H. W. Poole on Perfect Musical Intonation, 215 
53: We should not be treating the whole subject, if we did 
not speak of the relative expense of building the euharmonic or- 
gan. It can truly be said to be more expensive, at the same time, 
gan, yet each set or stop is more effective, in power, than the same 
stop would be if tempered; for it is well known that musical 
sounds, which are in harmony, assist and strengthen each other, 
while discordant sounds neutralize and destroy each other. - 
sides, a great quantity of mere sound will no more afford musical 
pleasure, than mere painted canvas will satisfy the lover of paint- 
ing. Church committees, who purchase organs, are not aware 
(as we organ-builders coudd inform them) that much which they 
pay for, is mere trickery and trumpery. There is, however, a 
desire, in the church, as well as out of it, to boast of an organ 
aving as large a number of stops as possible, even if many of 
these furniture and reed stops, (having foreign names, which they 
do not understand, ) are as inappropriate for the legitimate purposes 
of church music as a set of Chinese gongs. So long, however, 
as such a rivalry exists, and such instruments are ordered and paid 
for, they will be built ; for this is the business of organ-builders, 
It is probable that any one who loves music at all, would pre- 
er the music of a quartette of good singers, to a noisy chorus 
of fifty, singing no nearer in tune than the tempered organs 
play. As has been before stated, the theory of the instrument 
admits it to be of any size and power—the expense to be ap- 
pPropriated, must alone decide that point. This, however, can 
Stated with certainty, that a euharmonic organ in perfect tune 
and of sufficient size and power to perform satisfactorily the pe 
poses of an organ in church, can be built for the expense whi 
18 usually appropriated to the larger class of instruments of tm- 
perfect tune. : 
. 54. Until it had been shown to be practicable by experiment, 
it Was to be expected that a conservative portion of the public 
would view, with caution, a plan like the present, which proposes 
such a radical reformation in a system of so long standing as the 
organ scale. his feeling certainly operated against the plan 
when we proposed to undertake it two years since. — It is with no 
little gratification that, since the completion of the instrument, it 
ad the favorable and unanimous opinion of the musical peo- 
ple who have examined it, and the scientific principles on which it 
is built. We believe it is certain that public musical opinion, 
