The organ, its history and construction : a comprehensive treatise on the structure and capabilities of the organ, with specifications and suggestive details for instruments of all sizes ... 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

Front matter

THE LIBRARY

BRIGHAM YOUNG UNIVERSITY

PROVO. UTAH

Preface

The following work has been undertaken with the view of supplying what has hitherto been felt to be a great desideratum in this country ; namely, a hand-book describing the construction of the English Organ with the necessary minuteness to enable those not previously conversant with the subject to understand the formation, nature, and operation of every part of that most ingenious, complex, and noble of all Musical Instruments. In proceeding to carry out this design, several plans presented themselves ; but the one that appeared best calculated to place the subject in the most simple shape before the reader, was that of arranging the various systems of mechanism, and the several clever devices for giving speech and vitality to the Organ, into separate divisions, and then of describing the numerous parts which together form those main portions, in the continuous order they are usually met with in modern English instruments. This course has therefore been adopted in the arrangement of the materials forming the following chapters ; and each separate subject — as, for instance, some particular system of mechanism — is traced from its source to its termination, with a slight notice only (at the time) being taken of other portions of the intricate machine towards which it may occasionally approach closely, yet without having therewith any actual connection.

The endeavour has been made, 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 effected. 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, who will therefore be glad to receive any such testimony as may come under the notice of others, and which will be gratefully accepted and carefully preserved for future use. To account for the frequent appearance of names and dates in the descriptions of some of the more recent improvements, it may be mentioned that these have in all cases been given, where positively known, in the hope of obviating future uncertainty.

VI PREFACE.

Among the most vexed questions of the present time regarding the English Organ, are those relating to the compass and the temperament of the instrument. To each of these subjects, therefore, a full chapter has been devoted, which, it is hoped, may have some influence in conducting them nearer towards a settlement. In these discussions, and indeed throughout the work, great pains have been taken to preserve as much simplicity of language and freedom from technicality as seemed practicable. Other matters of importance are those relating to the musical pitch, the composition of the compound stops, and the position of the Organ ; all of which have also been considered at some length.

The Appendix will be found to present a collection of specifications of British and Foreign Organs, more varied in size and details, and more extensive in number, than has ever before been brought together in any similar work in any country. A few of the English specimens are either accounts of instruments of past celebrity, or of such as were made according to a system now being fast superseded ; but most of the continental descriptions, it is confidently hoped, will prove of the highest value to Organists, in exemplifying what are the general principles observed by the foreign artists, to the investigation of which the Organ-builders and Organists of this country, fortunately, are now almost universally turning their attention. The accounts of Foreign Organs have partly been prepared from notes made by the writer and other tourists at the instruments themselves, and partly from previously printed accounts ; the stops, however, being in all cases re-arranged and classified according to one uniform and simple plan, so that they may be more convenient for purposes of reference and comparison. The descriptions of British Organs have been drawn up, in some cases, from accounts kindly furnished by their respective Organists ; in others, from well-known printed authorities ; while the particulars of the more recently constructed instruments have been extracted chiefly from the descriptions issued by their respective builders.

It remains for the writer to tender his thanks to those gentlemen who have kindly favoured him with their suggestions and opinions ; and he feels his acknowledgments to be particularly due to Mr. Hill and Mr. Walker, Mr. Kobson and Mr. Jardine, for their exposition of certain technical matters ; and to the Rev. 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 his disposal.

EDWAED J. HOPKINS.

69, Tachbrook Street, Pimlico.

June, 1855.

Contents

THE HISTORY OF THE ORGAN.

FIRST EPOCH. — THE ANCIENT ORGAN, ANTERIOR TO THE INVENTION OF THE

KEY-BOARD.

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.

CONTENTS. IX

62. The construction of the reservoir, 1 6.

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, 19.

84. The concussion' bellows, 21.

87- The anemometer, 21.

DIVISION III. THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN.

Chapter IX. The Arrangement Op 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 OP 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 XVIII. — 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. xi

344. Inverted cone surmounted by a bell, 81.

345. Wooden pipes, 81.

346. Open four-sided pipes, 82.

347. Stopped four-sided pipes, 82.

348. Half-stopped four-sided pipes, 82.

349. Pyramidal pipes, 82.

351. Pyramidal and inverted, 82. »

353. The classification of the pipes into^we 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.

367- 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.

399. 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 different 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.

CHAPTER 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 different 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 Of 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.

493. 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.

XU 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 XXIII. 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.

624. 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 necessity 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

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. Xlll

736. The old composers supposed not to have consulted the convenience of the voices

they wrote for, 164.

737. The early English composers supposed to have written without regard to any definite

pitch, 164.

738. Everything questioned except the presumed lowness of the old pitch, 165.

739. Strong grounds for believing in the former existence of a high ecclesiastical pitch, 165.

740. The sixteenth and seventeenth century organs in Germany a whole tone sharp, 165.

741. A high ecclesiastical pitch believed to have existed formerly in England as well as

in Germany, 166.

742. The very low notation of ancient church music favourable to this view, 166.

743. The frequent transpositions of early church music into higher keys in performance,

also in support of this view, 166.

747. Father Smith's pitch flatter than the presumed ecclesiastical pitch of preceding

centuries, 167.

748. The flattened pitch accompanied by a raised notation, 168.

749. The pitch lower again, at the commencement of the eighteenth century in England,

750. A similar alteration of pitch, at the same period, in France and Germany, 168.

751. 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 accompaniment, 176.

DIVISION VIII. — THE CAUSE OF MANY 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, 179.

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, 1 80.

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, 1 80.

801. Ciphering from a sticker binding, 181.

802. Ciphering caused by a backfall getting off the sticker, 181.

803. Ciphering from grit in the centre-holes, or by a swelling of the movement, 181.

XIV CONTENTS.

The unbidden Sounding of a Pipe from Defects in the Sound-board.

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.

814. 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 with 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, 189.

834. Flue pipes become unequal in their strength and quality of tone from various causes,

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 OP THOSE WHO HAVE TO SUPERINTEND THE CONSTRUCTION AND ERECTION OP AN ORGAN.

Chapter XXX. — The Compass Op The Claviers, And Op Their Separate Divisions Op 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 rano-e, 194.

CONTENTS. XV

855. Much room and a great expenditure of funds required to extend the compass of a manual organ below CC, 196.

857. The true method of increasing the resources of a manual organ, 196.

858. How it may be ascertained whether certain keys are essential or not as manual

ones, 197- 861. The ameliorations that might be effected on a given specification, by regulating the

outlay otherwise than in the construction of unessential manual notes, 198. 876. Other views in favour of GG manuals, and against CC, considered, 201. 887. How the CC manual compass was first exoeeded, 203. 889. The confusion in the size of the stops caused by their elongation, 203. 894. The upward range of the manuals, 205.

Chapter XXXI. Op The Pedals And Pedal Organ; Their 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.

906. The false readings which the CCC pedal pipes create, 209.

921. The introduction of " Double Pedal Pipes" as the first pedal stop, not in accordance 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 divergenoe, 217.

939. 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.

986. The comparative merits of the several side situations considered, 226. 9.95. The east-end of an aisle, or a chancel chapel, as the situation for the Organ, considered, 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,

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 departments, 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 16-feet manual, 8-feet manual, and 4- feet

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.

CONTENTS. XVU

VI. Composition for a sharp mixture of V ranks, 254.

VII. Ditto for a full mixture III ranks, and a sharp mixture III ranks, 255. VIII. Ditto for a full mixture III ranks, and a sharp mixture IV ranks, 256. IX. Ditto for a full mixture III and IV ranks, and a sharp mixture

V ranks, 256.

X. Ditto for a sesquialtera II ranks, a full mixture III and IV ranks, and a sharp mixture V ranks, 258.

Chapter XXXVI. The Exterior Arrangement Of The Organ

1 095 . The organ case, 261.

1 102. The manuals and pedals ; their width ; and their proper situation in regard to each

other, 262.

1116. The organ-stool, 265.

1118. The swell pedal, 265.

1120. The music-desk, 266.

1121. The composition pedals, 266.

1122. The arrangement of the draw-stops, 266.

Chapter XXXVII. — The Interior Arrangements Op The Ougan

1143. The building-frame, 270.

1144. The platform, 270.

1146. The distribution of the sound-boards, 270.

1151. The cause of the bad proportions of many English organs, 271.

1154. Much room conducive to the orderly arrangement of the organ, 272.

1156. The advantages of large sound-boards, 272.

1164. " Unoccupied space" in an organ not "lost room," 27+.

