ist and a gifted player, and possessed of an eccentric
and, therefore, attractive personality, secured many followers, who
preached a crusade against Mixture work. The success of the movement
can well be measured by the amount of apologetic literature it called
forth, and by the fact that it stirred the theorists to ponder for
themselves what really was the function of the Mixture. * * * The
announcement by Mr. Hope-Jones at the beginning of the last decade of
the past century of his complete discardment of all Mixture and
mutation work may fairly be stated to have marked a distinct epoch in
the history of the controversy."

It is indeed strange to find that this man, who did much to discourage
the use of mixtures, has never quite abandoned their employment and is
to-day the sole champion of double sets of mixture pipes, which he puts
in his organs under the name of Mixture Celestes! However, these are
very soft and are of course quite different in object and scope from
the old-fashioned mixture--now happily extinct.

FLUTES.

The chief developments in Flutes that have taken place during the
period under consideration are the popularization of the double length,
or "Harmonic," principle,[4] by Cavaille-Coll, by William Thynne and
others, and the introduction of large scale leather-lipped "Tibias" by
Hope-Jones.

Harmonic Flutes, of double length open pipes,[5] are now utilized by
almost all organ builders. Speaking generally, the tone is pure and
possesses considerable carrying power. Thynne, in his Zauber Floete,
introduced stopped pipes blown so as to produce their first harmonic
(an interval of a twelfth from the ground tone). The tone is of quiet
silvery beauty, but the stop does not seem to have been largely adopted
by other builders. Perhaps the most beautiful stop of this kind
produced by Thynne is the one in the remarkable organ in the home of
Mr. J. Martin White, Balruddery, Dundee, Scotland.

The Hope-Jones leathered Tibias have already effected a revolution in
the tonal structure of large organs. They produce a much greater
percentage of foundation tone than the best Diapasons and are finding
their way into most modern organs of size. They appear under various
names, such as Tibia Plena, Tibia Clausa, Gross Floete, Flute
Fundamentale and Philomela.

"The word Tibia has consistently been adapted to the nomenclature of
organ stops on the Continent (of Europe) for some centuries. The word
Tib