and full * * * it forms a solo stop of remarkably
fine effect, and in combination serves to add much clearness and
fulness of tone to the treble, and, in general, exercises to the
fullest extent the beneficial characteristics of the Tibia class of
stop already detailed. If only by reason of the faculty so largely
exercised, of thus mollifying and enriching the upper notes of other
stops--which too often prove hard and strident in tone--the Tibia Minor
deserves recognition as one of the most valuable of modern tonal
inventions." [9]

The Tibia Mollis, invented by Mr. Hope-Jones, is a Flute of soft tone,
composed of rectangular wooden pipes. The name Tibia Mollis is also
employed by Mr. John H. Compton to denote a more subdued variety of his
Tibia Minor.

Other Flutes found in organs are the Stopped Diapason, Clarabella,
Clarinet Flute, Rohrfloete ("Reed-flute"), Wald Floete, Flauto Traverso,
Suabe Flute, Clear Flute, Doppel Floete (with two mouths), Melodia,
Orchestral Flute, etc., each of a different quality of tone and varying
in intensity. The Philomela as made by Jardine is a melodia with two
mouths.

STRINGS.

Under this head are grouped the stops which imitate the tones of such
stringed instruments as the Viola, the Violoncello, the Double Bass,
and more especially the old form of Violoncello, called the Viol di
Gamba, which had six strings and was more nasal in tone.

At the commencement of the period herein spoken of string-toned stops
as we know them to-day scarcely existed. This family was practically
represented by the Dulciana and by the old slow-speaking German Gamba.
These Gambas were more like Diapasons than strings.

Edmund Schulze made an advance and produced some Gambas and Violones
which, though of robust and full-bodied type, were pleasant and musical
in tone. They were at the time deemed capable of string-like effects.

To William Thynne belongs the credit of a great step in advance. The
string tones heard in the Michell and Thynne organ at the Liverpool,
England, exhibition in 1886 were a revelation of the possibilities in
this direction, and many organs subsequently introduced contained
beautiful stops from his hands--notably the orchestral-toned instrument
in the residence of J. Martin White, Dundee, Scotland--an ardent
advocate of string tone. Years later Thynne's partner, Carlton C.
Mitchell, produced much beautiful work in this direction. Hope-Jones
founded his work on the Th