The combination indicated above was, moreover, in accordance with general usage;[154] it corresponded to what the French called the _plein-jeu_. Nivers,[155] for instance, wrote: "The _plein-jeu_ is composed of the Prestant, the Bourdon, the Doublette, the Cymbale, and the Fourniture; to those may be added the other sixteen- and eight-foot stops, if any there be; if there be no Prestant, the Flute may be drawn." [Footnote 154: Certain organists abused this powerful combination; Adlung says, "There are many who, in playing the chorale or music in general, know only the noise of the _plein-jeu_. One may be content to continually wear the same clothes, but an organist who produces the same sounds every day will render himself insupportable by his monotony. In the chorale, in the last verse, one may play a little louder, to remind the minister to prepare for the resumption of his duties; especially in towns where it is no longer customary (as is still the honored usage in some villages) to rap with a _bâton_ for this purpose, as though one by force would arouse him from slumber." _Anleitung zur musikalischen Gelahrtheit_, 1758.] [Footnote 155: _Premier livre d'orgue_, 1665.] The same combinations are found in Le Bègue, Clairembault, André Raison. The last-named presents a curious example of the contrast of the _plein-jeu_ to the reeds, in the "Kyrie in the first mode for the _plein-jeu_ accompanied on the pedal by a _Trompette en taille_."[156] [Footnote 156: _Livre d'orgue_, 1688.] This absence of the reeds from the _volles Werk_, to which other writers also bear witness, is, from a practical point of view, worthy of perpetuation, especially if we consider the very considerable place in certain modern organs occupied by this family, and the intensity of _timbre_ due to their harmonic construction. These registers were not numerous in organs of that time, at least in Germany, and, it must be added, badly voiced; they were often nothing but antiquated imitations of the thin and shrill _Regal_. Andreas Werckmeister, known through his works upon the temperament of tones as applied to the organ, wrote (_Orgelprobe_, 1681): _Schnarrwerk Ist unterweilen Narrwerk; Ist es aber frisch und guth, So erfrischt es Herz und Muth._[157] [Footnote 157: "Reed-stops are often Fool-stops; but if they be clear and bright, they are refreshing to heart and soul."]