JULIAN RHODES' DREAM ORGANS
STOPLISTS FOR IDEAL ORGANS

GREAT
    16       Principal
    16       Violone
     8       Principal
     8       Gamba
     8       Spitz Flute
     8       Harmonic Flute
     8       Doppel Flute
    5 1/3    Quint
     4       Octave
     4       Harmonic Flute
     4       Spitz Flute
    II       Quint Mixture
     V       Full Mixture
    16       Posaune
     8       Trumpet
     4       Clarion
 
SWELL
    16       Contra Gamba
    16       Bourdon
     8       Principal
     8       Geigen
     8       Gedackt
     8       Hohl Flute
     8       Viol da Gamba
    5 1/3    Quint Flute
     4       Octave
     4       Hohl Flute
     4       Gemshorn
    II       Quint Mixture
     V       Scharff
    16       Ophicleide
     8       Horn
     8       Oboe
     4       Clarion
 
CHOIR
    16       Contra Basso
     8       Gemshorn
     8       Salicional
     8       Dolce
     8       Travers Flute                    sic
     8       Lieblich Gedackt
    5 1/3    Quint Flute
     4       Octave
     4       Dolce
     4       Travers Flute                    sic
     2       Piccolo
     V       Dulciana Cornet
    16       Euphone
     8       Clarinet
 
SOLO
     8       Harmonic Flute
     8       Violoncello
     8       Harmonika
     8       Terpodian
     4       Concert Flute
     4       Viola (conical)
    16       Tuba
    16       Contra Fagotto
     8       Tuba
     8       Orchestral Oboe
     4       Tuba Clarion
 
PEDAL
    32       Untersatz
    16       Major Bass
    16       Minor Bass
    16       Violon Bass
    16       Double Dulciana
    16       Sub Bass
   10 2/3    Quint
     8       Octave
     8       Violoncello
     8       Gedackt
    II       Quint Mixture
   III       Mixture
    32       Posaune
    16       Posaune
    16       Contra Fagotto
    16       Serpent
     8       Clarion
     8       Bassoon
 
Wind pressures: 2 1/2in. to 8in.

Robertson stated that "There are 76 stops in this organ and nothing much will be gained by increasing the number".

Robertson was evidently an enthusiast for the work of Schulze, and for Germanic organs in general. In the stoplist appendix to his book he gave the specifications of no less than six Schulze instruments in England and Germany, and others by Buckholtz, Walcker, Haas, Ladegast and Sauer. About the 1868 Cavaillé-Coll scheme for Notre-Dame, Paris, he testily commented:

The arrangements for this organ are in a peculiar taste. There does not appear to be sufficient reason to justify the use of five manuals, and the extent to which what are really single ranks of Mixture are used as separate draw-stops is extraordinary. The sevenths in the mixtures are a matter of taste. The pedal for 'effets d'orage' seems scarcely necessary, as, when desired, such an effect can be produced by sitting down on the keys.

His own scheme certainly shows his devotion to Schulze: in the allocation of 12th and 15th to a single draw; in the Choir flutes; in the presence of a Terpodian; in the absence of a celeste; in the generous allocation of manual doubles; in the impressive Pedal division; and in the disciplined overall structure, built up using families of similar stops. Other features seem to be influenced equally by English and American practice.