voltage of electric action, and that the world owes you its thanks for
the round wire contact and inverted magnet.

"Since I first became familiar with your work and writing I have found
them full of helpful suggestions."

At first Hope-Jones licensed a score of organ-builders to carry out his
inventions, but as this proved unsatisfactory, he entered the field as
an organ-builder himself, being liberally supported by Mr. Thomas
Threlfall, chairman of the Royal Academy of Music; J. Martin White,
Member of the British Parliament, and other friends.

It was, perhaps, too much to expect that those who had so far profited
from Hope-Jones' contracts and work should remain favorably disposed
when he became a rival and a competitor.

For nearly twenty years he has met concerted opposition that would have
crushed any ordinary man--attacks in turn against his electrical
knowledge, musical taste, voicing ability, financial standing, and
personal character. His greatest admirers remain those who, like the
author, have known him for thirty years; his greatest supporters are
the men of the town in which he lives; his warmest friends, the
associates who have followed him to this country after long service
under him in England.

Long before Hope-Jones reached his present eminence, and dealing with
but one of his inventions, Wedgwood, a Fellow of the Royal Historical
Society and a learned student of organ matters, classed him with
Cavaille-Coll and Willis, as one whose name "will be handed down to
posterity"--the author of most valuable improvements.[3]

Early in his organ-building career, Hope-Jones had the good fortune to
meet J. Martin White, of Balruddery, Dundee, Scotland. Mr. White, a
man of large influence and wealth, not only time and again saved him
from financial shipwreck and kept him in the organ-building business,
but rendered a far more important service in directing Hope-Jones'
efforts toward the production of orchestral effects from the organ.

Mr. White, in spite of his duties as a member of the British
Parliament, and in spite of the calls of his business in Scotland and
in this country, has managed to devote much time and thought to the art
of organ playing and organ improvement.

Thynne, who did pioneer work in the production of string tone from
organ pipes, owes not a little to Martin White; while Hope-Jones
asserts that he derived all his inspiration in this field from
listening to the large and fine or