in the accompanying plan will give the reader an idea of the modern improved organ, its wonderful mechanical and acoustic features, which involve such interesting complications of pipes, sound-boards, bellows, and draw-stop, mutative stop, manual and pedal action, through which one individual—the organist—can control a great domain of musical resources at one time.
The present organ is in singular contrast with the organ of
Figs. 17 to 22.—Representing Constructive Principles of a Mason and Hamlin Organ. Fig. 17 shows position of reed; Fig. 18 represents in sectional elevation part of one end with reed-valves and stop action; Fig. 19 shows auxiliary mutes; Fig. 20 exhibits method by which the stop-valve is mounted: wind-chest (U), reed-valves (I), stop-valves (T), swell-cap (V) with the swell-lids attached (W), stop-lever (X), transverse roller-lever (b' ), roller-board (c' ), name-board (a' ), draw-stops (a and b), and the tube-board (R). Some connections of the parts are indicated thus: The inner end of stop-valve (T) attached to tube-board (R) by butt-hinge (c); similar hinge (d) fastened to outer end of tube-board; stop-valve (T) joined to half hinge (d) by the bent wire (e); connection of bent wire (e) with stop-lever (X) by the link (y); brass incline (g) on stop-lever (X); also connection of stop with valve (P) at the back of tube-board (R). Figs. 21 and 22 represent relative parts according to exemplification.
past centuries. As a musical instrument, presided over by one mind, it is incomparably ahead of any other musical medium known, in the extent of its development, aside from its capacities in the artistic sphere. To dwell for a while upon its construction: Pipes in the organ are of two kinds, wood and metal, and of two acoustic classes—namely, reed and flue. The grouping and arrangement of the huge body of pipes which enter into the compo-
