f these
Manual Pistons to the Pedal organ Combination Pedals, either by
draw-stops or by piston, thus moving pedal and manual stops
synchronously.

All these Combination Pedals and Pistons move the draw-stop knobs,
showing a valuable index of their position to the organist.

There are 5 Adjustable Pistons on the treble key frame (and 5
duplicates on the bass key frame) for special combinations, on Manuals,
Pedal, and Couplers.

There are 5 pedals to operate the various swell boxes of the lever
locking type--a locking movement allowing the performer to leave pedal
in any position. The swell pedal for the Pedal stops can be coupled to
any of the others.

The Tremulants have attachments allowing the performer to increase or
decrease the rapidity of the _vibrato_ at will.

The action throughout is electro-pneumatic and tubular-pneumatic
(according to distance of pipes from keyboard), excepting the Manual to
Pedal Couplers, which are mechanical to pull down the manual keys.

There are seven separate blowing installations of electric motors.

The instrument occupied two special chambers on each side of the
chancel, and a portion of the south chancel triforium. There are four
fronts, two facing the chancel and two (32 feet) facing the transepts.
The console is placed on the north side above the choir stalls. The
organ is the gift of Mrs. James Barrow and cost (without cases) about
$90,000. The specification was drawn up by Mr. W. J. Ridley, nephew of
Mrs. Barrow, with the full approval of her committee, Mr. Charles
Collins, Mr. E. Townsend Driffield, the Cathedral organist, Mr. F. H.
Burstall, F. R. C. O., and Henry Willis & Sons.

It is claimed that this organ is now "the largest in the world." We
give the dimensions of some notable instruments for the sake of
comparison:

Paris, St. Sulpice, 118 stops; London, Albert Hall, 124; Sydney Town
Hall, 144; St. Louis Exposition, 167; Hamburg, St. Michael's, 163, and
Liverpool Cathedral, 215.

[1] This is really only c|3| (see footnote, page 22), but we have
decided to adopt the usual nomenclature.

James Ingall Wedgwood, in writing his excellent "Dictionary of Organ
Stops," felt it incumbent upon him to offer an apology, or rather,
justification for introducing the name of Hope-Jones so frequently.

The author of this present volume feels the same embarrassment. He,
however, does not see how it would be possible for him, or for any
future writer, who v