ying stop-keys either exclusively
or for a considerable number of their organs. Austin, Skinner, Norman
& Beard, Ingram and others use the Hope-Jones pattern, but Haskell,
Bennett, Hele and others have patterns of their own. It is a matter of
regret that some one pattern has not been agreed on by all the builders
concerned.[1]

CONTROL OF THE STOPS.

In older days all stop-keys were moved by hand, and as a natural
consequence few changes in registration could be made during
performance.

Pedals for throwing out various combinations of stops were introduced
into organs about 1809; it is generally believed that J. C. Bishop was
the inventor of this contrivance.

Willis introduced into his organs pneumatic thumb-pistons about the
year 1851. These pistons were placed below the keyboard whose stops
they affected.

T. C. Lewis, of England, later introduced short key-touches arranged
above the rear end of the keys of the manual. Depression of these
key-touches brought different combinations of stops into use on the
keyboard above which they were placed. Somewhat similar key-touches
were used by the Hope-Jones Organ Co. and by the Austin Organ Co.

Metal buttons or pistons located on the toe piece of the pedal-board
were introduced by the ingenious Casavant of Canada. They are now
fitted by various builders and appear likely to be generally adopted.
These toe-pistons form an additional and most convenient means for
bringing the stops into and out of action.

At first these various contrivances operated only such combinations as
were arranged by the builder beforehand, but now it is the custom to
provide means by which the organist can so alter and arrange matters
that any combination piston or combination key shall bring out and take
in any selection of stops that he may desire. Hilborne Roosevelt of
New York, was the first to introduce these adjustable combination
movements.

The introduction of the above means of rapidly shifting the stops in an
organ has revolutionized organ-playing, and has rendered possible the
performance of the orchestral transcriptions that we now so often hear
at organ recitals.

In order to economize in cost of manufacture, certain of the
organ-builders, chiefly in America and in Germany, have adopted the
pernicious practice of making the combination pedals, pistons or keys
bring the various ranks of pipes into or out of action without moving
the stop-knobs.

This unfortunate p