e la Science; Gold Medal, Exhibition of Lyons; and the
Gold Medal, Exhibition of Bordeaux. He died at Caen, December 23,
1903. (From Dr. Hinton's "Story of the Electric Organ.")

CHAPTER V.

STOP-KEYS.

On looking at the console of a modern organ the observer will be struck
by the fact that the familiar draw-stop knobs have disappeared, or, if
they are still there, he will most likely find in addition a row of
ivory tablets, like dominoes, arranged over the upper manual. If the
stop-knobs are all gone, he will find an extended row, perhaps two rows
of these tablets. These are the _stop-keys_ which, working on a
centre, move either the sliders in the wind-chest, or bring the various
couplers on manuals and pedals on or off.

[Illustration: Fig. 8. Console, Showing the Inclined Keyboards First
Introduced Into This Country by Robert Hope-Jones]

We learn from Dr. Bedart that as early as 1804 an arrangement
suggestive of the stop-key was in use in Avignon Cathedral. William
Horatio Clarke, of Reading, Mass., applied for a patent covering a form
of stop-key in 1877. Hope-Jones, however, is generally credited with
introducing the first practical stop-keys. He invented the forms most
largely used to-day, and led their adoption in England, in this
country, and indeed throughout the world.

[Illustration: Fig. 9. Console on the Bennett System, Showing
Indicator Discs]

Our illustration (Fig. 8) gives a good idea of the appearance of a
modern Hope-Jones console. The stop-keys will be seen arranged in an
inclined semi-circle overhanging and just above the keyboards. Fig. 9
shows a console on the Bennett system. Figs. 10 and 11, hybrids, the
tilting tablet form of stop-keys being used for the couplers only.

[Illustration: Fig. 10. Console of Organ in Trinity Church, Boston,
Mass. Built by Hutchings Organ Co.]

There is much controversy as to whether stop-keys will eventually
displace the older fashioned draw-knobs.

[Illustration: Fig. 11. Console of Organ in College of City of New
York. Built by The E. M. Skinner Co.]

A few organists of eminence, notably Edwin H. Lemare, are strongly
opposed to the new method of control, but the majority, especially the
rising generation of organists, warmly welcome the change. It is
significant that whereas Hope-Jones was for years the only advocate of
the system, four or five of the builders in this country, and a dozen
foreign organ-builders, are now suppl