this Work), in Score, for One, Two, or Four Voices, and an Accompaniment for Organ, Harmonium, or Pianoforte, edited by Joseph Warren, in 48 Nos. 2d. each, or in Four Volumes, Cloth Boards, 2s. each, or in One Volume, half-boimd '. 8 0 ORATORIOS, SERVICES, MASSES, &C. ORATORIOS, SERVICES, MASSES, &o. SUrERR MODERN EDITIONS, BY JOHN BISHOP, OF CHELTENHAM. MESSIAH, by G. F. IIandei,— Folio Edition -from Mozart's Score. The Vocal Score complete, with Accoinpauiment for the Organ or Pianoforte; music folio, pp. 182, bound in cloth, gilt lettered 15 0 MESSIAH, by G. F. llANnEi, — Library Edition, in Imperial Octavo— from Mozart's Score. The Vocal Score complete with Accom- paniment for the Organ or Pianoforte, with AppendLx of 57 pages (containing diiferent versions), and a complete book of the words prefixed ; imp. 8vo. pp. 269, handsomely bound in cloth, gilt lettered C G MESSIAH, by G. F. Handel— The People's Edition— from Mozart's Score. Vocal Score complete, with Accompaniment for Organ or Pianoforte ; also a book of the words prefixed. Svo. in Unip cloth (forming a Handbook for the Oratorios), gilt . 3 6 Note. — These are the only published editious which contain the effects of Mozart's celebrated Accompaniments. THE CREATION, by Joseph Haydx— Folio Edition— Vocal Score with Ac- companiment for Organ or Pianoforte; music foUo, pp. 201, bound in cloth, gilt lettered 1 .> 0 THE CREATION, by Joseph Haydn— Library Edition, in Imperial Octavo — Vocal Score with Accompaniment for Organ or Piano- forte, with a book of the words; imp. Svo. pp. 193, bound in cloth, gilt lettered 4 6 THE CREATION, by Joseph Haydn— The People's Edition— Vocal Score with Accompaniment for Organ or Pianoforte, with book of words prefixed ; imp. Svo. pp. 181, in limp cloth (fonn- ing a Handbook for the Oratorios), gilt 3 0 THE SEASONS, by Joseph Haydn— Folio Edition— Vocal Score complete with Accompaniment for the Pianoforte, by Muzio Clementi ; music folio, pp. 192, bound in cloth, gilt lettered. 21 0 ISRAEL IN EGYPT, by G. F, Handel— Folio Edition— Vocal Score with Accompaniment for Organ or Pianoforte ; music folio, pp. 161, bound in cloth, gilt lettered 15 0 ISRAEL IN EGYPT, by G. F. Handel— Library Edition, in Imperial Octavo — Vocal Score with Accompaniment for Organ or Pianoforte, with book of words prefixed ; imp. Svo. pp. 173, boimd in cloth, gilt lettered 4 6 JTJDAS MACCAB.a:US, by G. F. Handel— Folio Edition— Vocal Score with Accompaniment for Organ or Pianoforte ; music folio, pp. 1S9, bound in cloth, gilt lettered 15 0 JUDAS MACCAB.ffiUS, by G. F. Handel— Library Edition, in Imperial Octavo — Vocal Score with Accompaniment for Organ or Pianoforte, with book of words prefixed ; imp. Svo. pp. 212, bound in cloth, gilt 4 6 SAMSON, by G. F. Handel; Folio Edition— Vocal Score with Accom- paniment for Organ or Pianoforte ; music folio, pp. 218, bound in cloth, gilt lettered 15 0 SAMSON, by G. F. Handel (Edition by Dr. John Clarke)— Library Edition, in Royal Octavo — Vocal Score with Accompaniment for Organ or Pianoforte, with book of words prefixed ; royal Svo. pp. 332, bound in cloth 6 0 20 ORATORIOS, SERVICES, MASSES, &C. JOSHUA, by G. F. Handel; Folio Edition— Vocal Score with Accom- paniment for Organ or Pianoforte ; music folio, pp. 172, bound in cloth, gilt lettered 15 0 THE DETTINGEN TE DEUM. by G. F. Handel— Folio Edition— Vocal Score complete, with an Accompaniment for Organ or Kanoforte ; stiff covers 12 0 THE DETTINGEN TE DEUM, by G. F. Handel— Library Edition, in