at is worthy of commendation. Many organs now constructed have their
tonal effects more than doubled through adoption of this principle.

It is difficult to say who first conceived the idea of transference of
stops, but authentic instances occurring in the sixteenth century can
be pointed out. During the last fifty years many builders have done
work in this direction, but without question the leadership in the
movement must be attributed to Hope-Jones. While others may have
suggested the same thing, he has worked the system out practically in a
hundred instances, and has forced upon the attention of the organ world
the artistic advantages of the plan.

His scheme of treating the organ as a single unit and rendering it
possible to draw any of the stops on any of the keyboards at any
(reasonable) pitch, was unfolded before the members of the Royal
College of Organists in London at a lecture he delivered on May 5, 1891.

When adopting this system in part, he would speak of "unifying" this,
that or the other stop, and this somewhat inapt phrase has now been
adopted by other builders and threatens to become general.

Extraordinary claims of expressiveness, flexibility and artistic
balance are made by those who preside at "unit (Hope-Jones) organs,"
but this style of instrument is revolutionary and has many opponents.
Few, however, can now be found who do not advocate utilization of the
principle to a greater or less degree in every organ. For instance,
who has not longed at times that the Swell Bourdon could be played by
the pedals? Or that the Choir Clarinet were also in the Swell?

Compton, of Nottingham, England, employs this plan of stop extension
and transference, or unifying of stops, in all the organs he builds.

As additional methods facilitating in some cases the transfer of stops
must be named the "double touch" and the "pizzicato touch." The
former, though practically introduced by Hope-Jones and found in most
of his organs built during the last fifteen years, was, we believe,
invented by a Frenchman and applied to reed organs. The pizzicato
touch is a Hope-Jones invention which, though publicly introduced
nearly twenty years since, did not meet with the recognition it
deserved until recently. The earliest example of this touch in the
United States is found in the organ at Hanson Place Baptist Church,
Brooklyn, N. Y., 1909.

In the French Mustel reed organ the first touch is operated by
depressing t