JULIAN RHODES' DREAM ORGANS
PROPOSALS WHICH REMAINED ON PAPER

Hilborne Roosevelt was one of the organ builders who submitted a tender for the Sydney contract, based on Alexander Rea's proposal stoplist. His scheme was later published by G.A. Audsley in 'The Art of Organ-building' (1905). Here it is:

I GREAT * = enclosed in Choir box
    32       Contra Bourdon (to FF)
    16       Double Open Diapason
    16       Double Melodia
     8       Open Diapason
     8       Bell Diapason
     8       Violin Diapason
     8       Gemshorn*
     8       Viola da Gamba*
     8       Flûte Harmonique
     8       Principalflöte
     8       Doppelflöte
     8       Rohrflöte*
    5 1/3    Quint*
     4       Octave
     4       Gambette*
     4       Flûte Harmonique
     4       Rohrflöte*
    3 1/5    Tierce*
    2 2/3    Octave Quint*
     2       Super Octave*
     2       Piccolo Harmonique*
     V       Mixture*
     V       Fourniture*
    VI       Scharf*
    16       Double Trumpet*
     8       Trumpet*
     8       Baryton*
     4       Clarion*
 
II CHOIR (enclosed)
    16       Double Dulciana
     8       Open Diapason      
     8       Geigenprincipal
     8       Viole d'Amour
     8       Dulciana
     8       Melodia
     8       Lieblichgedeckt
     8       Quintadena
     4       Octave
     4       Fugara
     4       Dulcet
     4       Flûte d'Amour
    2 2/3    Nasard
     2       Flageolet
     V       Dolce Cornet
    16       Euphone (free reed)
     8       Clarinet
     8       Oboe
     4       Oboe Clarion
             Tremolant
 
III SWELL
    16       Double Open Diapason
    16       Bourdon
     8	     Open Diapason
     8       Flûte à Pavillon
     8	     Spitzflöte
     8       Bell Gamba
     8       Salicional
     8       Dolce
     8       Vox Coelestis
     8       Flauto Traverso
     8       Hohlflöte
     8       Stopped Diapason      
     4	     Octave
     4       Salicet
     4	     Flauto Traverso
     4       Hohlflöte
     4       Flauto Dolce
    2 2/3    Octave Quint
     2       Super Octave
     2       Flauto Piccolo
  IV-V-VI    Cornet
    IV       Acuta     
    16	     Ophicleide
    16       Contrafagotto         
     8	     Tuba
     8       Cornopean
     8       Oboe
     8       Euphone (free reed)
     8       Vox Humana
     4	     Clarion
             Tremolant    
 
IV SOLO (enclosed)
    16       Contra Gamba
     8       Stentorphone
     8       Violoncello
     8       Concert Flute
     8       Philomela
     4       Viola
     4       Concert Flute
     4       Hohlpfeife
     2       Piccolo Harmonique
    16       Corno di Bassetto
     8       Trompette Harmonique
     8       Cor Anglais
     8       Orchestral Oboe
     8       Orchestral Clarinet
    16       Tuba Major
     8       Tuba Mirabilis
     4       Tuba Clarion
             Tremolant
 
V ECHO (enclosed)
    16       Quintaten
     8       Open Diapason
     8       Keraulophone
     8       Unda Maris
     8       Fernflöte
     4       Dulcet
     4       Flûte Harmonique
    IV       Harmonia Ætheria
     8       Corno Dolce
     8       Vox Humana 
 
PEDAL
    32       Double Open Diapason
    32       Double Open Diapason
    32       Contra Bourdon
    16	     Open Diapason
    16	     Open Diapason
    16       Violone
    16       Gamba
    16       Stopped Diapason
    16       Dulciana    
   10 2/3    Quint
     8       Octave
     8       Octave
     8       Violoncello
     8       Flute
    5 1/3    Octave Quint
     4       Super Octave
     4       Octave Flute
     V       Cornet
    VI       Mixture
    32       Contra Bombard (free-reed)
    16       Bombard (free-reed)        
    16       Trombone
    16       Bassoon
     8       Clarion
     8       Oboe Clarion
     4       Octave Clarion
 
Couplers:  5 to Pedal,
           Swell to Great, Choir to Great, Solo to Great,
           Great to Swell, Solo to Swell, Swell 8ve, Swell sub8ve,
           Swell to Choir, Solo to Choir, Echo to Choir,
           Solo 8ve,
           Echo 8ve.
 
Shut-off knobs: Great (affecting all Great stops)
                Pedal (affecting all Pedal stops)
 
Adjustable combination pistons:  10 to Great and Pedal stops and couplers
                                 7 to Choir stops, couplers and tremolant
                                 10 to Swell stops, couplers and tremolant
                                 7 to Solo stops, coupler and tremolant
                                 3 to Echo stops, coupler and tremolant
 
Foot-lever movements: 8 adjustable combinations to Pedal stops and couplers
 
Reversible foot levers:  Swell to Great, Solo to Great, Great to Swell, 
                         Great to Pedal, Swell to Pedal, Solo to Pedal,
                         Swell tremolant, Choir tremolant, Solo tremolant,
                         Echo tremolant, Great shut-off, Pedal shut-off.
 
Balanced expression levers:  1 to Choir box (including 17 Great stops)
                             1 to Swell box
                             1 to Solo and Echo boxes
Crescendo and diminuendo lever, for the whole tonal forces of the organ.
 
Compass: 61/30.
 
Wind pressures:  Great 4in. throughout, Choir 3in., Swell 3 1/2in., 
                 Solo light wind 4 1/2in, heavy wind 10in.,
                 Echo 2 1/2in., Pedal 4in. throughout.

Audsley expressed his surprise "at the Sydney authorities passing over a scheme which... would have established a new epoch, at that time, in the art of organ-building". He was referring especially to the enclosure in swell-boxes of the majority of the instrument, including much of the Great division.

Note also the order of the manual divisions, and the great range of colour throughout. In contrast with Rea's proposal stoplist, the Swell is richer in unison tone, and the Solo and Echo more structured.

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