Imperial Octavo — Vocal Parts complete, with an Accom- paniment for Organ or Pianoforte ; imp. 8vo, pp. 80, stifi' covers 2 6 THE UTRECHT TE DEUM, by G. F. Handel ; Folio Edition— the Vocal Score complete, with Accompaniment for Organ or Piano- forte ; music folio, pp. 49, stiff covers 12 0 THE UTRECHT JUBILATE, by G. F. Handel— FoUo Edition ; the Vocal Score complete, with an Accompaniment for the Organ or Pianoforte ; music folio, pp. 4-1, stiff covers 10 6 ANTHEMS FOR THE CORONATION OF KING GEORGE H,. by G. F Handel— Folio Edition — the Vocal Score complete, with an Accompaniment for the Organ or Pianoforte ; music folio, pp. 81, stiff covers 12 0 ANTHEM FOR THE FUNERAL OF QUEEN CAROLINE, by G. F. Handel — Folio Edition — the Vocal Score complete, with Accompaniment for the Organ or Pianoforte ; music foUo, pp. 58, stiff covers 10 0 ACIS AND GALATEA, Serenata, by G. F. Handel— Folio Edition— the Vocal Score complete, with Accompaniment for Organ or Pianoforte; music folio, pp. 99, bound in cloth, gUt lettered 12 0 ALEXANDER'S FEAST, by G. F. Handel— Library Edition, in Imperial Octavo — from Mozart's Score ; the Vocal Score complete, with Accompaniment for the Organ or Pianoforte ; imp. 8vo. pp. 117, stiff covers 3 0 ZADOK THE PRIEST, by G. F. Handel— Library Edition, in Imperial Octavo — the Vocal Score complete, with Accompaniment for the Organ or Pianoforte ; imp. 8vo. pp. 16, stiff covers 0 6 STABAT MATER, by Giacomo Eossini— Folio Edition— the Vocal Score complete with Accompaniment for Organ or Pianoforte ; with the Latin words and also English words adapted from the Scriptures ; edited by Joseph Warren, folio, pp. 80, boimd in cloth, gUt lettered 12 0 THE MOUNT OF OLIVES, by L. von Beetho\t!N— Folio Edition— the Vocal Score complete with Accompaniment for the Organ or Pianoforte ; edited by Joseph Warren, music folio, pp. 75, stiff covers 12 0 BEETHOVEN'S FIRST SERVICE (first Mass in Cj— Library Edition, in Imperial Octavo — with English words by W. Ball, Esa. and the original Latin words ; Vocal Score complete, with Accompaniment for Pianoforte ; imp. 8 vo. pp. 132 3 6 MOZART'S FIRST SERVICE (first Mass in C)— Library Edition, in Imperial Octavo — with English words by W. Ball, Esq. and the original Latin words ; Vocal Score complete, with Ac- companiment for Pianoforte ; imp. 8vo. pp. 82 2 6 MOZART'S GRAND REQUIEM (in D minor)— Library Edition, in Imperial Octavo — with Engli-^ih words by W. Ball, Esu. and the original Latin words ; Vocal Score complete, with Ac- companiment for the Pianoforte ; imp. 8vo. pp.122. . 3 6 MISCELLANEOUS WORKS ON THE ORGAN. ANDRE, J. Introduction to the use of the Pedals in Organ Playing, by J. Andro; translated and adapted to English Organs by J. A. Hamilton 3 0 HAMILTON, J. A. Catechism of the Organ, with an Historical Introduc- tion, and a List and Description of the principal Organs in Great Britain, Ireland, Germany, France and Switzer- land ; the whole revised, eon-ected, and much enlarged, by Josepli Warren. Third edition, 18mo. pp. 270 4 0 HOPKINS and RIMBAULT. The Organ, its History and Construction : a (-omprchensive Treatise on the Structure and Capabilities of tlio Organ, with specifications and suggestive details for instruments of all sizes, intended as a Handbook for the Organist and Amateur, by Edward J. Hopkins, Organist of the Temple Chui'ch ; preceded by an entii-ely new History of the Organ, Memoirs of the most eminent Builders of the seventeenth and eighteenth centuries, and other matters of research