ORGAN. 
up at the proper intervals of the tune ; ma ade 
like ftaples, with a long fhank, fo as to hold a note, by 
keeping up the key for fome time. All this time the ftop 
are, by the tumblers ( Sigs. 1z and 13 ), as as before ay ariel 
brought on and off to give all the variations, in a full piece 
imitated by the pipes of the feveral tops, giving the inftru- 
ment the effe& of a whole band of per Beare and that 
with a — of time and harmony feldom to be met with 
in ncert. The formation -of thefe barrels (for the in- 
foribed, no piece of mufic of great length can be perfo: med ; 
becaufe when the ie bee Gee its dthanigty the fame 
e the ie t the power ae 
© fpiral as conftantly 
making eight 
° 
barrel cannot be fhifted to saeasiae different 
has a {crew or worm 34, ( fig. 14 
of its threads correfponding in * dance wa the pial tines 
eel, being held 
e it revolves. 
This Axed : ice of fee is seacied toa a i aa of a piece 
f brafs, 31 rie ere are it fupports 
i » before defcribed ; 
“a 
33> 32 
thefe are received into fimilar joint pieces cf trate, eee 
to the key-frarre T, fo fituated that the jomts are exaQly 
in the line of the centre of motion for the key-frame, fo 
that the thumb-piece has liberty to rife and fall on the fame 
centre of motion as the key-frame; but being attached to it 
by a long firm axis, 32, 32, it has no other motion than 
upon this centre, A wire 37, ( fg. 7.) is jointed to the thumb- 
piece 31, and, pafling hei a hole in Ha key-frame, has 
a nut {crewed uron it: this is fo adjuft ed, that the key- 
frame may be lifted up a {mall quantity, naa raifing the 
thumb-piece ; but after this, the nut lifts yt 
means the key-frame will always be lifted oP, to clear ae 
points of the keys from the pins, before the edge, 33, quits 
the ie of the fcrew, and fuffers the bare to fhift end- 
wa 
Su uppo ofe the barrel put into its place, and thruft towards 
the left hand, as far as it will go, the edge, 33, of the 
time —— by the {crew 34, till 1t has made eight turns, 
an e to the end of the piece ; the end of the (on 34s 
fags come to the edge of the thumb-riece 33, the barrel 
mutt be returned to its firt pofi tion, to repeat she mufic. 
lifts up the key-frame, and raifes the otk clear, ready fo for 
barrel to return: t e fame time dif- 
he 
mb-piece, fo that its edg , leaves the 
fpiral groove of the f{crew, and nothing now prevents the 
return of the barrel by the action of the {pring-piece g, 
which always prefles on the left-hand pivot 
P , 
key-frame would defcend the inftant the pin 35, in the end 
of the barrel, quits the catch 36, another catch, 38, at the 
other end, is intr pieced: : this holds up the key-frame until 
the barrel has completed its return. The end of it then 
{trikes the lower end of the catch: this fuffers the key-frame 
adjuftment, fo that the edge, 33, fhall fall, when the groove 
of the {crew is precifely beneath it. 
We have been thus particular in our defcription of this 
fuperb inftrument, not lefs on account of its mechanical 
ingenuity, than from the 
a 
tao} 
Qa 
~ 
19!) 
; the 
defert the performance ng the 
celebrated opera of Mozart’s, the Zauberflute, byt the ean 
part of this inftrument, followed b fa 
tones, that no one would credit without an opportunity of 
hearing it. 
The inventor then played various pieces on the finger-keys, 
one peculiarly adapted to difplay the rich, mellow use ds of 
the bugle horn ; then preduced a fimilar imitation of French 
horns and baffoons, with echoes to each, which were exaGly 
as if they replied from the oppofite fide o a river to the 
original notes founded in the room. ‘Thefe magic effeés 
are chiefly produced by the {we'l, which gives to the organ 
all the variation of fofinefs or joudnele, imitating at p- ne ee 
inftruments, in the moft 
c 
o hear the alternation from foft to powerful tones, in the 
pret _ ion, 
organs of which we have been freaking, however 
fimple or complex as to their number of flops, or ranges of 
Cys, 
