hough assertive and blatant, are not unmusical. The French
school, however, does not appear to be destined to exercise any great
influence upon the art in this country. (For further information
regarding reeds see chapter on tuning.)

UNDULATING STOPS--CELESTES.

The writer is not aware who first introduced into the organ a rank of
soft-toned pipes purposely tuned a trifle sharp or flat to the normal
pitch of the organ, so as to cause a beat or wave in the tone. Fifty
years ago such stops were sparingly used and many organists condemned
their employment altogether. Stops of the kind were hardly ever found
in small organs and the largest instruments seldom contained more than
one.

A great development in this direction has taken place and further
advance seems to be immediate. Already most builders introduce a
Celeste into their small organs and two or three into their larger
instruments--whilst Hope-Jones' organs are planned with Vox Humana
Celestes, Physharmonica Celestes, Kinura Celestes and even Mixture
Celestes!

Most modern Celestes are tuned sharp, the effect being more animated
than if it were tuned flat; but the aggregate effect and general
utility of the stop are greatly enhanced by the use of two ranks of
pipes, one being tuned sharp and the other flat to the organ pitch. A
three-rank Celeste (sharp, flat, and unison) formed one of the novel
features of the organ in Worcester Cathedral, England, built by
Hope-Jones in 1896. Wedgwood credits its invention to Mr. Thomas
Casson. The three-rank Celeste is also to be found in the organs of
the Bennett Organ Company.

Apart from the inherent beauty of the tones there is much to be said in
favor of the presence of these stops--if the organ is to be used as an
adjunct to, or a substitute for, the orchestra. The whole orchestra is
one huge and ever-varying "Celeste." Were it not so its music would
sound dead and cold. Few of the instrumentalists ever succeed in
playing a single bar absolutely in tune with the other components of
the band.

PERCUSSION STOPS.

This class of stop is also now finding its way into organs more
generally than heretofore. Resonating gongs giving, when skillfully
used, effects closely resembling a harp have been introduced freely by
the Aeolian Company in its house organs, and there seems no possible
objection to such introduction. The tone is thoroughly musical and
blends perfectly with the other registers. Under th