in connection with the subiect, by Edward F. Eimbault, LL.D. Member of the E'oyal Academy of Music in Stockholm, etc. ; royal 8vo. pp. 700, profusely illustrated, handsomely bound in cloth, gilt. 31 G SCHEIBLER, H. An Essay on the Theory and Practice of Tuning in general, and on Scheibler's Invention of Tuning Pianofortes and Organs by the Metronome in particular ; with an Ap- pendix containing Description of Scheibler's Tuning Eings for Organ Pipes, and the String Chronometer ; small 8vo 1 0 WARREN, JOSEPH. Instructions for the Organ 4 0 Appendix to the Instructions for the Organ 3 0 A Few Hints to Young Organists » 3 0 WORKS ON THE THEORY OF MUSIC. AlBRECHTSBERGER, JOHANN GEORG. Methods of Harmony, Figured Bass, and Composition, adapted for self-instruction, by Albrechtsberger ; translated from the last German edition, as augmented and arranged by his pupil, the Chevalier von Seyfried, with the Remarks of M. Choron ; translated from the last Paris edition by Arnold Merrick. Second edition, in two vols. 8vo. bound in cloth, lettered. ... £2 2 0 CHERTJBINl, L. A Course of Counterpoint and Fugue, by L. Cherubini, Member of the French Institute, Director of the Con- servatoire of Music in Pai-is, Officer of the Legion of Honoui-, &c, ; translated by J. A. Hamilton, Author of the Musical Catechisms, Grammar, Dictionary, &c. Second edition, two vols, half-bound in cloth £1 11 6 CLARKE, JAMES. Practical Exercises in Harmony and Thorough-Bass, with copious Examples, by James Clarke. Twenty-four numbers each 1 0 Complete 15 0 CORFE, T. .A Principles of Harmony and Thorough-Bass, explained by short and easy Rules, with Exercises, by A. T. Corfe. Folio 9 0 22 WORKS ON THE THEORY OF MUSIC. CZERNY, CARL. Scbool of Practical Composition ; or Complete Treatise on the Composition of all kinds of Music, both Instrumental and Vocal, by Carl Czerny, with numerous practical E.icaraples ; translated by John Bishop. Folio, three vols. bound in cloth each vol. £1 11 6 Each volume of this m.igniflcent work forms a complete Treatise, and may be had separately. DONE, J. A short Treatise on Harmony, Thorough-Bass, and Modulation, including the Compass and Properties of Musical Instru- ments in general, by J. Done 4 0 FETIS, F. J. An Elementary and Abridged Method of Harmony and Ac- companiment, followed by Progressive Exercises in every Key, by F. J. Fetis ; translated by John Bishop 12 0 GUUTf, JOHN. An Essay, Theoretical and Practical, with copious and easy Examples on the application of the Principles of Harmony, Thorough-Bass, and Modulation, to the Violoncello, by John Gunn 12 0 KALKBRENNER, FREDERICK. A Treatise on Harmony, for the Pianist, containing general Principles of Modulation, for the ac- quirement of the Art of Preluding and Extemporizing, with Examples of Studies, Fugues, and Preludes for the Piano- forte ; composed and dedicated to his Pupils by Frederick Kalkbrenner, Oflicier de la Legion d' Honneur ; translated from the Original by Robert Lincoln Cocks 12 0 MARX, DR. ADOLPH BERNHARD. The Universal School of Music ; a Manual for Teachers and Students in every branch of Musical Art, with additional Notes, a Special Preface, and Supplement to the English Edition, by Adoph Bernhard Marx, Professor of Music at the University of Berlin ; translated from the fifth edition of the Original Gorman by A. Wehrhan. 