Tone, or on the contrary, slow, soft and only buzzing, when touch'd singly? And whether they may not more properly be called Mutes than speaking Pipes?
IV. Whether the Organ be not too soft for the Quire now 'tis inclosed? And if so, what will it be when laid open to the Cupolo, and Body of the Church? And what further Addition of Strength, and Lowdness will it require to display its Harmony quite through the large Concave of the Building, and answer the service of the Quire, which is the noblest for Eccho and Sound, and consequently of the greatest advantage to an Instrument, of any in Europe?
V. Whether the Sound-boards, and Foundation of the Instrument, as well as Contrivance and Disposition of the whole Work, will admit of more Stops to render the Organ in Proportion, five times as Lowd as now it is?
VI. Whether if 12 Stops (supposing there were so many in the great Organ) were plaid in full Chorus, 'twould not make St. Paul's Organ vibrate and faint? And if so how can it be render'd lowder by the Addition of Stops since the Wind that does not well supply 12, must of necessity worse supply 13, and so onward?
