he first to perceive the value
and inner significance of the process must be accorded to Mr. Robert
Hope-Jones. It was only at the cost of considerable thought and labour
that he was able to develop his crude and embryonic scientific theory
into a process which bids fair to transform modern organ building. The
names of Cavaille-Coll and George Willis, and of Hope-Jones, will be
handed down to posterity as the authors of the most valuable
improvements in the domains of reed-voicing and flue-voicing,
respectively, which have been witnessed in the present era of organ
building."

The desire for power in Diapason tone first found expression in this
country by the introduction into our larger organs of what was called a
Stentorphone. This was a large metal Diapason of ordinary
construction, voiced on heavy wind pressure. It was most harsh,
unmusical and inartistic. It produced comparatively little foundation
tone and a powerful chord of harmonics, many of them dissonant. In
Germany, Weigle, of Stuttgart, introduced a similar stop, but actually
exaggerated its want of refinement by making the mouth above the normal
width. As knowledge of the Hope-Jones methods spreads, these coarse
and unmusical stops disappear. He is without question right in urging
that the chief aim in using heavy pressure should be to increase
refinement, not power of tone. Sweet foundation tone produced from
heavy wind pressure always possesses satisfactory power. He is also
unquestionably right in his contention that when great nobility of
foundation tone is required, Diapasons should not be unduly multiplied,
but Tibias or large Flutes should be used behind them.

Every epoch-making innovation raises adversaries.

We learn from these that pure foundation tone does not blend. True,
there are examples of organs where the true foundation tone exists but
does not blend with the rest of the instrument, but it is misleading to
say that "pure foundation tone does not blend." Hope-Jones has proved
conclusively that by exercise of the requisite skill it does and so
have others who follow in his steps. A view of the mouth of a
Hope-Jones heavy pressure Diapason, with inverted languid, leather lip
and clothed flue, is given in Figure 17.

[Illustration: Fig. 17. Diapason Pipe with Leathered Lip]

The dull tone of the old Diapasons was due to the absence of the upper
harmonics or partials. With the introduction of the Lutheran chorale
and cong