8vo. B,oyal, 367 pages, bound in cloth, 15 0 The School of Musical Composition, practical and theoretical, with additional Notes and a separate Preface for the Eng- lish Edition, by Dr. Adolph Bombard Marx, Professor of Music at the University of Berlin ; translated from the fourth edition of the Original Gorman by A. Wehrhan. Vol. one, 8vo. Royal, 540 pages, bound in cloth £1 1 0 Die Musik des neunzehnten J ahrhunderts (TheMusic of the 19th Century) ; translated by A. Wehrhan. ( In the Fress) * ^* One of the most important works of the present century. BEIOHA, A. Course of Musical Composition ; or, Complete and Methodical Treatise of Practical Harmony, by A. Reicha, Professor at the Conservatoire, Paris ; translated, with the Remarks of Carl Czemy, by Arnold Merrick, and edited by John Bishop. Vol. one, Royal 4to. pp. 355, bound in cloth. .£2 2 0 SPENCER, CHARLES CHILD. The Elements of Musical Composition, demy 8vo 1 6 TURBRI. Complete Course of Harmony, dedicated to the Marchioness De Vogiie, by Turbri, translated by J. A. Hamilton 2 0 WARREN, JOSEPH. A few Hints to Young Composers 3 0 WEBER, GOTTFRIED. The Theory of Musical Composition treated with a view to a natiu'ally consecutive arrangement of topics, by Gottfried Weber (Doctor Honorarius, Knight of the First Class of the Hessian Order of Lewis, Honorary Member of the Royal Swedish Academy in Stockholm, of the Ilollandic Union for the I'romotion of Music, i:c.) ; translated from the third large and improved German edition, with notes by James F. Warner, of Boston, U. S. Edited, with additions drawn from the German original, by John Bishop, of Cheltenham. 8vo. royal, two vols, bound in cloth £1 11 6 WORKS ON THE THEORY OF MUSIC. 23 THE HAMILTON COURSE. In the form of Catechisms. 18mo. &c. each neatly boimd in cloth. HAMILTON, J. A. 1. Catechism of Harmony and Thorough-Bass 2 0 Key to the Exercises 1 6 . 2. Catechism of Counterpoint, Melody, and Composition, illustrated with Extracts and Examples from the Theo- retical Works of Albrechtsbergcr, Kocli, Roicha, and Beethoven ; fourth edition, revised and corrected by James Clarke 2 0 3. Catechism on Double Counterpoint and Fugue, with Examples from tlie Theoretical Works of Albrechtsbergcr, Reicha, Marpurg, &c. &c. ; a new edition, enlarged, by John Bishop 2 0 i. Catechism on the Nature, Invention, Exposition, Develop- ment, and Concatenation of Musical Ideas, with Examples from the Great Masters 3 0 5. Catechism on the Art of Writing for an Orchestra, and on Playing fi-om Score, with sixty-seven Examples 2 0 A New Musical Grammar, in three Parts — viz. Notation ; Harmony, and Counterpoint ; Rhythm or Melody ; by J. A. Hamilton. Fourth edition, 18mo. pp. 264, bound in cloth 3 0 Elements of Harmony, being a concise Method of the Science, with numerous Precepts and Examples 1 G Rudiments of Music, or a complete Knowledge of the Art according to the present system 1 G A Dictionary, comprising the Explanation of 3,500 Italian, French, German, English, and other Musical Terms, Phrases, and Abbreviations ; also a copious List of Musical Characters, with an Appendix consisting of a Reprint of John Tinctor's Terminorum Musica; Diffinitorium, the first Musical Dictionary known ; by John Bishop, of Cheltenham. Forty-sixth edition, ISmo. pp. 200, stiff covers 1 0 PIANOFORTE AND SINGING. HAMILTON, J. A. Modem Instructions for the Pianoforte, containing all the requisite Precepts and Examples on the Rudiments of Music, Fingering, &c. and illustrated by Seventy-three Exercises, Sixty-nine Preludes and Favorite Airs, Twelve Chants, and Four Vocal Pieces, with Pianoforte Accom- paniment, viz. The Christian Pilgrim's Song, " I