We learn from these that pure foundation tone does not blend. True, there are examples of organs where the true foundation tone exists but does not blend with the rest of the instrument, but it is misleading to say that "pure foundation tone does not blend." Hope-Jones has proved conclusively that by exercise of the requisite skill it does and so have others who follow in his steps. A view of the mouth of a Hope-Jones heavy pressure Diapason, with inverted languid, leather lip and clothed flue, is given in Figure 17. [Illustration: Fig. 17. Diapason Pipe with Leathered Lip] The dull tone of the old Diapasons was due to the absence of the upper harmonics or partials. With the introduction of the Lutheran chorale and congregational singing it was found that the existing organs could not make themselves heard above the voices. But it was discovered empirically that by adding their harmonics artificially the organs could be brightened up and even made to overpower large bodies of singers. Hence the introduction of the Mixture stops (also called compound stops), which were _compounded_ of several ranks of pipes. The simplest form was the Doublette sounding the 15th and 22nd (the double and treble octave) of the note struck. Other ranks added sounded the 12th, 19th, and so on, until it was possible to obtain not only the full common chord, but also some of the higher harmonics dissonant to this chord, from a single key. THE DECLINE OF MIXTURES. Fifty years ago it was common to find the number of ranks of mixtures in an organ largely exceed the total number of foundation stops. Mixtures were inserted in the pedal departments of all large organs. Organists of the time do not seem to have objected and many of the leading players strongly opposed Hope-Jones when he came out as the champion of their abolition. These stops greatly excited the ire of Berlioz, who declaims against them in his celebrated work on orchestration. The tone of these old organs, when all the Mixture work is drawn, is well nigh ludicrous to modern ears, and it is hard to suppress a smile when reading the statements and arguments advanced in favor of the retention of Mixtures by well-known organists of the last generation. These mutation stops still have their place in large instruments, but it is no longer thought that they are necessary to support the singing of a congregation and that they should be voiced loudly. The decline of Mixture work has in itself entirely altered and very greatly improved the effect of organs when considered from a musical point of view. The tone is now bright and clear. Mr. James Wedgwood says: