Page:A Dictionary of Music and Musicians vol 2.djvu/607

genious arrangement by which the lower portion of a stop, or even the stop entire, could be made to act on two different manuals 'by communication' as it was termed. He introduced this device for the first time in his organ at the Temple, and afterwards in those at St. Andrew's Holborn, St. Andrew Undershaft, St. John's Chapel, Bedford Row, etc.; but the account of the last-mentioned instrument is here selected for illustration, as it presented some other noticeable peculiarities. This organ had a 'Sesquialtera Bass' of reeds, consisting of 17th, 19th, and 22nd, up to middle B, planted on a small separate soundboard; each rank being made to draw separately. (See nos. 13, 14, and 15, below.) It was however nearly always out of order, and produced at best but an indifferent effect. The four ranks of the Cornet in the Echo (12th, 15th, Tierce, and Larigot) were made to draw separately; an arrangement evidently adopted rather for ostentation, as these sets of little pipes could scarcely have been required separately for any useful purpose.

Great organ. 15 stops.
		Pipes
1.	Open Diapason			52
2.	Stopped Diapason			52
3.	Principal			52
4.	Flute			52
5.	Twelfth			52
6.	Fifteenth			52
7.	Tierce			52
8.	Larigot			52
9.	Sesquialtera, 5 ranks			260
10.	Cornet to mid. C♯, 5 ranks			130
11.	Trumpet			52
12.	Clarion			52
In Reeds.
13.	Tierce			25
14.	Larigot			25
15.	Twenty-second			25
				685
Choir organ. 2 real stops; 4 borrowed.
a.	Open Diapason.	$\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \ \end{matrix}}\right\}\,}$	Borrowed by communication from the Great Organ.
b.	Stopped Diapason
c.	Principal
d.	Flute
16.	Bassoon			52
17.	Cremona			52
				789
Echo. 10 stops.
18.	Open Diapason			27
19.	Stopped Diapason			27
20.	Principal			27
21.	Twelfth			27
22.	Fifteenth			27
23.	Tierce			27
24.	Larigot			27
25.	Trumpet			27
26.	Hautboy			27
27.	Vox Humana			27
				1059
Compass, Grt. and Chr. GG, short octaves, to D in alt, 52 notes. Echo, Middle C to D in alt. 27 notes.

The above organ was standing, a few years ago, in a church at Blackheath.

1703. St. Saviour's, Southwark.

Abraham Jordan, Sen.

Double Diapason and Large Choir.

This organ is said to have been built by 'one Jordan, a distiller, who,' as Sir John Hawkins tells us in his History of Music, 'had never been instructed in the business, but had a mechanical turn, and was an ingenious man, and who, about the year 1700, betook himself to the making of organs, and succeeded beyond expectation.' He certainly built several excellent and substantial instruments. The one under notice had a 16-ft. octave of metal pipes acting on the Great Organ keys from tenor C down to CC. These large pipes originally stood in the front of the case, where they made a very imposing appearance, as their full length was presented to view, without nearly a yard of the upper part being hidden behind the case, as at St. Paul's. They however were dismounted many years ago, and put out of sight, and the instrument was enclosed in a case of inferior dimensions. This organ doubtless had an Echo; but no account of it has been preserved.

Great organ. 13 stops.
		Pipes
1.	Double Open Diapason, CCC to CC, no CCC♯	12
2.	Open Diapason	54
3.	Open Diapason	54
4.	Stopped Diapason	54
5.	Principal	54
6.	Flute	54
7.	Twelfth	54
8.	Fifteenth	54
9.	Sesquialtera, 4 ranks	216
10.	Furniture, 3 ranks	162
11.	Cornet, 5 ranks	145
12.	Trumpet	54
13.	Clarion	54
		1021
Choir organ. 7 stops.
14.	Open Diapason, wood	54
15.	Stopped Diapason	54
16.	Principal	54
17.	Flute	54
18.	Fifteenth	54
19.	Mixture, 3 ranks	162
20.	Vox Humana	54
		1507
Compass, GG, short octaves, up to E in alt, 54 notes.

1710. Salisbury Cathedral. Renatus Harris.

Four manuals.

In the year 1710 Renatus Harris erected in Salisbury Cathedral, in place of the instrument put up by his father, an organ possessing four manuals (for the first time in England) and fifty stops, including 'eleven stops of Echos,' and on which 'may be more varietys express'd, than by all y^e organs in England, were their several excellencies united.' Such was the glowing account given of the capabilities of this new organ, on the engraving of its 'East Front.' The instrument, however, presented little more than an amplification of the peculiarities exhibited in the St. John's Chapel organ already noticed. The extra department consisted of a complete borrowed organ of 13 stops derived from the Great organ. The Choir organ had its own real stops; and the '11 Stops of Echos' were to a great extent made up of the single ranks of the ordinary Cornet. There was a 'Drum Pedal, CC,' the 'roll' of which was caused by the addition of a second pipe sounding a semitone below the first pipe, with which it caused a rapid beat. Smith had previously put 'a Trimeloe' into his organ at St. Mary-at-Hill, and 'a Drum,' sounding D, into that at St. Nicholas, Deptford.

First Great organ. 16 real stops.
		Pipes
1.	Open Diapason	50
2.	Open Diapason	50
3.	Stopped Diapason	50
4.	Principal	50
5.	Flute	50
6.	Twelfth	50
7.	Fifteenth	50
8.	Tierce	50
9.	Larigot	50
10.	Sesquialtera, 4 ranks	200
11.	Cornet, 5 ranks	125
12.	Trumpet	50
13.	Clarion	50
14.	Cromhorn	50
15.	Vox Humana	50
		742
Second Great Organ. 13 borrowed stops.
a.	Open Diapason	00
b.	Stopped Diapason	00
c.	Principal	00
d.	Flute	00
e.	Twelfth	00
f.	Fifteenth	00
g.	Tierce	00
h.	Larigot	00
i.	Sesquialtera	00
j.	Trumpet	00
k.	Clarion	00
l.	Cromhorn	00
m.	Vox Humana	00
Choir organ. 7 stops.
16.	Open Diapason, to Gamut	42
17.	Stopped Diapason	50
18.	Principal	50
19.	Flute	50
20.	Twelfth	50
21.	Fifteenth	50
22.	Bassoon	50
		342
Echo. 11 stops.
23.	Open Diapason	25
24.	Stopped Diapason	25
25.	Principal	25
26.	Flute	25
27.	Twelfth	25
28.	Fifteenth	25
29.	Tierce	25
30.	Larigot	25
31.	Trumpet	25
32.	Vox Humana	25
33.	Cromhorn	25
		275
Compass, Gt. and Chr. GG, short 8ves, to C in alt, 50 notes. Echo, middle C to C in alt, 25 notes.