will arise," " Eve's Lamentation," and Barker's " Weep not for me," embracing — Four New Exercises, viz. an Exercise on Octaves, an Exercise on Chords, an Exorcise on Arpeggios, and an Exercise on Double Notes, composed (by Czerny) expressly for this Edition ; and additional valuable Lessons, selected and an'anged by him from the works of Haydn, Mozart, Beethoven, and Weigl ; the whole Revised and Fingered throughout by Carl Czerny. Large Music folio, Eighty-Eighth Edition, G3 pages 4 0 Modern Instructions for Singing, containing a complete Compendium of the Rudiments of Music, full directions for the cultivation and management of the Voice, niuncrous Exercises and Examples on Vocalization, with Solfeggi, by Rossini and C. M. Sola, and a Selection of celebrated Songs. Folio, third edition 5 0 A Companion to the Author's highly popular Modern Instructions for the Pianoforte." PIANOFORTES manufactured by ROBERT COCKS & CO. London. Ig^ Well-Seasoned and warranted to stand in aU climates; with patent metal plate bracings, above and below, wMch effectually prevent the back frame from giving way under any climate, and serve to keep the Instrument perfectly m tune for a length of time. No. 1. Mahog.any French-front Semi-Cottage or Piccolo, with carved cheeks, ornaments, and mouldings, improved grand desk, metallic plate, height 3 feet 8, width 4 feet 4, French polished. £ s. 6f octaves 33 12 No. 2. Rosewood French-front Semi-Cottage or Piccolo, with back, hollow carved cheeks, ornaments, and mouldings, improved grand desk, and elegant trussed legs, metallic plate, height 3 feet 8, width 4 feet 4, French polished, 6| octaves 47 10 The same class of Instrument, in Zebra wood, or Walnut-tree, price .52 10 No. 3. Rosewood Semi- Cottage or Piccolo, ogee fall, plain silk front, metallic plate, 6| octaves 31 10 No. 4. Mahogany Semi-Cottage or Piccolo, square faU, plain silk front, metallic plate, 6| octaves 23 10 No. 5. Rosewood Semi-Cottage or Piccolo, round fall, plain silk front, metallic plate, Gf octaves 27 0 " We lately experienced much pleasure in trying some of the Pianofortes manufactured by the house of KOBERT COCKS and CO. NEW BURLINGTON STREET, LONDON. They are chiefly cottages and piccolos. These pianos are remarkable for the beauty and equality of their tone, the facility of their touch, and their extremely elegant exterior. They have, moreover, an appearance of durability which is wholly out of the question in the cheap markets, where the public are persuaded into purchasing a pretty-looking instrument at a low rate, which, at the expiration of six months, is found to be worthless. Not that the instruments of Messrs. R. Cocks and Co. are dear— on the contrary, they are as cheap as the valueless instruments just mentioned, but they have the advantage of being firmly and compactly made of the best (and the best seasoned) materials, and of keeping well in time for an unusual length of time." — Vide Musical World. " * « * It is our candid opinion that, for workmanship and quality throughout, together with the extreme reasonableness of the prices, these Pianofortes cannot be surpassed. We can conscientiously recommend them to public attention and patronage." — Dram.\tic and Musical Review. Pianofortes L§ji on Hire by the Month, Quarter, or Year, at 15s. per Month and upwards. May be ]iad, on application, gratis and postage free, a List of second-hand Pianofortes, and a List of Violins and other Instruments. KOBERT COCKS AND CO. NEW BUELINGTON STEEET, LONDON.