.

[1] One object of this was to prevent what was called "robbing." While
the pressure of the wind might be ample and steady enough with only a
few stops drawn, it was found that when all the stops were drawn the
large pipes "robbed" their smaller neighbors of their due supply of
wind, causing them to sound flat. By giving each pipe a pallet or
valve to itself, the waste of wind in the large grooves was prevented.
Another object was to get rid of the long wooden slides, which in dry
weather were apt to shrink and cause leakage, and in damp weather to
swell and stick.

[2] A striking instance of the difference between the two kinds of
pallet can be seen in All Angels' Church, New York. The organ was
built originally by Roosevelt, with two manuals and his patent
wind-chest. In 1890 the church was enlarged and Jardine removed the
organ to a chamber some thirty feet above the floor and fitted his
electric action to the Roosevelt wind-chest. At the same time he
erected an entirely new Choir organ, in the clerestory, with his
electric action fitted to long pallets. The superiority of attack and
promptness of speech, especially of the lower notes, of the Choir over
the Great and Swell organs is marvelous. The same thing can be seen at
St. James' Church, New York, where the Roosevelt organ was rebuilt with
additions by the Hope-Jones Organ Co. in 1908.

[3] Some congregations could not stand them and had them taken out.

[4] Wedgwood: "Dictionary of Organ Stops," p. 167.

CHAPTER IX.

TRANSFERENCE OF STOPS.

At the commencement of the period of which we are treating, the stops
belonging to the Swell organ could be drawn on that keyboard only;
similarly the stops on the Great, Choir and Pedal organs could be drawn
only on their respective keyboards. It is now becoming more and more
common to arrange for the transference of stops from one keyboard to
another.

If this plan be resorted to as an effort to make an insufficient number
of stops suffice for a large building, it is bound to end in
disappointment and cannot be too strongly condemned. On the other
hand, if an organ-builder first provides a number stops that furnish
sufficient variety of tonal quality and volume that is ample for the
building in which the instrument is situated, and then arranges for the
transference of a number of the stops to other manuals than their own,
he will be adding to the tonal resources of the instrument in a way
th