| 1. Stopped Diapason | 8 | feet | tone |
| 2. Dulciana | 8 | " | |
| 3. Gemshorn, a light Principal | 4 | " | " |
Remark.—The Mixture, No. 5, will be 15th, 19th and 22nd from CC to middle B, and 8th, 12th and 15th onwards to the top.
Perhaps we should not conclude without noticing one or two objections to our plans.
First. "Organs cannot be properly played without pedals."
Most unquestionably true classical organ music cannot be played on instruments with manuals only. But it was on such instruments that the illustrious Handel, with his contemporaries and predecessors, Croft, Boyce, Worgan, the blind Stanley, and a host of others, delighted their audiences by their masterly performance. Pedals were not added to English organs until the latest years of the eighteenth century. The nineteenth was far advanced before the pedal-board, of full compass, had come to be considered an essential part of every organ.
Why should the effective management of organs without pedals be among the lost arts? Why should not the clever manipulation of such organs be practised by ladies, and by the modest players in villages, to whom the preludes and fugues which echo through the aisles of the cathedral must ever be a dead language? Why should the cathedral player himself, fresh from his pedal fugues, deem it beneath his dignity to draw sweet music, in a totally different style, from an instrument on which Handel would have willingly displayed his powers?
We were present on a certain occasion, many years ago, when the late Professor Walmisley, of Cambridge, was asked to play on a small and old-fashioned organ without pedals. The distinguished pedallist and renowned interpreter of Bach's compositions did not turn away with contempt. He seated himself, and charmed all who were present by his ingenious extemporisation. The skill, and learning, and resource of the true musician were never more conspicuously displayed.
We see no reason whatever why such a bright example should not be followed; and, while we yield to no one in appreciation of the pedal-organ, and of the music proper for it, we hold that the typical organ of the village church has no concern with these, and that no greater demand should be made upon the executive powers of its player than that which is made in the acquirement of a pure legato style at the pianoforte or harmonium.
Second. "Why omit the Swell, the greatest improvement of modern organs?"