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 . 15, 1860.] is put together is surely worthy of a little attention. Of course there is every variety both in size, volume and cost; but we will take a sample of the ordinary church-organ and examine it at our leisure. What is generally called a good sized one would be more correctly spoken of as three or four harmoniously put together into a case, and not only involving distinct sets of pipes, but also distinct sets of keys upon which to play. Thus, in one case, we have frequently three, and in very large organs, four sets of finger-keys, or manuals, termed the great, the swell, and the choir organs; while the corresponding set to be played by the feet are called pedals. The grand desideratum, the wind, was always supplied by bellows, of course; but even in this point, immense improvements have been effected. Bellows are of two kinds,—diagonal and horizontal; the former so called, because, when blown, one end ascends while the other is stationary, giving it a wedge-like appearance, while the horizontal bellows always preserves an uniformly level surface.

Almost all the old organs were fitted with the first kind, but the inconvenience was that the supply of wind was so irregular as to necessitate the use of several pairs (the organ at St. Sulpice, in Paris, having actually fourteen), whereas one pair of horizontal bellows is equivalent to at least half-a-dozen of the diagonal species. The wind which has been collected is then distributed by wooden pipes, termed wind-trunks, into a shallow box or wind-chest, where it accumulates ready for more minute dispersion to the various portions of the instrument. Now the mechanism becomes a little more intricate. The roof of the wind-chest is formed by what is called the sound-board, on which are a certain number of grooves or channels perforated with holes, so as to allow of the conducting of the wind to the several pipes. Nevertheless, as matters stand at present, the moment that the wind is introduced, all the pipes would speak at once, to obviate which a moveable piece of wood, or sounding-pallet is inserted in the groove, the control over it being exercised by means of a wire connected with the key-note: the result is, that when the note is pressed, the wire acts on the pallet, allowing the air to escape into that particular groove, and thus produces a musical note, or, we may say, notes; for, as there are several pipe-holes to each groove, all those pipes would sound simultaneously. This, however, is prevented by a series of sliders, perforated in such a manner as to correspond with the holes of the sounding-board, and table below it, and by this means all the pipes not wanted can be shut off at will. The keys of the manuals are connected with the sounding-pallets by rather complicated mechanism, into which it would be tedious to enter now, although it does not always follow that they must be close to each other, an instance of which, Mr. Hopkins tells us, is to be found in Prince Albert’s organ at Windsor, where the keys are placed twenty-two feet from the rest of the instrument, while in that of the Church of St. Alessandro, there is a long movement of 115 feet.

We must not forget to mention, ere we go any further, that the sliders which admit or shut the wind off from the pipes, being all placed inside, and out of the reach of the player, are controlled externally by the use of the draw-stop; and, as everybody knows, the size of an organ is generally estimated by the number of the stops. Those that are apportioned to each manual of the organ, are usually acted upon only by the keys of that manual, but by the invention of the coupler, the stops of any two manuals can be brought into connection; for instance, we see in descriptions of organs, swell coupler too great, or choir too great, &c., implying that by this means the swell or choir manuals can be brought under the same action as the great.

It is obvious that a tremendous power is thus put into the hands of the performer, who is able at will to pile up Pelion on Ossa, and thunder forth his music to the loudest. As another instance of economising in the labour of playing, we may mention the composition pedals by which a certain number of stops are pulled out simultaneously with the working of the pedal, without the necessity of the organist taking his hands off from the keys.

The most important department of the organ is that of the pipes, a department of all others which shows the particular stamp of the builder, the most eminent of whom can often be recognised by their tone.

Pipes are divided into two classes—those made of metal and those of wood; the metal being either pure tin or a compound of tin and lead.

Mr. Walker is very fond of using a composition called spotted metal, in which there is about one-third of tin; and very nice it looks, particularly for front speaking-pipes, where no money can be afforded for external decorations. Both metal and wooden pipes vary considerably in shape and size, depending entirely on the quality and quantity of sound to be produced, and the ingenuity expended upon them may be imagined when, as in the Panopticon organ, sixty stops have to be inserted, implying an aggregate of 4000 pipes. The swell is simply a smaller organ contained in the large one, and shut up in a box, the front of which works like a Venetian-blind, allowing the sound to increase or diminish as the shutters are moved up or down; but, in small instruments, with only one row of keys, a substitute is used, of a large shutter placed immediately behind the show or speaking-pipes, and worked in the same way by a pedal.

The first European organ of which we have any account, appears to have been sent to Pepin, king of the Franks, by the Byzantine emperor, Constantine, in 757. It must have been a queer concern, for it was not until the end of the eleventh century that the key-board was introduced, each key being five inches wide, so as to allow them to be beaten down by the fist. Indeed, even so late as 1529, we find that a new organ was bought for Holbeach church, in Lincolnshire, for the magnificent sum of 3l. 6s. 8d.; and a still more splendid one put up in Trinity College, Oxford, a few years later, for 10l. Now-a-days the competition amongst our English towns as to which shall possess the finest organ, has run the prices up to 3000l. or 4000l. It is curious to observe how