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.

1182. The wind-trunks, 278.

1183. The swell-box, 278.

1 184. The scale for the pipe-work, 279. 1202. The materials for the pipe-work, 285. 1 213. The price of the organ, 288.

CHAPTER XXXVTII. PLANS FOR ORGANS OF VARIOUS SIZES.

I. Specification for a small Organ of VIII Sounding Stops, I Manual and Pedal, 293. Second Specification ditto, 294.

II. Specification for an Organ with XIII Sounding stops, II Manuals and Pedal, 294.

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, 301.

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.

A P P E N D I X, Comprising ah Account or Foreign and British Organs.

1. Haarlem— the Cathedral Church of !?.

2. Rotterdam — the Cathedral Church !■!».

of St. Lawrence, 316. 50.

3. the Octagon Church, 317. 51.

4. Amsterdam — the Old Church, 31 8. 52.

5. the New Church, 319. 53.

6. Ntmengen— St. Stephen, '320. 54.

7. Gouda — St. John the Baptist, 321. 55.

8. The Hague— Lutheran Church, 322. j

9. Delft— the New Church, 322. 56.

10. Utrecht — the Principal Protestant

1 1 . Triebel— the State Church, 324. 58.

1 2. Paris— the Abbey of St. Denis, 325. 59. 1 2a. St. Vincent de Paul, 32?. 60.

13. the Madeleine, 327. 61.

13b. St. Eustace, 329.

14. Amiens— the Cathedral, 330. 62.

16. Tours— the Cathedral, 331. 64.

18. Abbeville— the Cathedral, 333. 66.

19. Paris— St. Sulpice, 333. 67.

20. Beauvais— the Cathedral, 335. 68.

21. Antwerp— the Cathedral, 336. 69.

23. Brussels — the Cathedral Church of 71.

24. Liege— St. Martin, 338. 73.

25. Cologne— the Cathedral, 339. 74.

26. the Minorets' Church, 340. 75.

27. the Jesuits' Church, 340. 76.

28. St. Maria de Capitol, 341. 77.

29. St. Columba, 342.

31. Bonn— the Cathedral, 343.

32. the Protestant Church, 343. 79.

33. Coblentz — the Church of Castor, 344.

34. Strasbourg — the Cathedral, 344. 80.

36. the " Temple neuf," 346. 81.

37. Friburg in Brisgau — the Cathe- 82.

38. the Lutheran Church, 347.

39. Frankfort— the Cathedral, 348. 84.

41. Fulda— the Town Church, 350. 85.

42. Gotha— St. Augustine's, 351. 86.

43. St. Margaret, 351.

46. Waltershausen — 353.

Zerbst — St. Nicholas, 354.

Langensulza— St. Boniface, 3 MunmAUSEN — 355.

Merseburg — the Cathedral, 356.

Halle— St. Maurice, 357.

Loiz — the Marien-Kirche, 357- Katsch er— the Catholic Church , 358.

Erdmannsdorf — 359.

Krumols — the New Catholic Church,

359.

Halberstadt — the Great Church,

360.

Hirschberg — Christ Church, 361 .

Naumberg — St. Wenzel, 362.

Trebniz — the Catholic Church, 363.

Salzwedel — St. Catherine, 363.

Weissenfels — the -Lock Church.

364.

Celle — the Ludwigs' Church, 364.

Verden — the Cathedral, 365.

Bremen — the Cathedral, 365.

Hamburg — St. Michael, 366.

St. Catherine, 368.

St. Jacobi, 369.

St. Nicholas, 371 .

St. Peter, 372.

Lubeck — the Marien Kirche, 373.

the "Little Organ," ditto, 374.

the smaller Church, 3? 5.

Wismar— St. Mary, 376.

Perleberg — 377.

Berlin— St. Mary, 377.

the Garrison Church, 378.

Kronstadt — the Cathedral Church,

379.

Leipzig — the University Church,

380.

Dresden — the Royal Catholic

Church, 381. . the Royal Church of the Evangelists, 382.

St. Mary, 382.

St. Sophia, 383.

the Church of the Holy Cross,

384.

Freiberg in Saxony — the Cathedral, 385.

Prague — St. Dominico, 386.

Goerlitz — St. Peter and St. Paul,

St. Mary, 388.

Liegnitz— St. Peter and St. Paul,